Tag: Aesthetics

I was in the middle of Far From the Madding Crowd (1874), by Thomas Hardy, when I received word from the Halifax Central Library that the hold I placed on James Rebanks’ The Shepherd’s Life (2015) was ready for pickup. This was a nice bit of symmetry, as the hero of Hardy’s novel is Gabriel Oak, stout-hearted and reliable shepherd of Hardy’s ‘Wessex’ (south-west England). Rebanks (@herdyshepherd1) is a modern shepherd who runs a family ‘fell farm’ of Herdwick sheep in the Lake District, as well as an Oxford graduate who advises UNESCO on ensuring tourism benefits local communities in cultural landscapes. The ‘fell’ is an area of marginal commons pasture shared by local farmers for extensive grazing.

James Rebanks worked up to this book on shepherding in the UK Lake District from Twitter, and a column in Cumbria Life magazine.

It was fascinating reading these books in parallel, seeing the same farming practices described, despite differences in vocabulary. They were also both deeply landscape-driven and embedded in place. Rebanks is eloquent and pithy, and mounts a passionate defense for this way of life, in part rejecting calls by folks like George Monbiot to destock grazed landscapes to rewild and revegetate them. Many analogies suggest the sense that the land is itself part of the family in shepherd life. About his grandfather’s connection to the land, Rebanks shared (p. 72):

My grandfather had an eye for things that were ‘beautiful’ like a sunset, but he would explain it in mostly functional terms, not abstract aesthetic ones. He seemed to love the landscape around him like a passion, but his relationship with it was more like a long tough marriage than a fleeting holiday love affair. His work bound him to the land, regardless of weather or the seasons. When he observed something like a spring sunset, it carried hte full meaning of someone who had earned the right to comment, having suffered six months of wind, snow and rain to get to that point. He clearly thought such things beautiful, but that beauty was full of real functional implications – namely the end of winter or better weather to come.

Above the love of the land, perhaps, is his love of the sheep themselves. The book also presents a new vocabulary for scholars of place: hefted, from Old Norse for ‘tradition’. Hefted sheep have “become accustomed and attached to an area of upland pasture”. It seems clear from this book that humans can be hefted, too.