Prints in the pinewoods

This week involved a trip so brief, bizarre and beautiful it seemed almost dreamlike. I was asked to write a feature for Crufts Magazine that required I spent 24 hours in deepest, darkest Scotland in the company of a couple of dog sled racers and their thirty Siberian huskies.

The journey north was fairly arduous and involved an evening train ride to Edinburgh before I hired a car and navigated the hour and a half through driving snow to a remote area of Perthshire. The final miles were in complete darkness with just the snowfall and black sky. As the Scots pine closed in around the single track road, Highland cattle wandered across casually out of the trees, their caramel, shaggy coats with a fresh crust of white.

The accommodation was basic (a cabin) and cold, but the welcome from owners John and Mary warm and whisky fuelled. At dawn we were up to see a copper and duck-egg blue sunrise glowing over the white landscape and dark tree tops.

The husky racing was thrilling to behold and I have never seen animals happier; it is as if running with a sled somehow scratches an itch that would otherwise drive huskies mad. After an hour or two watching these furry athletes accelerating into the trees, my gaze was drawn to the snow beside the trails. Near the dogs’ unmistakable prints, I noticed other tracks. Rabbits had been lolling through the snow and, close by, another dog-like animal had taken a keen interest.

Fox prints in the snow. Note the clear space between front and side pads.

Joined by John and Mary’s toddlers, I followed the fox tracks up and into the thick Scots pine. A carpet of pine needles was disrupted in places by roe deer tracks and we started to see the mini motorways used by the animals that call the woods home. Footprints, chewed stems, pine cones nibbled by the red squirrels; the joy of animal tracking is piecing together the stories that unfold in such places. By taking the time to walk away from the usual trails, slow down and read the ground around us, we enter into a new way of looking and relating to the landscape.

Once they had learnt what each was, it was lovely to see the kids picking out the prints for ‘Mr. Fox’. In our chapter on animal tracking in the book, we discuss how tracking elicits a physiological as well as psychological change, one that brings us closer to every landscape. We connect on another level, down amongst the leaves. Perhaps at the heart of this ancient art is this sense of ‘becoming’ with the landscape and its inhabitants. Their natural inquisitiveness sparked off a wonderful creativity. They told me about their favourite ‘rooms’ in the woods and where they met ‘the leprechauns’ for dinner. I asked what other creatures they’d met in the woods and their answer stopped me in my tracks: ‘big cats’.

I studied the snow and mud even more intently as we drifted back to the husky trails. A noise from the hill behind and John came whizzing past with a dog team of six, the huskies bounding en masse in perfect synchronicity, ears pinned back, tongues wagging. Later, over tea, John and I talked about his children’s wonderful playground and I related the beauty of their imaginary worlds, mentioning the stories of big cats. “Ah.” said John. “That bit wasn’t a story.”

– Rob –
Drawing of a robin

Hockney and nature’s canvas

There was a beautiful and revealing interview with David Hockney on Radio 4 over Christmas, which I have only just had the chance to listen to. It was in honour of his forthcoming exhibition A Bigger Picture, the vivid reflections of the East Yorkshire landscape he grew up amongst and has spent the last two years absorbed in. He even relocated from California to Bridlington to complete the project.

As Andrew Marr and Hockney walked the muddy tracks through the trees they discussed the powerful influence of the land over the artist. Most interestingly, the way Hockney felt an intense connection to nature that developed during the project. He has been returning to paint, photograph and sketch the same spot with an obsessive regularity, out in all weathers to try to capture the essence of the place by being present in the myriad variants of weather and light that happen at different times of the day and the season.

Hockney’s ‘excuse’ for being out in nature is the paintbrush, but it could have been anything – carving an elder whistle, making a fishing float from a feather, tracking the prints of animals. The point is that his activity rooted him utterly into the place. This is also a defining principle of our book, Skimming Stones and Other Ways of Being in the Wild; it is physically and mentally rewarding to look deeply into nature. It’s not just how many peaks we cover, but how well we cover them. Time spent returning to the same a hill, fishing the same bank of a river or revisiting a wood to sleep in DIY debris den familiarises us so completely with that patch of earth that we can’t fail to feel linked to the greater rhythms of nature and feel a sense of belonging.

As Hockney notes in the interview, “In April for six weeks the landscape changes daily.” He became attuned to the variants and noted how even the same metre of earth can change radically from dawn to dusk. Hockney even started to relearn the names of plants like the wild carrot or ‘Queen Anne’s Lace’ so he knew what he was painting. This prompted in him a deeper way of looking, a sense of scale and understanding of how the miniature landscape constitutes the whole.

In the final chapter (on wild walking) in our book, we set up a tent on the summit of Haystacks after many hours of fell climbing. All day we had been taking in grand vistas and sweeping views of the Lakeland hills, but had also been using natural navigation techniques to determine our bearing: reading the rings on tree stumps, employing the tree-tick principle as a rudimentary compass. This had forced us to look more closely at every aspect of the fells and as we sat with our legs aching in this lofty perch we naturally took in the details all around us.

A few metres before us lay a small stretch of water that mirrored the same colours of the setting sun as Buttermere hundreds of feet below. The heather, twisted and green seemed like a Bonsai forest and the meadow pipits that picked about it, giant winged dinosaurs. We both watched the scene unfurling above the clouds in quiet absorption, the sky framing the stage with changing backdrops of golden, duck-egg blue and pink washes. It was a living landscape painting played out on nature’s ever-changing canvas.

– Rob –
Drawing of a robin

Truffle hunting: treasure in France

Having picked and eaten wild mushrooms and fungi of various kinds in the UK, there has always been one that has intrigued me by its rarity and reputation: the truffle. It’s a mysterious fungus and one I have never really eaten aside from the usual infusions in oil or salami that crop up in delis. The Italians describe its legendarily permeating odour as ‘gas’ and it certainly has a whiff of a faulty cooker, yet people seem to become obsessive devotees to its unique flavour. Certain areas of France go so crazy for the ‘black diamond’ they even hold a Mass in its honour, swapping the ‘corpus Christi’ wafer for a slice of the stuff.

One of the joys of writing travel features is the potential for adventures to fall into your lap and I jumped at the offer from The Independent to make a trip down to Provence to find the region’s number one winter wonder.

My lovely B&B, ‘Les Ursulines’, was hunkered down amongst the vines a few miles outside Valreas. Passing through the subdued lavender avenues and vineyards now stripped of their fruit, it looked a different region to the lush green and purple place made famous in Peter Mayle’s book, A Year in Provence. If an interior designer were to describe the Vaucluse department in December they would probably give it a name like ‘beautiful/industrial’, for every inch of earthy field is apportioned to profit. Winter is the land’s grand exhale after the harvesting storm. The ground looked exhausted and vines sat exposed, their spines twisted in neat rows, only occasionally fringed with the odd russet, brown and red leaf blowing in the surprisingly warm air.

There was still wildness. Mountains dominated the horizon and Mt Ventoux lay like a pile of black grapes ready for pressing under the blue sky. Closer by were the sporadic stands of trees. To the untrained eye these may seem unusual amongst the vines, a waste of space for a place where every square foot is cultivated for a purpose. These aren’t the cypresses planted to provide windbreaks against the famous ‘Mistral’, but rather two types of oak – green and white – larders for the farmers’ winter harvest.

Jean-Pierre, the owner of the B&B, was to be my truffle guide. Unfortunately he spoke no English. Nor did his wife. Despite the best efforts of author Joanne Harris in her previous life as a French teacher, my GCSE-level French is woefully inadequate when trying to pick up the intricacies of the fruiting process of Tuber melanosporum. This added an air of excitement and confusion, but also proved the point that much in conversation is body language.

Jean-Pierre gestured to his car. I got in. Within a minute we were tearing up dust on a little road through the vines and pulling up at an old farmhouse. Men huddled together through the arch smoking and eyeing us suspiciously. Handshakes were exchanged and one begrudgingly went inside. After a moment, he returned with bespectacled man in a beat-up army jacket and a dog on a length of rope. This was Jacques and Diane, neither of who spoke any English either.

I followed Jacques to his lines of oak. The earth was soft, perfect for prints, and as he guided his faithful hound through the trees, my eyes were drawn down for a spot of impromptu animal tracking. Diane’s prints were everywhere but in patches close to denser vegetation, other pig-like impressions littered the ground. I had my suspicions. ‘Sanglier,’ Jean-Pierre confirmed before making the sign for a rifle, ‘bang bang, very nice.’

Soon Diane was earning her keep, scrabbling a few layers of ground away before Jacques called her away. I bent down beside him and was hit by the pungent smell. The very soil was impregnated with it. I helped Jacques ‘clod’ the ground and then break it up by hand until I saw it; black, bobbly and about the size of an egg.

The reverence in which the black truffle is held was clear. We stood in silence, possibly due to our lack of a common language, but mostly because of the power of this delicacy. The hunt continued until we had filled a small sackcloth bag.

On the market a black truffle of the sizes we were uncovering may be worth up to £40 each. Sometimes more. There is no question of their value and part of their mystery is that there is no exact science to their cultivation. Impregnated oaks may take ten years to start ‘truffling’ and even then, there is no guarantee. I began to see why people are so insular about them in this area; they are a tax free high-value commodity found in the ground that can make a man rich over a season.

We returned under to the B&B under a purpling sky. In my pocket was a gift from Jacques, a perfect specimen that, even when wrapped in two layers of foil and inside a sealed jam jar in a fridge, still stank out the room. Best served simply, we cooked paper-thin slices of truffle with scrambled egg and served it with wilted chard. The taste was incomparable. Nothing else has the same flavour, a pleasant savoury ‘umami’ as the Japanese class it.

As I returned to England my eyes scanned the fields and forests around the train tracks wondering if any held white truffles, the British edible truffle. To hunt these, it is best to look for areas of disturbed earth, bumps in the forest floor or any line of ants disappearing into a mound. I knew I’d never scan a woodland floor without imagining these subterranean hidden treasures. My clothes still smelt of the fungus and I could close my eyes and imagine its taste; I had become acclimatized.

– Rob –
Drawing of a robin

Let’s go fly a kite

Drawing of a lone kite over Camber SandsFew of us forget the utter joy of sending a kite soaring skyward for the first time; the control of the inanimate object, riding the thermals, but making one takes the fun to newer heights. Getting a piece of DIY to fly is an enriching experience that appeals to the child in all of us.

Britain is Europe’s windiest country and, as we found walking over the soft dunes onto Camber Sands in Kent, it is blessed with many breathtaking beaches to act as runways. Under a cloudless blue sky, we took it in turns to be launcher and pilot, shouting ourselves hoarse with joy each time the kite caught the wind and snaked its way into the atmosphere.

Soon we learnt the trick that pulling the line gained altitude and slacking allowed maneuvering. The darting diamond was staying airborne for ten minutes at a time and we found our consciousness following the slender path of string upwards to join it. Nothing else mattered.

People spend years trying to achieve meditative states that allow them to forget themselves, to have an ‘out-of-body’ experience, but this was the perfect short cut, one that every child can attest to watching a bird on the wing or leaf caught in the breeze.

By building a kite, we turn the seaside and coast into another kind of playground, one that really lifts the spirits. For the technique and detailed how-to make a kite from bamboo and bin liner, buy our book now at www.skimmingstones.co.uk!

Drawing of a hand holding a thread tied to a leaf pulled by the wind

Respect your elders: the joy of Sambucus Nigra

A tree reflected in a puddle in a woodThe spectacular Nidderdale in North Yorkshire lies a little west of (and inexplicably outside) the Yorkshire Dales National Park. Yet, as we found, this relatively unexplored land more than repays with breathtakingly uninterrupted views and undiscovered, delicious treasures of the season: elderberries.

We strode out from the village of Lofthouse, following the river Nidd north. The autumn sun shone weakly but reliably in an unending blue sky and ungainly pheasants grown fat for the shoot clucked angrily out of the grasses and trees as if fired from cannons. Through the occasional, remote farmyards and up a steep path to the side of the dale, elder flanked us in thick fringes, hemming in the old track we walked on. Like stumbling into a vineyard, each trees’ fruits drooped with the weight of miniature liquid, red-wine-black clusters.

It was an opportunity too good to miss. We liberated two large paper bags, gratefully guzzling the pork pies they contained, and set about filling them with the rich fruit. Perhaps it was the altitude and the fresh breeze, but these berries were untouched by birds and soon both bags were full to burst.

A glorious sunset over a hillside with two treesAside from the obvious boon of being free and plentiful, elderberries are incredibly good for you. As well as containing Vitamins A, B and C, they are pumped full of the antioxidant anthocyanin, said to cleanse the blood of toxins and free radicals, improve circulation, reduce swelling, alleviate cold and flu symptoms and boost memory.

Also found in red, blue and black fruit, like blackberries, grapes and red cabbage, anthocyanin is a darling of the nutrition world at the moment. Although bland when picked straight from a tree, the berries can easily be made into a healthy cordial that, when mixed with a little water, can be enjoyed hot or cold with a slice of lemon.

We returned to the car via Scar House reservoir watching breathtaking sunsets frame lone trees on the horizon. Night had fallen as we shed boots and wound drove down the valley avoiding the suicidal pheasants. Sat by the warmth of the log burner we used a fork to remove the berries and put them on to boil with enough water to cover them completely. After thirty minutes simmering and stirring occasionally, we poured, squashed and sieved the elderberry broth into a bowl, creating a reservoir of black liquid reminiscent of Scar House reservoir’s dark waters.

A bottle and bowl of elderberriesA pan of elderberries on a gas hob


To create the famous ‘Cowen & Critchley’s Elder Tonic Cordial’ it was a simple matter of adding 400 grams of granulated sugar, the juice of half a lemon, seven cloves and a thick slice of ginger for every pint of elderberry juice and putting it all back to simmer for an hour. When bottled in glass that has been boiled thoroughly in clean water, cordial prepared like this will last all year round.

Toasting the successful stroll, we drank in the rich aromas of the hot cordial letting Nidderdale’s elderberries nourish our bodies as effectively as its views had our minds.

Build a shelter

There was a lush green glow in the glade; the smell of fern and mulchy ground. A chiffchaff and a robin sang over each other unperturbed by our crashing through the leaf litter hunting for logs. We were on raised ground in the woodland and a small river gurgled down a bank to our south as, beyond our patch, which was darkened by the canopy, thick sun settled on the greenery like honey. A perfect place to build a shelter…or, as us slightly less survivalist like to call it, a den.

Just being in any wood is a treat and building a simple ‘A-frame’ den is the perfect way to get more closely acquainted. It is a magical place to secret yourself away, to watch the wood come alive and a cheap, warm way to camp the night.

Leo Critchley in a debris shelter in the woodsUnless very dry, old clothes or a jacket are a good idea as the majority of the work is moving fallen leaves. Then it is just a case of finding two dead logs with ‘Y’-shaped ends and interlocking them with a long ‘spine’ to form an elongated, tapering tripod. Lay sticks along each side like ribs, before covering the whole thing in dried leaf litter until it is deep enough for you to plunge your arm up to your elbow into it. The whole thing should take less than two hours.

Rob Cowen in a debris shelter in the woods with a fireKids love to build dens but it is a joy that shouldn’t be left in childhood. On our knees, working with the sticks and leaves, we draw close to the wood in a far greater way than when merely passing through on a dog walk. Build an A-frame den right and it will keep you insulated, soundproofed and dry. With the addition of a small fire and a sleeping bag, it provides the perfect overnight shelter to watch wildlife or just retreat to when you need an escape from the urban world for 24 hours.

Drawing of a primrose and hoverfly

Cornish delights

With our eyes still stinging from the news that Lonely Planet has rubbished Great Britain as a tourist destination as ‘overpriced, overrated and overcrowded’, we headed down to an area of Cornwall that proved to be the antithesis of all three. Our base for a week of writing and building dens was Morwenstow near Bude.

We probably encountered less than twenty people during our visit. Even on the Marsland beach, a few miles away through a nature reserve, our only company was seagulls and lively waves. Pocketing some of the liberally growing rock samphire for dinner, we returned back to the fields and forests surrounding Gooseham and set to making dens.

Debris shelters are easy enough to create, fun and quick to construct (for more details, look out for the next Independent feature and video). The only distraction is the landscape. Overrated it is not.

We were in woods filled with hazel, birch, oak, hawthorn, holly, ash, lime. Broad green canopies that sheltered us from the sun, dappling the forest floor as birds struck up melodious conversation.The lanes were replete with bluebells, wild strawberries, campion and orchids and restorative strolls through them to the pub after dinner left us both returning to London feeling energised and renewed. It is easy to knock this country and if you only analyse its landmarks or ‘tourist destinations’ you may be left with a negative skew. Scratch the surface by doing something different and a world of beauty and fascination awaits.

Tracking foxes in Wales

We headed off to west Wales to write the tracking animals chapter of the book. A hell of a drive out of London on a Friday night but the promise of a week in the countryside was enough to get us through the traffic chaos.

A fox pawprint in mud alongside a matchstick for scaleThere’s no better time to see the movement of the wild inhabitants of woods and fields than when there is snow or wet, muddy conditions on the ground. The old mill we called home for the week was close to the River Teifi and provided the perfect base for our field trips, many of which went on into the dark evenings as we followed tracks off paths and into woods. The loamy soil was perfect to record prints, like these of a fox, found close to a rabbit warren in a small wood.

An otter pawprint in wet sandWe had heard rumour that there may be otters in the area, but such things are often too good to be true. Or so we thought. Then we stumbled upon these clear, webbed tracks by the river. Only a few hours later the level had risen and washed them away. It pays to be tuned in as it is amazing what you miss when you are not looking properly.

Recording tracks as you find them brings you closer to the animal that left them. The best way is to use Plaster of Paris as described in our book. Collected and displayed on a window sill or shelf, these three-dimensional traces of their prints serve as little icons to the wild world outside our windows.

Animal tracks aren’t only found in the countryside. With a fresh fall of snow, you can see a record of all sorts of animals even in the heart of a city. Don’t forget to scan the ground and see what’s around.

Read all about how to identify, track and cast animal prints (and why it’s so good for you) in our book www.skimmingstones.co.uk.

Stone skimming video

Stone skimming video

Few things are as simple, enjoyable or accessible as skimming stones by the sea. Indeed, it gives a whole new meaning to the term ‘getting your rocks off’.

In this, our first video post for the blog, we braved the cold, windy Welsh coast near Llansantffraed, Ceredigion, to cover a few of the tips and techniques, proving that even in somewhat adverse weather, the benefits of spending time at the seaside are many.

In case you’re wondering who won, Rob did. He claims this was because he was wearing a lucky hat, but the rematches have continued ever since. Perhaps we should post all our scores sometime. A roll of (dis)honour that will one day rival Wisden.

Half way through

We are now more than half way through writing our book, and I thought this might be a good time to reflect on the process and how it’s evolved as we’ve gone on.

Having already gone through several iterations of writing introductions and sample chapters while trying to get a publication deal, and put down tens of thousands of words that will never see the light of day, I don’t think either of us had any great sense of trepidation when time came to do things ‘for real’. We knew we could hit the word count, although a hard deadline would now dictate the pace rather than our ability to free up time.

What has been more surprising is the extent to which the writing has become quicker. Early chapters each felt like a new experience, breaking new ground and understanding better how the book would work. We advanced paragraph by paragraph, checking everything with one another and discussing extensively. Our overarching theme – that taking a turn through a natural setting is all very well, but slowing down to connect more deeply yields far greater rewards – is a powerful one I hope, but teasing out the different facets of it was a challenge.

It’s now a lot easier to see how each chapter fits into the whole, however. Along with the multitude of sketches we’ve both been doing, the sense of building a larger piece of work is invigorating. The book is like completing a puzzle, and it feels like we’ve got the edges in place now.

A lot of people ask how we can be joint authors, and whether we step on one another’s toes. We were conscious of this early on, but it never manifested itself as a problem. Now our style is established, and a good few chapters written, we are both writing sizeable passages before swapping over to add our own take to the other’s work. After a few iterations it’s often impossible to say who wrote a particular sentence. Being able to work in parallel in this way, I am sure we’re writing at least as quickly as a single author would do under the same circumstances, and it’s naturally a much more sociable task.

We’ve enjoyed it immensely so far, and are very much looking forward to getting the rest done and sharing it with the world.

– Leo

Feather quill pen