Ja Baker Quotes

I have always longed to be part of the outward life, to be out there at the edge of things, to let the human taint wash away in emptiness and silence as the fox sloughs his smell into the cold unworldliness of water; to return to town a stranger. Wandering flushes a glory that fades with arrival.

Terror seeks out the odd, and the sick, and the lost.

For an hour, till greyness covered all, the water shone like milk and mother-of-pearl. The sea breathed quietly, like a sleeping dog.

Cold air rises from the ground as the sun goes down.  The eye-burning clarity of the light intensifies. The southern rim of the sky glows to a deeper blue, to pale violet, to purple, then thins to grey.  Slowly the wind falls, and the still air begins to freeze.  The solid eastern ridge is black; it has a bloom on it like the dust on the skin of a grape.  The west flares briefly.  The long, cold amber of the afterglow casts clear black lunar shadows.  There is an animal mystery in the light that sets upon the fields like a frozen muscle that will flex and wake at sunrise.

Approach him across open ground with a steady unfaltering movement. Let your shape grow in size but do not alter its outline. Never hide yourself unless concealment is complete. Be alone. Shun the furtive oddity of man, cringe from the hostile eyes of farms. Learn to fear. To share fear is the greatest bond of all. The hunter must become the thing he hunts.

The hardest thing of all to see is what is really there. Books about birds show pictures of the peregrine, and the text is full of information. Large and isolated in the gleaming whiteness of the page, the hawk stares back at you, bold, statuesque, brightly coloured. But when you have shut the book, you will never see that bird again. Compared with the close and static image, the reality will seem dull and disappointing. The living bird will never be so large, so shiny-bright. It will be deep in landscape, and always sinking farther back, always at the point of being lost. Pictures are waxworks beside the passionate mobility of the living bird.

No pain, no death, is more terrible to a wild creature than its fear of man. A red-throated diver, sodden and obscene with oil, able to move only its head, will push itself out from the sea-wall with its bill if you reach down to it as it floats like a log in the tide. A poisoned crow, gaping and helplessly floundering in the grass, bright yellow foam bubbling from its throat, will dash itself up again and again on to the descending wall of air, if you try to catch it. A rabbit, inflated and foul with myxomatosis, just a twitching pulse beating in a bladder of bones and fur, will feel the vibration of your footstep and will look for you with bulging, sightless eyes. Then it will drag itself away into a bush, trembling with fear. We are the killers. We stink of death. We carry it with us. It sticks to us like frost. We cannot tear it away.

The hardest thing of all to see is what is really there.

Predators overcome their prey by the exploitation of weakness rather than by superior power.

It is perhaps the perverse fate of a deeply private person to find that the thing he or she wishes most to withhold or deems least important, becomes the stuff of widest speculation.

For a bird, there are only two sorts of bird: their own sort, and those that are dangerous. No others exist. The rest are just harmless objects, like stones, or trees, or men when they are dead.

Farms are well ordered, prosperous, but a fragrance of neglect still lingers, like a ghost of fallen grass. There is always a sense of loss, a feeling of being forgotten. There is nothing else here; no castles, no ancient monuments, no hills like green clouds. It is just a curve of the earth, a rawness of winter fields. Dim, flat, desolate lands that cauterize all sorrow.

I have always longed to be a part of the outward life, to be out there at the edge of things, to let the human taint wash away in emptiness and silence as the fox sloughs his smell into the cold unworldliness of water; to return to the town as a stranger. Wandering flushes a glory that fades with arrival.

The first bird I searched for was the nightjar, which used to nest in the valley. Its song is like the sound of a stream of wine spilling from a height into a deep and booming cask. It is an odorous sound, with a bouquet that rises to the quiet sky. In the glare of day it would seem thinner and drier, but dusk mellows it and gives it vintage. If a song could smell, this song would smell of crushed grapes and almonds and dark wood. The sound spills out, and none of it is lost. The whole wood brims with it.

Weak people revenge Strong people forgive Intelligent people ignore Anon.

I swooped through leicestershires of swift green light. A dazzling wetness of green fields irrigated the windswept eye.

The hawkless valley bloomed with the soft voices of the waking owls.

Blood-red! What a useless adjective that is. Nothing is as beautifully , richly red as flowing blood on snow.It is strange that the eye can love what the mind and body hate.

Just because it’s improbable doesn’t mean it’s impossible.

The valley sinks into mist, and the yellow orbital ring of the horizon closes over the glaring cornea of the sun. The eastern ridge blooms purple, then fades to inimical black. The earth exhales into the cold dusk. Frost forms in hollows shaded from the afterglow. Owls wake and call. The first stars hover and drift down. Like a roosting hawk, I listen to the silence and gaze into the dark.

It is a good life, a seal's, here in these shallow waters. Like the lives of so many air and water creatures, it seems a better one than ours. We have no element. Nothing sustains us when we fall.

This is now a different place from what it was two hours ago. There is no mysterious essence we can call a 'place'. Place is change. It is motion killed by the mind, and preserved in the amber of memory.

The peregrine’s view of the land is like the yachtsman’s view of the shore as he sails into the long estuaries. A wake of water recedes behind him, the wake of the pierced horizon glides back on either side. Like the seafarer, the peregrine lives in a pouring-away world of no attachment, a world of wakes and tilting, of sinking planes of land and water. We who are anchored and earthbound cannot envisage this freedom of the eye. The peregrine sees and remembers patterns we do not know exist: the neat squares of orchard and woodland, the endlessly varying quadrilateral shapes of fields. He finds his way across the land by a succession of remembered symmetries. But what does he understand? Does he really ‘know’ that an object that increases in size is moving towards him? Or is it that he believes in the size he sees, so that a distant man is too small to be frightening but a man near is a man huge and therefore terrifying? He may live in a world of endless pulsations, of objects forever contracting or dilating in size. Aimed at a distant bird, a flutter of white wings, he may feel – as it spreads out beneath him like a stain of white – that he can never fail to strike. Everything he is has been evolved to link the targeting eye to the striking talon.

It is an effort to descend down the hand-holds of memory to the plain beneath, to recall the lost future, the dusk hovering above the sunken cities, the dim western world of fallen light and broken skies. My life is here, where soon the larks will sing again, and there is a hawk above. One wishes only to go forward, deeper into the summer land, journeying from lark-song to lark-song, passing through the dark realm of the owls, the fox-holdings, the badger-shires, out into the brilliant winter dominion, the sea-bleak world of the hawks.

Its song is like the sound of a stream of wine spilling from a height into a deep and booming cask. It is an odorous sound, with a bouquet that rises to the quiet sky. In the glare of day it would seem thinner and drier, but dusk mellows it and gives it vintage. The sound spills out, and none of it is lost.

Wherever he goes, this winter, I will follow him. I will share the fear, and the exaltation, and the boredom, of the hunting life. I will follow him till my predatory human shape no longer darkens in terror the shaken kaleidoscope of colour that stains the deep fovea of his brilliant eye. My pagan head shall sink into the winter land, and there be purified.

So much apparent cruelty is mercifully concealed from us by the sheltering leaves. We seldom see the bones of pain that hang beyond the green summer day. The woods and fields and gardens are places of endless stabbing, impaling, squashing, and mangling. We see only what floats to the surface: the colour, the song, the nesting, and the feeding. I do not think we could bear a clear vision of the animal world.

¡A lo mejor podríamos ser todos villanos! —barbotó Chauncey. —Tú no sabes ser malo —le dijo Talia—. Eres demasiado buena persona. —¡No! ¡Puedo ser malo! ¡Fijaos! —Sus ojos revolotearon, desorbitados, hasta posarse en Linus—. ¡Señor Baker! ¡No le haré la colada la semana que viene! ¡Ja, ja, ja! —Acto seguido, con un susurro de pánico, añadió—: Era broma. Sí que se la haré. Por favor, deje que se la haga. No me prive de eso.

This was my first peregrine. I have seen many since then, but none has excelled it for speed and fire of spirit. For ten years I spent all my winters searching for that restless brilliance, for the sudden passion and violence that peregrines flush from the sky. For ten years I have been looking upward for that cloud-biting anchor shape, that crossbow flinging through the air. The eye becomes insatiable for hawks. It clicks towards them with ecstatic fury, just as the hawk’s eye swings and dilates to the luring food-shapes of gull and pigeons.

I found myself crouching over the kill, like a mantling hawk. My eyes turned quickly about, alert for the walking heads of men. Unconsciously I was imitating the movements of a hawk, as in some primitive ritual; the hunter becoming the thing he hunts. I looked into the wood. In a lair of shadow the peregrine was crouching, watching me, gripping the neck of a dead branch. We live, in these days in the open, the same ecstatic fearful life. We shun men. We hate their suddenly uplifted arms, the insanity of their flailing gestures, their erratic scissoring gait, their aimless stumbling ways, the tombstone whiteness of their faces.

Bar-tailed godwits flying with curlew, with knot, with plover; seldom alone, seldom settling; snuffling eccentrics; long-nosed, loud-calling sea-rejoicers; their call a snorting, sneezing, mewing, spitting bark. Their thin upcurved bills turn, their heads turn, their shoulders and whole bodies turn, their wings waggle. They flourish their rococo flight above the surging water. Screaming gulls corkscrewing high under cloud. Islands blazing with birds. A peregrine rising and falling. Godwits ricocheting across water, tumbling, towering. A peregrine following, swooping, clutching. Godwit and peregrine darting, dodging; stitching land and water with flickering shuttle. Godwit climbing, dwindling, tiny, gone: peregrine diving, perching, panting, beaten.

A day of endless wind and rain, which I wasted away in the lee of hollow trees, in sheds and barns, and under broken carts. I saw the hawk once, or thought I saw it, like a distant arrow flicking into a tree, blurred and distorted by the million shining prisms of the rain. All day the unquenchable skylarks sang. Bullfinches lisped and piped through the orchards. Sometimes a little owl called lugubriously from its hollow tree. And that was all.

Typical, isn’t it? Just when you start to think your tiny existence isn’t so bad after all, something comes along and gives you a kick in the guts just to put you in your place; to remind you of who you actually are and where you stand in the pecking order of life.

When one says ‘ten o’clock’ or ‘three o’clock,’ this is not the grey and shrunken time of towns; it is the memory of a certain fulmination or declension of light that was unique to that time and that place on that day, a memory as vivid to the hunter as burning magnesium.

Acceptance is easier than resentment and anger. So is forgiveness.

Dark against the bright rust of the dead leaves, an unfledged starling lay flabbily upon its back. It was loose-skinned, helpless, and frog-like. Its eyes were closed, but twitching; its whole body twitched, its legs moved feebly, pathetically, feeling for foothold upon the unresisting air. It had probably been dropped there by the jay I had disturbed a few minutes earlier. It is sad to see life ending before it has really begun. So much apparent cruelty is mercifully concealed from us by the sheltering leaves. We seldom see the bones of pain that hang beyond the green summer day. The woods and fields and gardens are places of endless stabbing, impaling, squashing, and mangling. We see only what floats to the surface: the colour, the song, the nesting, and the feeding. I do not think we could bear a clear vision of the animal world.

The morning slept like a snake in the unaccustomed warmth.

The trees did not reflect the sun so much as glow from within, as though their bark was of parchment, a membrane through which a steady flame was shining. They seemed to have their own light, absorbed from the sun, and retained. When I went past at dusk they were still shining with a strange, almost gaseous, incandescence, a reddening luminosity that only faded, and then quite suddenly, when night came, as though the colder air had frozen it away. The tall pines rose from the heath in complete stillness, unmoved by the wind. The bark of one tree was peeling, and the eye winced from the flayed look it had. Slowly I saw, really saw and did not simply know, that these pines were living things, standing like emaciated horned animals, maned with their dark green or dull blue clusters of narrow leaves. Their deep piny smell was the small of living beings, anchored by their roots, able to move only upward or outward as the sun ordained. They were not dead, but merely prisoners, land-captives, with the sound of the sea in their leaves. ...Nothing disturbed my vision of these ancient Nordic pines, herded together here like the last buffalo, living their own intense life, the slow fire that can never be seen. Cut where you will, you cannot find that flame. It can never be seen, any more than you can see the spirit, or soul, of a man.

The unchecked growth of many summers, rising and declining, has lessened the penetration of the light in a way one rarely sees in farmland now. The hazed-over raggedness of sky above these lush, neglected fields gives a sense of mystery, of something rare and wild that has run away to hide, of something infinitely regretful fretting at the edge of the light, like a big moth fumbling at a window. This is a place where the last of the persecuted may for a time find refuge and seclusion. In the amber of the sunlight that lies between the high hedges, there is preserved an air of the past, the presence of an older summer. Under the surface of the visible world I can always hear the soft wolf-stride of the rapacious world beyond.

And for the partridge there was the sun suddenly shut out, the foul flailing blackness spreading wings above, the roar ceasing, the blazing knives driving in, the terrible white face descending – hooked and masked and horned and staring-eyed. And then the back-breaking agony beginning, and snow scattering from scuffling feet, and snow filling the bill’s wide silent scream, till the merciful needle of the hawk’s beak notched in the straining neck and jerked the shuddering life away. And for the hawk,

Their rapid, shifting, dancing motion had been so deft and graceful that it was difficult to believe that hunger was the cause of it and death the end. The killing that follows the hunting flight of hawks comes with a shocking force, as though the hawk had suddenly gone mad and had killed the thing it loved. The striving of birds to kill, or to save themselves from death, is beautiful to see. The greater the beauty the more terrible the death.

The grey and brown feathers were streaked and mottled with fawn; good camouflage against the bark of trees or the dappled canopy of sunlit leaves. After landing, it crouched slightly forward, stretching its neck and looking around. Its head flicked from side to side quickly and flexibly, darting and jerking. The eyes were large in relation to the slender, rather flattened head. They had small dark pupils surrounded by a wide yellow iris. They were a blazing blankness, an utterly terrifying insanity of searing yellow, raging and seething like sulphurous craters. They seemed to shine in the dimness like jellies of yellow blood.

A tawny owl beats down the dark ride. Many points of light, visible to him though I cannot see them, gleam in the grass and the bracken like a dew of fallen stars beneath the shadow of his wings. Something shrieks as the owl descends, bringing the endless darkness that follows the shreds of fire. Somewhere a life hangs limp; the still blood, in its continent of fur, hanging from the cold talons that have drawn the last flame. The death of an animal is very quiet, whether it is the slow suffocation of disease or the sudden leap from life of the slain. The owl’s hollow voice floats like a sail in the dark stream of the ride.

Fear releases power. Man might be more tolerable, less fractious and smug, if he had more to fear. I do not mean fear of the intangible, the suffocation of the introvert, but physical fear, cold, sweating fear for one's life, fear of the unseen menacing beast, imminent, bristly, tusked and terrible, ravening for one's own hot saline blood.

I have always longed to be a part of the outward life, to be out there at the edge of things, to let the human taint wash away in emptiness and silence as the fox sloughs his smell into the cold unworldliness of water, to return to the town as a stranger. Wandering flushes a glory that fades with arrival.

The water shines. It has no dimension. I cannot tell whether it is higher or lower than the hill where I am standing. Water, air, and light, float upward together. This is the world of the sky, of the east wind, of the ancestral sea. There is a strange breathlessness in the air. The body is lifted up by the joy of arrival, by the voice of the curlew, by the soaring cries of the gulls. The sky has descended. All things are set apart, made distant. They have a different life, a remoteness they do not possess inland. The sea has risen. Its charismatic glitter towers above.

The penumbra of dusk moves slowly westward. The owls of Europe are already hunting. The zoo owls will be waking now as the light declines and the grey Victorian brickwork glows with evening gold. Trees drift in the wind above the roar of traffic in the road outside. White mice lie dead on the floor of the cage. The eagle owl will not feed till dusk. He is waking as the people watch him, stretching his neck and uttering a soft call. His sunset-coloured eyes are kindling, the light coming slowly forward from within. The owl looks outward, beyond the watching faces. They have no significance for him. He is waking to his own world, to glooms of spruce or desert rock. He does not see the dull metallic chains that fence us in. His mind is still unscalable, a crag from which he can look down at the captives gazing up at him.

None of us can predict the future and we certainly can’t control it, but we have the power to limit our exposure to any damage or upset we may encounter.

Walking with a friend in the dark is better than walking alone in the light.

Typical Neil: so open and friendly and approachable. And typical Fiona: a closed book riddled with negative thoughts and malice.

All because of that one terrible, terrible mistake. The mistake of thinking that he loved her, that they had a future together and she was more than just a passing fancy. A mere dalliance.

disguising

Under the wind ,a wren, in the sunlight among fallen laves in a dry ditch seemed suddenly divine , like a small brown priest in a parish of dead leaves and wintry hedges , devoted till death.

East of home, the long ridge lies across the skyline like the low hull of a submarine. Above it, the eastern sky is bright with reflections of distant water, and there is a feeling of sails beyond land. Hill trees mass together in a dark-spired forest, but when i move towards them they slowly fan apart, the sky descends between, and they are solitary oaks and elms, each with its own wide territory of winter shadow. The calmness, the solitude of horizons lures me towards them, through them, and on to others. They layer the memory like strata.

And for the partridge there was the sun suddenly shut out, the foul flailing blackness spreading wings above, the roar ceasing, the blazing knives driving in, the terrible white face descending – hooked and masked and horned and staring-eyed. And then the back-breaking agony beginning, and snow scattering from scuffling feet, and snow filling the bill’s wide silent scream, till the merciful needle of the hawk’s beak notched in the straining neck and jerked the shuddering life away. And for the hawk, resting now on the soft flaccid bulk of his prey, there was the rip and tear of choking feathers, and hot blood dripping from the hook of the beak, and rage dying slowly to a small hard core within. And for the watcher, sheltered for centuries from such hunger and such rage, such agony and such fear, there is the memory of that sabring fall from the sky, and the vicarious joy of the guiltless hunter who kills only through his familiar, and wills him to be fed.

When you’re caught up in the middle of a storm, sometimes it’s difficult to see through the dark clouds to the light beyond.

We see what we want to see in order to make our existences that much more bearable. And we all have our own tipping points, that crucial moment when everything comes crashing down, our lives in freefall.

Whatever it is they’re

We see what we want to see in order to make our existences that much more bearable.

Above, they were the colour of the sea’s deepest blue; below, like the soiled whiteness of shadowed chalk. In the turbulent air above the cliffs and shallows they soared for hours, hoping perhaps to lure away intruders from their nesting place. Invisible even in a telescope magnifying sixty times, even in purest summer sky, they drifted idly above the glittering Channel water. They had no song. Their calls were harsh and ugly. But their soaring was like an endless silent singing. What else had they to do? They were sea falcons now; there was nothing to keep them to the land. Foul poison burned within them like a burrowing fuse. Their life was lonely death, and would not be renewed. All they could do was take their glory to the sky. They were the last of their race.

we all have our own tipping points, that crucial moment when everything comes crashing down, our lives in freefall. Some of us have been falling for many years now, waiting for the moment when we hit the bottom with a sickening crash.

His shuts his eyes.

To share fear is the greatest bond of all. The hunter must become the thing he hunts. What is, is now, must have the quivering intensity of an arrow thudding into a tree. Yesterday is dim and monochrome. A week ago you were not born.

Autumn rises into the bright sky. Corn is down. Fields shine after harvest. Over orchards smelling of vinegary windfalls, busy with tits and bullfinches, a peregrine glides to a perch in a river-bank alder. River shadows ripple on the spare, haunted face of the hawk in the water. They cross the cold eyes of the watching heron. Sunlight glints. The heron blinds the white river cornea with the spear of his bill. The hawk flies quickly upward to the breaking clouds. Swerving and twisting away from the misty lower air, he rises to the first faint warmth of the sun, feels delicately for winghold on the sheer fall of sky.

Fear releases power. Man might be more tolerable, less fractious and smug, if he had more to fear. I do not mean fear of the intangible, the suffocation of the introvert, but physical fear, cold sweating fear for one’s life, fear of the unseen menacing beast, imminent, bristly, tusked and terrible, ravening for one’s own hot saline blood.

I have always longed to be a part of the outward life, to be out there at the edge of things, to let the human taint wash away in emptiness and silence as the fox sloughs his smell into the cold unworldliness of water; to return to the town as a stranger. Wandering flushes a glory that fades with arrival. I came late to the love of birds. For years I saw them only as a tremor at the edge of vision. They know suffering and joy in simple states not possible for us. Their lives quicken and warm to a pulse our hearts can never reach. They race to oblivion. They are old before we have finished growing.

A rough sense of Baker’s real time frame can also be teased out from internal evidence. The inferential details that help us to anchor the work in some genuine calendar is the extreme weather he described in his single winter of observations. It is without doubt the extraordinary winter of 1962–1963, that Arctic season when snow – more than at any time for 150 years – lay thick on the ground for months. It was the coldest period recorded in southern England since 1740, and long stretches of the coast froze into solid sheets with incipient ice floes. Baker’s description of an Essex landscape snowbound from 27 December right through until the first week of March fits closely with the meteorological pattern of that period. While these details may suggest a rough template for the book’s time and place, Baker felt in no way bound by it.

By stripping away so much, what Baker left us with is a mythic story of quest for a mythic bird that is magically unconfined and yet simultaneously authentic.

J.A. Baker (1926-1987) is now widely acknowledged as one of the most important British writers on nature in the twentieth century. When his first book, The Peregrine, appeared in 1967 with all the unexpected power and vertiginous daring of its eponymous bird, it was instantly recognised as a masterpiece. Today it is viewed by many as the gold standard for all nature writing and, in many ways, it transcends even this species of praise. A case could easily be made for its greatness by the standards of any literary genre. It has been thirty years since his untimely death in 1987, aged just 61, and more than four decades since the publication of his last and only other work, The Hill of Summer (1969). For much of the intervening period, neither of the books has been in print. Yet, if anything, Baker’s stock stands higher today than at any time.

His two books on Essex landscape and wildlife are intimately connected with one another in terms of their style and content. They are, in some ways, very simple. They are books of encounter. They describe the wild animals, particularly the birds, that Baker saw and heard when he was out. They both draw upon his relentless foraging across the same landscape. However, while The Hill of Summer is a generic description of all his wildlife encounters between the seasons of spring and autumn, The Peregrine is distinguished by its close focus on one species, the fastest-flying bird on Earth.

It is, once more, a breeding bird even in Essex. Today it is extremely difficult for us to recover fully the sense of crisis prevailing in 1960s Europe or North America. Yet to understand this book and its impact, we must remind ourselves how one of the most successful predators on the planet – exceeded in its transcontinental range only perhaps by ourselves or the red fox – was then so stricken by the toxic effects of organochlorine-based agrochemicals, it was considered at risk of global extinction.

In many ways his concern for veracity is even more abundantly clear in The Hill of Summer. Its structureless format seems to emphasise how the author has pared everything down to one goal: how can a naturalist capture in words what he or she sees and experiences? It is his faithfulness to this enterprise, at the expense of all else, which probably explains why The Hill of Summer has been virtually forgotten. Yet simultaneously it is his uncompromising quest for an authentic language which supplies its curious but undeniable magic.

In many ways his concern for veracity is even more abundantly clear in The Hill of Summer. Its structureless format seems to emphasise how the author has pared everything down to one goal: how can a naturalist capture in words what he or she sees and experiences? It is his faithfulness to this enterprise, at the expense of all else, which probably explains why The Hill of Summer has been virtually forgotten. Yet simultaneously it is his uncompromising quest for an authentic language which supplies its curious but undeniable magic. In The Peregrine he wrote: ‘The hardest thing of all to see is what is really there.

Occasionally it is not the language, but the structure of the sentences, which is so inventive. A classic example is the way he finds a means to express the mesmeric effect created by wader flocks on tidal mud and also their random, chaotic shapelessness. The faint, insistent sadness of grey plover calling. Turnstones and dunlin rising. Twenty greenshank calling, flying high; grey and white as gulls, as sky. Bar-tailed godwits flying with curlew, with knot, with plover; seldom alone; seldom settling; snuffling eccentrics; long-nosed, loud-calling sea-rejoicers; their call a snorting, sneezing, mewing, spitting bark. Their thin upcurved bills turn, their heads turn, their shoulders and whole bodies turn, their wings waggle. They flourish their rococo flight above the surging water. As the passage demonstrates, Baker was never afraid of brevity, repetition or stating the obvious. One of my favourite sentences in The Peregrine is, ‘Nothing happened.

No naturalist-writer has ever been more honest about, or lovingly attentive to, the real patience required in the enterprise of watching wildlife. His writing is in many ways the antithesis of wildlife television, which is always to cut to the chase. Baker is the master of emptiness and no action. A falcon peregrine watched me from posts far out on the saltings, sitting huddled and morose under darkening rain. She flew seldom, had fed, had nothing to do. Later, she went inland.

For example, he interprets sounds as if they could be seen or tasted. In The Peregrine he writes of the crepuscular churring of the nightjar: Its song is like the sound of a stream of wine spilling from a height into a deep and booming cask. It is an odorous sound, with a bouquet that rises to the quiet sky. In the glare of day it would seem thinner and drier, but dusk mellows it and gives it vintage. If a song could smell, this song would smell of crushed grapes and almonds and dark wood. The sound spills out and none of it is lost.

Elsewhere as Baker muses on the fluidity and apparent joyfulness of a seal’s motion at sea he speculates: It is a good life, a seal’s, here in these shallow waters. Like the lives of so many air and water creatures, it seems a better one than ours. We have no element. Nothing sustains us when we fall.

Elsewhere as Baker muses on the fluidity and apparent joyfulness of a seal’s motion at sea he speculates: It is a good life, a seal’s, here in these shallow waters. Like the lives of so many air and water creatures, it seems a better one than ours. We have no element. Nothing sustains us when we fall. Here Baker edges towards a remarkable revelation about the whole nature-writing genre. On reading the passage, one thinks of the specific creatures (as well as their most devoted author/admirers) that have made the deepest appeal to the modern British imagination: the otter (Henry Williamson, Gavin Maxwell), whales and dolphins (Heathcote Williams and the whole New-Age fixation with cetaceans) and birds, particularly birds of prey (W.H. Hudson, T.H. White and J.A. Baker himself). If we cannot move between the elements like these wonderful animals, then humans can at least imagine what it is like to be an otter or a peregrine. But no writer I know has taken us deeper into the life of another creature and allowed us to experience how that elemental mastery might possibly feel than John Alec Baker. Mark Cocker, March 2010

This recent recovery was in no way apparent in Baker’s lifetime or to a generation of writers growing up in the 1960s. Tim Dee writes that he ‘grew up thinking of peregrines as sickly’. ‘The magnificent hunter, the apotheosis of the wild, the falcon on the king’s gloved fist, was becoming as helpless as a spastic battery hen, a bird that broke its own eggs.

Baker’s love of the Essex landscape is already clear, and, long before he is following peregrines, he is rehearsing some of the writing that appears in his later work: ‘The loveliest country of all lies between Gt. Baddow and West Hanningfield. Green undulating fields, rugged, furrowed earth, luscious orchards, pine clumps, rows of stately elms – all these combine and resolve into a delicately balanced landscape that can never become tedious to the eye. One cannot get far from people – from the little rustic cottages that huddle in the winding lanes. Yet the very proximity of these dwellings seems to give an impression of remoteness. / As you walk across these fields – Danbury stands all green and misty blue in the late afternoon of declining summer. Everchanging – sometimes assuming truly mountainous grandeur – it fascinates the eyes and brings an exaltation and a faith. / These last days of summer are delicate poems in green and gold – the clouds unfurl in unsurpassed magnificence and move me to tears for their passing. / This country with its little fields and murmuring streams that basks in its waning summer gold will still be there when you return – it is for you and all men, for it is beauty.

In May 2009, when the author, Adam Foulds, reviewed The Peregrine in the Independent, he argued that Baker’s writing most resembled Ted Hughes’: ‘the harsh vitality of the living world is perceptible at every point.’ In 2005, the environmentalist Ken Worpole wrote that Baker was, ‘if anything … more ferocious in his identification with the animal world.

Had Baker remained well, surely he would have written much more. Indeed, were he alive now, like so many of his octogenerian contemporaries, he would still be fighting for Essex and for many other wild places, and urging us not to be ‘soothed by the lullaby language of indifferent politicians’.

Farms are well ordered, prosperous, but a fragrance of neglect still lingers, like a ghost of fallen grass. There is always a sense of loss, a feeling of being forgotten. There is nothing else here; no castles, no ancient monuments, no hills like green clouds. It is just a curve of the earth, a rawness of winter fields. Dim, flat, desolate lands that cauterise all sorrow.

Like all birds, it fears the unpredictable. Enter and leave the same fields at the same time each day, soothe the hawk from its wildness by a ritual of behaviour as invariable as its own. Hood the glare of the eyes, hide the white tremor of the hands, shade the stark reflecting face, assume the stillness of a tree. A peregrine fears nothing he can see clearly and far off. Approach him across open ground with a steady unfaltering movement. Let your shape grow in size but do not alter its outline. Never hide yourself unless concealment is complete. Be alone. Shun the furtive oddity of man, cringe from the hostile eyes of farms. Learn to fear. To share fear is the greatest bond of all.

Like all birds, it fears the unpredictable. Enter and leave the same fields at the same time each day, soothe the hawk from its wildness by a ritual of behaviour as invariable as its own. Hood the glare of the eyes, hide the white tremor of the hands, shade the stark reflecting face, assume the stillness of a tree. A peregrine fears nothing he can see clearly and far off. Approach him across open ground with a steady unfaltering movement. Let your shape grow in size but do not alter its outline. Never hide yourself unless concealment is complete. Be alone. Shun the furtive oddity of man, cringe from the hostile eyes of farms. Learn to fear. To share fear is the greatest bond of all. The hunter must become the thing he hunts. What is, is now, must have the quivering intensity of an arrow thudding into a tree. Yesterday is dim and monochrome. A week ago you were not born. Persist, endure, follow, watch.

In my diary of a single winter I have tried to preserve a unity, binding together the bird, the watcher, and the place that holds them both. Everything I describe took place while I was watching it, but I do not believe that honest observation is enough. The emotions and behaviour of the watcher are also facts, and they must be truthfully recorded.

Though there can be many variations, a peregrine’s day usually begins with a slow, leisurely flight from the roosting place to the nearest suitable bathing stream. This may be as much as ten to fifteen miles away. After bathing, another hour or two is spent in drying the feathers, preening, and sleeping. The hawk rouses only gradually from his post-bathing lethargy. His first flights are short and unhurried. He moves from perch to perch, watching other birds and occasionally catching an insect or a mouse on the ground.

In early autumn, and in spring, when days are longer and the air warmer, the peregrine soars higher and hunts over a wider area. In March, when conditions are often ideal for soaring, his range increases, and by long stoops from a great height he is able to kill larger and heavier prey.

Juvenile peregrines hover whenever the wind is too strong to allow them to circle sufficiently slowly above the area they are surveying. Such hovering usually lasts for ten to twenty seconds, but some birds are more addicted to the habit than others and will hover persistently for long periods. The hunting hawk uses every advantage he can. Height is the obvious one. He may stoop (stoop is another word for swoop) at prey from any height between three feet and three thousand. Ideally, prey is taken by surprise: by a hawk hidden by height and diving unseen to his victim, or by a hawk that rushes suddenly out from concealment in a tree or a dyke. Like a sparrowhawk, the peregrine will wait in ambush. The more spectacular methods of killing are used less often by juveniles than they are by adults. Some soaring peregrines deliberately stoop with the sun behind them. They do it too frequently for it to be merely a matter of chance.

Like all hunters, the peregrine is inhibited by a code of behaviour. It seldom chases prey on the ground or pursues it into cover, in the manner of other hawks, though it is quite capable of doing so. Many adults take only birds in flight, but juveniles are less particular. Peregrines perfect their killing power by endless practice, like knights or sportsmen. Those most adaptable, within the limits of the code, survive. If the code is persistently broken, the hawk is probably sick or insane.

A peregrine weighs between 1½ and 2½ lbs.; such a weight, falling from a hundred feet, will kill all but the largest birds. Shelduck, pheasants, or great black-backed gulls usually succumb to a stoop of five hundred feet or more. Sometimes the prey is seized and then released, so that it tumbles to the ground, stunned but still alive; or it may be clutched and carried off to a suitable feeding place. The hawk breaks its neck with his bill, either while he is carrying it or immediately he alights. No flesh-eating creature is more efficient, or more merciful, than the peregrine. It is not deliberately merciful; it simply does what it was designed to do.

Consider the cold-eyed thrush, that spring carnivore of lawns, worm stabber, basher to death of snails. We should not sentimentalise his song, and forget the killing that sustains it.’ And consider too Hughes’ poem ‘Thrushes’, from the collection Lupercal, published in 1960, just when Baker was preparing to write The Peregrine: ‘Terrifying are the attent sleek thrushes on the lawn, / More coiled steel than living – a poised / Dark deadly eye, those delicate legs / Triggered to stirrings beyond sense – with a start, a bounce, a stab / Overtake the instant and drag out some writhing thing. / No indolent procrastinations and no yawning stares. / No sighs or head scratchings. Nothing but bounce and stab / And a ravening second.

The title and spare commentary are drawn directly from Baker’s text, which also begins with an editor’s note: ‘The Essex coastline is threatened by development. J.A. Baker, author of The Peregrine and The Hill of Summer, shows that it has aesthetic as well as scientific value.

I think they came here for two reasons: because this was a wintering place that had been used for many years, and because the gravelly streams of the valley provided ideal conditions for bathing. The peregrine is devoted to tradition. The same nesting cliffs are occupied for hundreds of years. It is probable that the same wintering territories are similarly occupied by each generation of juvenile birds. They may in fact be returning to places where their ancestors nested. Peregrines that now nest in the tundra conditions of Lapland and the Norwegian mountains may be the descendants of those birds that once nested in the tundra regions of the lower Thames. Peregrines have always lived as near the permafrost limit as possible.

The method of selection employed, if there is one, may in fact be nothing more spectacular than this: that the peregrine kills most frequently the species of bird it sees most frequently, provided it is a reasonably large and conspicuous one. The presence of abnormally large numbers of any species of bird invariably results in a higher proportion of that species being killed by the peregrine. If a dry summer enables more partridges to breed successfully, then more partridges will be taken by the peregrine during the following winter. If wigeon numbers increase when the cold weather comes, more wigeon will be killed. Predators that kill what is commonest have the best chance for survival. Those that develop a preference for one species only are more likely to go hungry and to succumb to disease.

Peregrines bathe every day. They prefer running water, six to nine inches deep; nothing less than two inches or more than twelve inches is acceptable to them. The bed of the stream must be stony or firm, with a shallow incline sloping gradually down from the bank. They favour those places where the colour of the stream-bed resembles the colour of their own plumage. They like to be concealed by steep banks or overhanging bushes. Shallow streams, brooks, or deep ditches, are preferred to rivers. Salt water is seldom used. Dykes lined with concrete are sometimes chosen, but only if the concrete has been discoloured. Shallow fords, where brown-mottled country lanes are crossed by a fast-running brook, are favourite places. For warning of human approach they rely on their remarkably keen hearing and on the alarm calls of other birds. The search for a suitable bathing place is one of the peregrine’s main daily activities, and their hunting and roosting places are located in relation to this search.

Because they are so much shot at and disturbed by man they are often forced to fly beneath the hunting hawk. They are loose-feathered and easy to pluck. In every respect they are an ideal species for the peregrine to prey upon. They are noisy, conspicuous, numerous, heavy, well-fleshed, nourishing, and not hard to kill.

The peregrine plucks feathers from his prey before he begins to eat. The amount of plucking varies, not only with the hunger of the hawk, but also according to individual preference. Some hawks always pluck their prey thoroughly, others pull out only a few beakfuls of feathers. Peregrines hold the prey steady by standing on it, gripping it with the inner talon of one or both feet. Plucking takes two to three minutes. Eating takes ten minutes to half an hour, depending on the size of the prey; ten minutes for a fieldfare or redshank, half an hour for a pheasant or mallard.

The eyes of a falcon peregrine weigh approximately one ounce each; they are larger and heavier than human eyes. If our eyes were in the same proportion to our bodies as the peregrine’s are to his, a twelve-stone man would have eyes three inches across, weighing four pounds. The whole retina of a hawk’s eye records a resolution of distant objects that is twice as acute as that of the human retina

The peregrine’s view of the land is like the yachtsman’s view of the shore as he sails into the long estuaries. A wake of water recedes behind him, the wake of the pierced horizon glides back on either side. Like the seafarer, the peregrine lives in a pouring-away world of no attachment, a world of wakes and tilting, of sinking planes of land and water. We who are anchored and earthbound cannot envisage this freedom of the eye.