Only a few days ago, I experienced a certain moment of delight when I distinctly heard the sound of a cuckoo for the first time in numerous years. The resonating call of “Wuck-Koo” echoed in my vicinity, bringing a sense of its immediate proximity. Despite being a common sound previously, this bird’s unique call symbolises the advent of Spring. It is a transient seasonal migrant originating from tropical Africa. However, similar to several other bird species that were once frequently heard, there has been a continuous decrease in its population for the past many years. It’s estimated that its numbers have reduced by approximately 27% since the early 1970s.
An Irish author, Larry de Lacy, who used the pseudonym “Fieldman”, was very familiar with this seasonal song of the cuckoo. His writing featured in nature-centred weekly columns for the Irish Independent. These articles, spread over 45 years till his demise in 1973, form the subject matter of a captivating new book. This book, published this month by VS Publishing, is beautifully printed in Ireland.
This book is organised somewhat like a nature journal, spread over a calendar year. It includes selected passages from de Lacy’s eminent column, these picked excerpts are taken from the period of 1937-1948. These entries are enhanced by stunning depictions of the various plants and animals he beautifully described; these artworks are rendered by a group of 18 renowned Irish artists including Susan Sex and de Lacy’s own granddaughter, Marie de Lacy. These visuals were exclusively created for this publication.
An enchanting illustration of the fascinatingly mystical cuckoo drawn by Susan Sex beautifully complements the diary note dated May 1st, 1940. Here, Fieldman vividly describes how “the flute voice of the Cuckoo, rich with old memories, echoes from some secluded place and is repeated in a soft echo that is filled with the languors of midsummer…”. A revisit to Fieldman’s work through this book offers a magical revival of the natural world visualised during the 1940s through seasonal snippets and exquisite illustrations.
“Fieldman Revisited intricately narrates the continuous cycle of the Irish year in nature, highlighting the monthly changes in wildlife and wildflowers in a captivatingly lively manner. By the time we reach June 29th’s entry (originally circulated in his 1942 column), the cuckoo bird has already departed the Irish shores for warmer territories. Simultaneously, de Lacy portrays the blossoming wildflowers, including the “flowering clover”, the crimson-toned flowering stalks of wild willowherb, vetch, and cranesbill. Additionally, we are introduced to the wild corncockle that’s just starting to sprout at waist-height among the cornfields.
Many amongst us are likely unaware of the sight of corncockles rising from cornfields, an unfortunate result of extensive herbicide use. This specific depiction hence induces a sense of nostalgia, reminding us of the bitter loss of biodiversity in Ireland and the spontaneous wildlife beauty that was once a part of our predecessor’s life.
Nonetheless, Fieldman Revisited also works as a stark reminder of how the wild fauna and flora, that de Lacy elaborates on, remains unfailingly familiar and cherished, with every new sighting treasured as an indicator that the temporary nature of seasonal cycles continues. In this context, his writings bridge the generational gap, exuding comfort and reminding us that his experiences with Irish nature mirror ours.
For instance, on the same diary passage for June 29th, de Lacy talks about the “Six-Spotted Burnet Moth” feeding on trefoil, a vividly hued moth species that is prevalent even today. In the entries for July, he vividly describes wild rosehips gradually brightening the hedgerows, the potent, intoxicating aroma of blooming wild honeysuckle, juvenile swallows delighting in their flight, different wild orchid species, and how “the nightly fogs over the fields are coloured golden amidst the silver”.
Aside from the critical contribution of Marie de Lacy, it is important to acknowledge the collaborative efforts that brought this crowdfunded book to life, partially facilitated by the isolating circumstances of the pandemic.
Entering August, we encounter a time of vibrant mountain-ash berries and wild raspberries, the fluttering finches and aroma of wild thyme, the maturing corn accompanied by poppy petals shedding their ruby hues into the wind. Each entry of De Lacy illuminates these scenes in charming poetic fashion, being wonderfully complemented by illustrative artworks that make these depictions intensely vivid. Among the subjects featured are the grey heron known as Cort réise, black-headed gulls, kingfishers, sparrowhawk, bullfinches, goldfinches, and wrens, all of which De Lacy fondly mentions. Equally, one can derive joy in recognising the common wildflowers, the languid trout lazing in shallow waters, and the lively dance of mayflies overhead.
Intriguingly, De Lacy’s nature writing embodies only one aspect of the person known to readers as Fieldman. His youthful foray into the Irish revolutionary movement, daring escape to America, and subsequent detainment in the Curragh during the Irish Civil War of 1922-1923 also contribute to the tapestry of his eventful life. His life was influenced significantly by the many radical political, cultural, and social revolutions taking place in his era. One of these transformations was a literature revival that sparked a resurgence of interest in the Irish language amongst fresh nature enthusiasts, including De Lacy. This revival reconnected them with the rich lore of Irish flora and the roots of its various field and area names.
Nevertheless, De Lacy’s nature columns may have faded with time had it not been for his granddaughter Marie’s unwavering dedication to keep them alive. Committed to introducing his writing to a newer audience unfamiliar with his work, she ensured that De Lacy’s legacy is still esteemed as part of a prestigious lineage tracing back to the ancient bards of Ireland and the ballads of monarchs.
This crowdfunded book, which Marie de Lacy plays a pivotal part in, is the product of the shared talents of many individuals, facilitated in part by the global pandemic’s forced isolation. Besides providing her botanical illustrations, the accomplished artist, Susan Sex, played an instrumental editorial role in the book, as did the respected horticulturalist, writer and orchid specialist, Brendan Sayers, who contributed a significant essay on biodiversity loss, taking an analytical perspective from de Lacy’s literature. Additonally, the superior aesthetics of the book can be attributed to Sanja Todorovic’s design. Each page resounds with elegance and each illustration celebrates mother nature’s abundant bounties. This masterpiece is fated to be a collector’s prized possession and a tome to treasure.
This Week
The transformational power of a single week is truly remarkable. It is critical, though it may seem improbable, for gardeners to exercise caution over their greenhouse and polytunnel crops, ensuring sufficient ventilation and consistent watering.
As the initial bloom of the summer roses begins to wane, it is advised to constantly deadhead the plants and for repeat blooming varieties, regular applications of liquid feeds and a dash of slow-release organic fertilisers around the roots to stimulate additional flowering.
Events to remember
On Saturday, 6th July through to Sunday, July 7th (from 11 a.m to 6 p.m), the Galway Garden Festival will be taking place at Claregalway Castle, Co Galway. The festival showcases a vast array of specialist plant nurseries, Irish botanical art exhibitions, and will consist of talks by Klaus Laitenberger, Jimi Blake, Karen Williams, and Fionnuala Fallon. For more details, visit galwaygardenfestival.com.