Nepalese Village Door 22ins x 15ins Oil Pastels on paper 2014
My interpretation of the door to a house in the village of Khumjung, Nepal, high in the Himalaya on the Everest Trail. I was pleased with how this turned out and I’m thinking I should try one or two more similar paintings.
It seems unbelievable (to me, that is), but it’s now fifteen years since I last visited Nepal. This is just a selection of some of my favourite photos from my trips there. Some you’ve already seen, some you haven’t.
Travelling from India to Nepal
Temple in Swayambunath, Kathmandu Valley
Carved wooden window, Kathmandu
Sunset light on Everest.
Rhododendron forest, Poon Hill
Carrying a load…
Wall of carved mani stones
In 1988 I went to Nepal for the first time, travelling by bus from Delhi to Kathmandu. Although the trip took almost 2 days, and the bus was particularly uncomfortable, it was one of the most spectacular journeys I have ever taken, and a most remarkable experience.
And then I trekked the Annapurna circuit, still considered by many to be one of the 10 classic treks of the world. It took 24 days to complete, and from the time we left Ghorka, until the day we walked down into Pokhara, we were travelling entirely on footpaths and saw no vehicles of any description.
Part of the walk is now over a new road, and whilst this is surely welcome to the inhabitants of the region, I suspect that it takes away a little of the magic of the trek.
Village near Manang (posibly Mungji), on the Marsyandi River, close to the Annapurnas. In many ways, a typical Nepalese mountain village, it is built on man-made terraces, up steeply sloping mountainside, to avoid using any of the precious farmland available in the valley.
View from Poon Hill. Poon Hill lies a little to the west of Ghorapani on the river Ghora (pani being water), west of the Annapurnas. Sunrise there consequently occurs behind the Annapurna peaks, including the spectacular Machhapuchhare, or ‘fishtail’ peaks. That said, this shot was taken towards the west, looking across the Kali Gandaki valley.
This is dawn, though. Machhapuchhare and its double peak are shown clearly on the left.
Mountains and glacial lake from the village of Manang.
Lower down, the land is heavily terraced, fertile land being at such a premium that every available bit is used. These rice paddies are near the village of Chepe Ghat, on the Marsayandi River.
Chorten. Chortens, or stupas as they are also commonly known, usually contain relics of saints or priests. The original stupas held relics of the Buddha, such as at the Temple of the Tooth, at Kandy, Sri Lanka.
Mountains near the village of Muktinath. In the rain-shadow, here, the landscape is that of a high altitude desert.
Mani stones on the Annapurna trail. Mani stones may be carved, painted or both, and serve a similar function to prayer flags, in that they either have a prayer or mantra carved on them (typically ‘Om Mani Padme Hum’ – from which the name ‘Mani Stone’ comes from – meaning ‘Hail to the jewel in the heart of the lotus’ i.e. The Buddha) or they may have a picture of the Buddha himself. Although they may be encountered singly or in small numbers by shrines or at Gompas, at times they make up huge walls containing many hundreds of stones, some of which may have been there for hundreds of years. These walls, like shrines or any other Buddhist relics encountered here, are passed on the left.
Houses at Manang.
The Upper reaches of the Marsayandi, looking down to Manang.
Snowed in below Thorung La. Not an unusual occurrence. Thorung La is at 5415m (17,700ft). We arrived at our campsite early afternoon with the ground clear of snow and the sun out. This was the scene a couple of hours later, delaying our crossing the pass (‘La’ is Tibetan for ‘Pass’) by 24 hours.
Crossing Thorung La. On the day we crossed the pass, we left camp just after 4 in the morning, and were down the other side by late afternoon.
Looking west (and down!) from Thorung La). On this side of the pass there is far less precipitation and the land is noticeably drier. This is looking towards Muktinath.
I dug these out the other day, while we were having a bit of a tidy-up. I must have done these a good fifteen years ago, possibly more. They are all created by chopping up some of my photographs (nowadays we’d just crop them on the computer!) and mounting them on card. I’d originally thought to make a couple of tryptychs, but then began playing around to see what I might end up with. Then I put them in a drawer and forgot about them.
I think I might have another go with the tryptychs, especially. I have a couple of ideas…
Linked by colour and subject matter
Insects photographed in Oman
Skies and…things that aren’t skies…
The land and the sky
‘A rose, chopped up in pieces, would probably smell like something or other. Maybe.’ – Shakespeare.
Flowers…yellow…green…
From the Annapurna Circuit, Nepal…
My favourite New Year’s Eve party occurred on either the 13th or 14th April 1988, from which you may conclude this was not at home in England. I was in the Himalaya, walking the Annapurna Circuit. And my uncertainty about the date is due to the fact I didn’t keep a travel journal in those days. In fact, I’m not even sure exactly where we were staying that night, although I do know we were still heading up towards the high pass, the Thorung La, and that we were still well below the snowline. At the end of the day’s walking we camped, as usual, and while we were eating supper we were informed that we were invited to join in the New Year celebrations in the village close by.
It wasn’t the place in the picture above – it was smaller – but it was definitely what could be described as a little one horse place somewhere rather high up in the Himalaya. The celebrations involved drinking, singing, and dancing. Actually, the celebrations were drinking, singing, and dancing. The drink was chang, which is rice beer, a traditional Tibetan drink, which is drunk on any and all occasions, by everyone. It is cloudy, it doesn’t taste very strong, it’s not very strong, and it slips down easily.
And then there is rakshi, which is a distilled liquor and a whole new level of peril. We were warned about that.
Up where we were, the singing consisted largely – possibly entirely – of folk songs. We were already familiar with at least one of them; when we had been in Kathmandu, the hit of the season was apparently a song called paan ko paat which we heard on radios everywhere – you can find many versions of this on YouTube if you feel curious – and as the chang flowed, so the singing increased in intensity. So too did the dancing – there was what might very loosely be termed a band, consisting of a number of people playing traditional instruments – and we either tried to keep up or stood around drinking and talking with our most hospitable hosts.
I have no photographs of this, sadly, since it was dark and I had no flash on my camera. The only light came from oil lanterns. You’ll just have to imagine a host of Nepalis and half a dozen westerners crammed into a tea house and having a jolly good time.
And then we were informed it was our turn to sing.
They asked us to sing something traditional from whichever countries we came from. I think the others made a reasonable fist of it, although maybe that’s just me assuming that everyone else sings better than me. Which they do. And some of their interpretations of ‘traditional’ may have been rather elastic. And then came the words I had been dreading, the words that sent a frisson of horror through my entire being: ‘Your turn, Mick.’
I must have been drunk, because suddenly I knew that if I had just one more drink I could do it. And so I did. I do at least know quite a few folk songs although I couldn’t remember the words to more than a couple of verses of the one I chose, but no one seemed to mind. On reflection, I suppose no one even really listened.
The rest of the words came to me as I lay in my tent that night, listening to sporadic bursts of singing and shouting – but by then, there was little difference between the two…
Happy New Year, folks.
Well, damn this blasted Covid.
March really isn’t going to plan at the moment. Having already messed up my creative plans for the month, even my Plan B has now fallen apart as we’ve coughed and groaned and generally felt sorry for ourselves. I did manage to write a couple of poems before the yuck set in, though, so all was not entirely lost.
We had plans to do some long walks, now the glorious Spring weather has finally arrived, getting ourselves ready for going away to walk some of the South Downs Way again next month.
At least we’ve got a sunny back garden to sit in, I suppose.
In the meantime, here’s an old photo randomly of a decorated window on a house in the Nepalese Himalaya I took in 1988.
Feels like quite a long while ago.
Oh, this sodding book.
I…no, first, a little bit of context.
Those of us who call ourselves creatives, why do we create? Why do we have this need to make things? I know the usual answer is we write / paint / carve / whatever it is we do, because we have to, because there is something inside of us that needs to find an outlet. But what is that something? In my case, as well as a storyline it is frequently a place where I have spent some enjoyable time. It provides me with a comfortable setting in which to tell a story.
Most of what I do, certainly the work I feel is my best, my most successful (in the sense of expressing what I want to express), falls into that category. My long poem The Night Bus, for example, was the result of a thirty year (admittedly intermittent) search for a way to record my experience of a long bus ride across Northern India into Nepal. I attempted prose and paintings without success, although through this I did develop a style of painting I went on to successfully use on many Indian paintings, and had long given up on the project when chance showed me a way into the poem. The poem I completed succeeds in conjuring up (for me) the impressions and feelings I had on that journey; I can relive the journey again by re-reading the poem. Whether it conveys anything of that to other readers, I naturally cannot know.
And my stories, too. I look through Making Friends With The Crocodile, and I am in rural Northern India again. I re-read The Last Viking and can easily feel myself on an island off the west coast of Scotland. This is not to imply any intrinsic merit to my writing, other than its ability to transport myself, at least, into the setting I am attempting to describe.
These stories are a composite of three basics: a setting, as mentioned already, a storyline – and again this needs to be something important to me, or I find it pretty well impossible to put my heart into it, and strong, convincing, characters.
It is useful, then, to know where lots of my writing comes from, and what shapes it, what drives it. I have long suspected that this is frequently nostalgia and, recognising that, have wondered whether this might be a bad thing. Nostalgia, after all, has a rather bad press…does it just mean I am living in the past because I am viewing it through rose-tinted spectacles? As a way of not addressing issues of today I should be tackling?
This yearning for nostalgia, though, is a desire for something we see as better than what we have now. To write passionately about something it needs to be something I feel strongly about. Obviously this can also be something we find frightening or abhorrent – dystopian warnings about the future or anger about injustices, for example – but even in those cases the familiar provides a cornerstone of safety, even if only by way of comparison.
This is also true when I paint. I am not someone who can paint to order – if I’m not inspired, it does not work. A number of difficult commissions have proved that point to me. I paint what I like, what moves me. After all, whatever I am creating, it should be foremost for myself.
That book, then…
I began writing it about five years ago for all the wrong reasons. I had self-published Making Friends With The Crocodile and decided my next story should also be set in India, and as a contrast decided to write about British ex-pats living in a hill station in the foothills of the Himalaya. I wanted to write about India again. The trouble was, I had no idea what story I was going to tell. I had no stories that might slot into that setting I felt in any way driven to write; it just seemed to feel appropriate at the time. I was pleased by the reception the first book had and felt I ‘should’ write this one.
What could possibly go wrong?
I spent time putting together a plot, with which I was never wholly satisfied, and began writing. Really, I should have seen the obvious at that point and bailed out. But I carried on, and twice reached a point where I thought I had the final draft.
My beta reader then proceeded to point out all the very glaring faults.
So twice I ripped out a third of it and chucked it away, then re-plotted the second half of the book and got stuck into the re-write. I’m sure you can see part of the problem at this point – I wanted to hang onto as much of the story as I could, instead of just starting completely afresh. And now here I am trying to finish the final draft for the third time, as my February project for this year. And it’s just not working for me. But at this point, after well over a hundred and fifty thousand words (half of which I’ve discarded) I just feel I’ve invested too much time and effort in it to abandon it now. Somehow, it has to get finished. I do have an idea for a couple of quite drastic changes which I’ll try this week, but unless I feel I’m making some real progress I’ll then happily put it aside for a while and concentrate on next month’s project: painting and drawing.
And, to be honest, if it eventually ended up as a story of less than ten thousand words, and if I felt satisfied with it, then I’d take that as a result, now.
And the moral of all this? I’m sure there was a point after a couple of months when I knew I shouldn’t have been writing this book. I should have binned it there and then and saved myself a lot of fruitless trouble, but stubbornly ignored the warning signs.
We’ve had rain recently, and everywhere was muddy again. Much more like I would expect February to be. The ground had dried out quite a lot over January, but the soil was still saturated just beneath the surface and it doesn’t take much for it to turn back to thick, claggy, mud. But the weather was better than had been forecast; and as I set out the sun was glinting on the stubble fields and in the shadows there was just the faintest blue hint of frost. It felt so Spring-like. Everything was suddenly green and growing.
Soon, I was much too warm in all my layers. Mornings like this inevitably remind me of other favourite walks; long walks on sunny, clear days. I walked through a valley which was filled with birdsong – blackbirds, robins, blue tits, the demented cackle of a green woodpecker, and the determined drumming of a greater spotted one. In the future I will probably take walks that remind me of this one.
I must sometimes be a frustrating person to walk with – I like to stop frequently and just look around me. Absorb the landscape. The air smells fresh, now, but without the over-sharp coldness that stings the nostrils. Even though it is too early to smell flowers in the air, there is something on the breeze…Something evocative, much like the scent of woodsmoke causes me to instantly think of trekking in Nepal, or campfires closer to home in Sussex.
Suddenly there is a kestrel overhead…I never seem to get those shots of foxes or buzzards and don’t know whether I’m just too slow or if everyone else just walks along with their cameras in their hands, ready to take that photo.
At least flowers and trees tend to keep still. I do find my camera can be an unwanted distraction, though. If I am walking along looking for something to photograph, I feel I’m not really seeing the landscape around me. I’m just searching for a subject. For that reason, I often don’t take a camera with me on walks.
The first peacock, in fact the first butterfly of any kind I’ve seen this year. But talking of green woodpeckers and kestrels, I think there is a case for replacing all their somewhat dull modern names with the ones they used to have in the past: the green woodpecker was the yaffle, named for its wonderful manic call, the kestrel used to be called the windhover – how wonderful is that? And in the seventeenth century it was actually commonly known as the windf*cker. Perhaps the prudish Victorians banished that name the same as they changed the perfectly named white arse to the bland (and meaningless) wheatear.
I think we should reclaim the names; they add extra interest to a long walk.
…but not literally, unfortunately. I did say I would re-post another travel post from some while back, so here it is.
Four years ago I wrote four short posts about Tengboche. Here I’ve combined them into a single post and added some extra pictures and text to give a little more information about this lovely place.
Tengboche is a monastery complex and a couple of trekking lodges at 3860m on the route up to Everest Base Camp from Lukla, in Nepal. It sits high above the waters of the Dudh Khosi, the rapidly flowing river than runs alongside much of the Everest Trail.
The monastery complex. On arrival in the afternoon, the clouds are low. This seems to be the pattern most days – clear mornings and then the clouds coming in early afternoon. In a general sense, weather patterns in the Himalaya – certainly in some parts, and probably at certain times of the year – can be quite predictable. When I trekked the Annapurna Circuit, for example, we were told one evening that around ten o’clock the next morning there would be strong winds blowing in the valley we were to follow, because that was what happened every day. And blow they did. At ten o’clock.
From inside the monastery grounds. The monastery is a Tibetan Buddhist complex, liberally decorated with the pictures, statues, and symbols to be found in every such place.
Inside Tengboche monastery following a puja (ceremony).
Rightly or wrongly, I don’t like taking photographs of pujas in monasteries. It feels intrusive and bad mannered. I would feel the same in a church, mosque or temple. This has nothing to do with any beliefs of my own, but is born of simple respect.
I noted in my diary: We have just sat in on a chanting puja, but my meditation failed dismally. I was completely unable to concentrate on my breath as all that I could think of were my freezing feet!
It was blooming cold!
This view must have been photographed so many times, but how fantastic is it? Sunset on Everest (left) and Nuptse (right), photographed from Tengboche. This was taken on my third visit; the other two times the clouds failed to clear in the evening, so this was an unexpected treat.
And this is the same view in the morning – but with the addition of Ama Dablam on the right of the picture. Ama Dablam is possibly my favourite mountain; the classic ‘mountain-shaped’ mountain, similar to the Matterhorn.
Close-up of window showing the dawn chorus orchestra.
We were awoken in the mornings by the harsh notes of conch shells and the clashing of symbols. This was part of the morning puja, rather than a summons for coffee and porridge. It does make for an excellent alarm call, though.
This is another day when I feel frustrated because I’d like to be out travelling, although I did get to have a great long walk on the South Downs on Saturday. But rather than post about that at the moment, I have a fancy to re-post this piece I wrote a few years ago:
I’ve never wanted to ‘conquer’ mountains.
Or any other parts of the world, really.
I’ve always felt this was the wrong way to think of a journey. It was ridiculous to think I could impose my will upon a mountain, or on a desert, or indeed upon any part of my route. That I could, perhaps, somehow bend it to my will.
I feel it is more a case of preparing as best as possible, including mentally, and then perhaps said mountain will tolerate my presence; will allow me passage.
‘Conquering’ also carries the implication of invasion, of fighting, of strife. That is not the sort of relationship I want with mountains, or with any other place I choose to travel.
Certainly, in the past I have travelled at least partly with that mindset at times.
Some of you may recall I wrote about an extremely foolish journey I took in Oman when I lived there over thirty years ago (Mr. Stupid Goes For a Walk). Although I was running low on water, I pushed myself to the limit to reach the final ridge of hills on the route I had decided I was going to achieve one day, nearly killing my stupid self in the process. And although I achieved my aim, I didn’t feel victorious.
Only a bit stupid.
I prefer instead to think of myself as a visitor. And as a visitor, I need to have some manners. You do not expect to find the visitors pushing through your house and demanding to see this or to be given that, so I don’t.
I am not out to break records, nor to prove how tough I am.
This does not imply a lack of ambition, nor a lack of determination. Indeed, I have both – it’s just that the mindset is a little different. In particular, I give myself different priorities. I want to reach my goal but if I don’t, it does not matter. I think I’m more attuned to my own safety, and perhaps that of others. I hope I can be receptive to the feelings of others, too.
A good example in the climbing world is that of the mountains in Nepal that climbers are forbidden to reach the summit of, due to the belief that they are the abode of gods. Theoretically, a climber will stop some 10 meters or so short of the summit. Opinion is naturally divided over whether a climber would, or wouldn’t, in the absence of any witnesses, respect that ban.
I would respect it every time.
The mountains, of course, are inanimate. They do not wish me harm or otherwise. Neither do deserts or oceans. Even the most inhospitable of landscapes is neutral. It does not care whether I succeed in my aim to reach or traverse a particular part of it, and it will not hinder or help me in the attempt.
My feelings about a landscape are just my reactions to it, and if I should choose to give this landscape a kindly or vindictive character, I am only projecting my own feelings onto it.
This may give me comfort, or otherwise, but will make no material difference.
Maybe I am simply suggesting it’s good to travel with humility.
I have touched upon that before!
Mick Canning 