Vikos Gorgeous

In the Pindus Mountains in northern Greece lies the Vikos Gorge, a geological record-breaker, which is claimed to be the deepest gorge in the world (being 900 m, or 2,950 ft deep and only 1.1 m or 3.6 feet between its rims). Visiting in June, we were driven along the twisty mountain roads from our hotel in Aristi, to the north, to Monodendri in the south by our charming host, whose English was limited, but whose generosity and kindliness was not.

We had been advised to start early, at 6 am, but were delayed by breakfast and a wrong turn on our way down into the gorge, and did not begin until nearer 7.30 am. We had started by walking most of the way to the monastery of Agia Paraskevi, built on the edge of the Vikos Gorge, before being called back by our host, who had tottered after us in wooden wedges, which were distinctly unsuitable for the ridged pathway. We had just reached the gateway to the monastery, and decided that there was no safe way down into the gorge from there, when we saw her following us along the path, calling us to return, and made our way back to the village, and from there down a different street.

Finally on the right course, walking down the winding path to the bottom of the gorge, we relished the cool breeze that occasionally wafted through the tree-dappled sunlight. It had been a hot couple of days; the heat so intense that, stopping for lunch in the town of Ioannia the day before, I had heard the pine cones crack in the sun, the reports sounding like gunshots.

Reaching the bottom of the gorge, we walked along the dry riverbed, occasionally exploring its water-scoured rocks, as the sun rose beyond the towering  mountainous sides beside us. At one point, I stopped, arrested by a strange animal noise off to the left - a repeated half bark, half howl - which even now I cannot confidently identify. The gorge is home to bears, wolves and boar, among other animals, and as we walked quickly away from the sound, as much as I tried to be reassuring about it being behind us and no threat, I could not help keeping an eye on the path for decent-sized throwable stones, in case of an emergency.

Further on, and comfortably removed from whatever has made the noise, I was delighted to find a pool in the rocks beside the dry river, in which I saw first tadpoles, and then several frogs of increasing sizes. Flow in the river is seasonal, and underground watercourses mean that one may hear water running, but only occasionally see it on the surface. This little pool was a perfect pond for this group of amphibians, the water level of which was presumably refreshed from time to time by rainfall.

The walk from Monodendri to Vikos, to the north of the gorge, is supposed to take between four and a half and six hours, but by the time we neared the final stretch, and the climb back out of the gorge, it was past midday and the the blazing sun had well and truly risen, which slowed our progress considerably. The shaded wooded pathway gradually petered out, and the way ahead of us became dry and exposed to the heat, with only the occasional patches of shade, between which we dashed as quickly as tired legs and the extreme temperature would allow.

Despite having hiked and climbed in equatorial Africa, this felt like the hottest walking I had ever done. Although I was happy that I was protected against the sun, I began for the first time to worry about heat stroke. As the sweat ran off me, I could not avoid the thought that this had become a dangerous situation, with which my body was not coping very well. Noël Coward's line "Mad dogs and Englishmen go out in the midday sun" repeated in my thumping head, and I could feel my heart pounding fiercely and too fast.

By pouring half the contents of our drinking water over ourselves, we managed to keep on just the right side of exhaustion and we forced ourselves on, desperate to get out of the heat. As we eventually climbed out, over the lip of the gorge at Vikos, I gave thanks to whoever had built a stone shade with a water tap, which stood across the road. I put my head under the cooling water, and felt both relieved and revived as my pulse and breathing returned to a more normal rate. 'Next time,' I said, gratefully letting the water run down my sweat-drenched shirt, 'We start at six.'

Mooning around Stockholm

In Gamla stan, the Old Town of Stockholm, there sits a statue of a boy looking at the moon. The figure is called Järnpojke, or Iron Boy, and was created in 1954 by Liss Eriksson. He takes a bit of finding, partly because he is tucked behind the Finnish Church, near the Stockholm Palace, and partly because the boy is only 15 centimetres (5.9 in) high (making him the smallest public monument of Stockholm).

With a little time to kill, and having heard about the statue, we wandered around Gamla stan, occasionally stopping to peer around the occasional church, in search of the right one. Eventually, we gave in and looked up it location online, because otherwise we could have been searching for hours. Seeing the figure, however, repays the effort. The boy may be small, and his features indistinct, but he is undoubtedly charming, and there can be no question but that he is looking at the moon.

When we arrived, we discovered (as is, apparently, the custom) that somebody had provided him with a small woollen hat (which I removed, only temporarily, for the picture, above, but then returned with care). In the winter, apparently, he is also given a small scarf to keep him warm against the Swedish cold, which appealed to me enormously, as I like the idea of a community collectively agreeing that what is, objectively, a lump of cast iron is, in fact, a person to be cared for.

Waiting for the Ghost Train

Tucked away behind undergrowth and wire fences, near the A66, beside Bassenthwaite Lake (the only "Lake" in the Lake District, tedious pub trivia fans; all of the other lakes are actually "Meres" or "Waters") stands the crumbling remains of what was once Bassenthwaite Lake railway station. The station was part of the Cockermouth, Keswick and Penrith Railway but, along with the rest of the line west of Keswick, closed on 18 April 1966, just over a century after it was opened.

I have always found something rather fascinating about exploring old ruins; as a child, I braved the wildly overgrown ruin of a large house at the end of my village, and for a long time afterwards was obsessed with the vacant rooms I had found, with tantalising hints of their former grandeur. Even today, I love the strangely surreal atmosphere of coming across buildings slowly being reclaimed by nature. So it was, having finished a short hill walk in the Lakes earlier in the year, that I realised I would be passing the ruins of the old railway buildings on my way to my hotel.

Some time before, whilst distracted at work one day and exploring Google Streetview, I had seen the ghostly outline of the old station building beside the main road. There has (and remains) some talk of reopening the line between Penrith and Keswick, which greatly appealed to me, although I fear that it may remain a unrealised dream of enthusiasts. Wist reading about it, I had been looking into the old railway that served this part of the Lakes. Later, I read The Lake District Murder by John Bude, in which the main characters frequently travel up and down this line, investigating shady goings-on, and was curious about this one of many abandoned railway lines. Since its closure, the Keswick to Cockermouth stretch of the railway has been built over, as the A66, which means that, with a little effort, one can imagine a little of the old journey.

I parked the car up a side road and approached the remains of the station building. It roof having been removed (or collapsed), it was clearly in a bad state and it was fenced off, with signs warning against trespass. Not wishing to do so (and, anyway, being unable to find a practical way through the fences), I walked around to the front of the station, along what I realised would have been the track-bed in front of the platform. The elegant wooden waiting room, also without its roof, was still recognisable, with its red and cream panels fading and overcome by mildew, and I could make out the ticket window in what I presume was the station master's office beside it.

Walking along the platform, whose edging stones remained beneath a carpet of moss, it did not take a great deal of imagination to see the building in its heyday, although somehow this made its current state all the more forlorn and sad. For a functional building, it had been created with very pleasing elegance, as I suppose was the way things were done in the 1860s. I wondered whether the craftsmen who laid the stone and created the woodwork ever considered that there might come a time when their hard work would be left to fall apart, but then reflected that few of us think of the future like that. It had been a smart building on a railway line, and presumably something that its station master and railway staff had devoted time and care to maintain, but its time had passed.

Returning to my hotel along the A66, I passed several other obviously railway-related buildings, which had now become homes, and was pleased to think that something of the old railway, beside the course of its old line, remained and was in regular use.

Five star gossip

I had forgotten, because I had not done it for quite a while, just how entertaining it is to sit in the lounge area of a five star hotel and to listen to the various conversations going on around you. Today, overlooking the Thames, I'm in the middle of three different American business conversations, each of which conform to different cliches of that type. To my right, a grouchy gentleman is complaining, either to the people sitting around him, or to somebody on his hand-free phone - it is hard to tell which - about a business deal of some sort, the details of which he appears angrily not to understand.

To my left, more excitingly, another American gentleman is telling numerous stories of his dealings with the Russians, a group of people he likes, but apparently treats with caution. "In the broker business..." he continues, in what, looking back over it, appears to be an almost uninterrupted monologue directed at his younger female companion, whose level of interest in his yarns it is hard to judge. I gather that his dealings with the Russians date back to the very end of the Cold War, and he confirms my suspicions, when he talks about having been advised that some of his dealings might lead to a knock at the door by men in dark coats.

I'm sitting here to take advantage of the comfortable seats, the complimentary wi-fi and the coffee which, whilst it might be fractionally more expensive than that in Starbucks, comes with all of the above, and an almost unbeatable view out over the Thames. From time to time, the riverboats pass in front of me, which suggests that it must be high tide. It feels very different, in here, from the hot day outside, and I savour my coffee and velvet sofa, on which I am making myself very much at home.

I remember when this hotel, the Mondrian London at Sea Containers, was a beautifully appointed, yet somewhat unapproachable set of offices. When it was built, it had been planned as a hotel, but the financial situation in the seventies meant that started its life as offices and had to wait over thirty years before being open to the public as originally intended. It remains, to me, one of the most New York-like hotels in London, with its "Dandelyan" bar beside the river serving a range of cocktails. Its restaurant also serves one of the best breakfasts in London, although it is worth aiming for brunch time, and allowing for enough refills from the buffet to see you through most of the rest of the day.

Lion around

Sometimes, cities and towns want to stop cars driving along certain roads. They can do this in several ways, such as by erecting fences, bollards, signs and barriers, but in Stockholm, Sweden, a decision appears to have been taken that the best way to do this is to use beautiful, smiley, concrete lions. From what I can tell, they are almost purely functional, but the fact that they have been endowed with such pleasing countenances, entirely fits with my impression of the Swedes as having a tendency towards almost casual beauty, when it comes to design.

You notice it even on the motorway from the airport to the City, where bridges and fly-overs are artfully lit or architecturally elegant, and a little extra care seems to have been taken to make something fundamentally necessary into something that is pleasing, too. Even a massive advertising sign is crafted so that, from behind, it resembles the stylised silhouette of a tree.

Quite why more places do not seem to follow this principle, I don't know. Clearly, some civil engineering adornments come with significant added cost, and one could be forgiven for arguing that they may not be essential. The problem is that we have to live with these things - bridges, and barriers and streetlights and advertising hoardings - and making them the most basic versions of the things they have to be is not always the most pleasing.

I think that we should be careful not always to opt for the purely functional. That is not to say that the purely decorative is necessarily the only desirable outcome (although, naturally, great art is uplifting, too). I suppose what I am saying is that, where we need to have, for example, a street light, the outcome could be achieved with, essentially, a lightbulb on a stick. That should not, however, mean that that is all we get. Some effort should be expended, and we should encourage that it is expended, to make the mundane and the functionally necessary beautiful as well. This is something the Swedes and the Danish appear to believe, and it is an attitude that other could learn from.

You rang, Mallard?

I paid a flying visit to Edinburgh recently, to see some friends and the band Frightened Rabbit, although by the time I returned home, I felt partly like I had been on a tour in tribute to Sir Nigel Gresley. Sir Nigel is possibly most famous for being the Chief Mechanical Engineer of the London and North Eastern Railway, and for the steam engines he designed.

Those of you who have read this blog before, something that strikes me as unlikely but remotely possible, will already be aware from my post Steam Work, that he was the designer of Mallard, the fastest steam engine in the world (which reached 126 mph (203 km/h) on 3 July 1938). Among other achievements, he had also designed the famous Flying Scotsman, which had only recently been renovated and undertaken a celebratory journey from Kings Cross to York. This train, as many will also be aware, was equally famous, being the first steam locomotive to have reached 100 miles per hour (160.9 km/h), which it did on 30 November 1934

When I arrived at Kings Cross, which I still find impressive for its successful meshing of modern and old, I discovered that only a few days before, a statue had been unveiled to Sir Nigel Gresley. I did not know it at the time, but there was a campaign running to reinstate a companion statue of a mallard duck, which had originally been planned to accompany Sir Nigel, to commemorate not only the engine of the same name, but his apparent fondness for feeding ducks at his home. I recalled Sir Nigel, from my trip to the National Rail Museum, and took a picture of the statue, thinking no more about it.

The next day, whilst admiring the fine waiting room at Edinburgh Waverley railway station, pictured above, I discovered a plaque commemorating the life and work of Sir Nigel, who had been born in Edinburgh 140 years before...

and on the train heading back down south, I noticed a large sign beside the track, commemorating the spot, at Stoke Summit on the East Coast Main Line, where in 1938 Mallard had set the world speed record for a steam locomotive. It was gone in a flash, but it felt like a sign, in every sense of the word. We can never know what impact we will leave on the world, but at that moment, it felt that Sir Nigel had definitely made his mark.

Bring me sunshine

On the seafront in Morecambe, Lancashire, caught midway through his famous dance, stands a glorious statue to one of the town's most famous sons, Eric Morecambe. Born John Eric Bartholomew (as recognised in the name of a pub in town), the genius of Eric Morecambe needs no explanation for British readers, although he may be less well known further afield. A comedian, best known for his double act with Ernie Wise, Morecambe was a well-loved television personality, and was a particularly great star in the sixties and seventies (Morecambe and Wise's 1977 Christmas show on the BBC is reputed to have had an audience of around 28,385,000).

I had known about the statute in Morecambe's home town for some time, and had always wanted to go and see it but, despite passing reasonably close to it many times, on my way to the Lake District (which you can see in the background of the photograph, above), I had never gone out of my way to pay it a visit. Morecambe, the town, has a bit of a reputation for, to be generous, its faded glory, so I was pleasantly surprised, when I did finally make the effort to go to find it had a pleasant promenade along the seafront, and an air of quiet business. A typical English seaside town, its days of being a thriving tourist destination are very clearly past, but there was nevertheless a sense of minor optimism about it, of an effort having been made to attract the visitor, and it was nowhere near as dispiriting as I had imagined.

The statue of Eric Morecambe had, a little time before, been removed after a vandal had apparently tried cut it off at the leg, but it had been restored, and was just as joyous - even more so, in fact - as I had anticipated. For a man who brought a great deal of joy to many millions of people, it was heartwarming to see the genuine affection in people's faces, as they politely waited their turn to have their photographs taken with his statue. Most, like me, posed for their pictures with one leg in the air, their arms waving, in tribute to the statute's subject, and all of them, from what I could tell, were smiling; many, myself included, were properly grinning.

It says something about the warmth with which Eric Morecambe is remembered that even a statute of him (brilliantly rendered by sculptor Graham Ibbeson, including binoculars in honour of Morecambe's fondness for birdwatching) brightens up people's days. Even the thought of it, and its effect on those who had come to see it, cheers me again.