By David Farrier

Late one summer night in 1949, the British archaeologist Jacquetta Hawkes went out into her small back garden in north London, and lay down. She sensed the bedrock covered by its thin layer of soil, and felt the hard ground pressing her flesh against her bones.

Shimmering through the leaves and out beyond the black lines of her neighbours’ chimney pots were the stars, beacons ‘whose light left them long before there were eyes on this planet to receive it’, as she put it in A Land (1951), her classic book of imaginative nature writing.

We are accustomed to the idea of geology and astronomy speaking the secrets of ‘deep time’, the immense arc of non-human history that shaped the world as we perceive it. Hawkes’s lyrical meditation mingles the intimate and the eternal, the biological and the inanimate, the domestic with a sense of deep time that is very much of its time. The state of the topsoil was a matter of genuine concern in a country wearied by wartime rationing, while land itself rises into focus just as Britain is rethinking its place in the world. But in lying down in her garden, Hawkes also lies on the far side of a fundamental boundary. A Land was written at the cusp of the Holocene; we, on the other hand, read it in the Anthropocene. Les mer «DEEP TIME’S UNCANNY FUTURE IS FULL OF GHOSTLY HUMAN TRACES» →