Cloven Country: The Devil and the English Landscape

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This is my favourite book of the year so far. It is immaculately researched, superbly written and - like all Jeremy Harte’s work - genuinely breaks new ground in folklore studies. Only somebody with his breadth of knowledge, not only of the lore but of related fields of history, myth and literature, could have done as well." Ronald Hutton As such, for Harte, these seem to be just stories, or recountings of folk-belief, rather than actual lived realities. This would have to be this reviewer's major criticism of this book: for all its invocation of a widespread belief in spirits creating landscape, and its calling upon the Australian Indigenous Dreaming, it does very little to consider the phenomenological experience and lived realities beyond the surface. This is of course unsurprising, as Harte is primarily a folklorist and museum curator.

Cloven Country: The Devil and the English Landscape|Paperback Cloven Country: The Devil and the English Landscape|Paperback

Come for the telling of folktales; stay for the workings of folklore. Cloven Country is testament to Harte's deep personal and learned knowledge of the folklore of England. He’s seemingly read everything and been everywhere – and given the book is illustrated from his collection, clearly also bought the postcard. His writing style is wry and frequently aphoristic. Harte is one of Britain's most eminent folklorists." My guest for this episode is folklorist and author Jeremy Harte, who joined me to talk about his new book Cloven Country: The Devil in the English Landscape.Harte neatly brings in the suggestion that this may mirror actual class-dynamics – the fairly obvious idea that the stories which told are affected by such dynamics brings us to some interesting conclusions:

Cloven Country: The Devil and the English Landscape

This is a damnably good book, thanks largely to Harte's wit and erudition and ability to take folk tales at more than face value, and tease out inferences that would be opaque in a less insightful writer's hands. ' At one of its finest moments, and towards the end of the book he discusses how historically it was frowned upon to do pretty much anything on a Sunday, and how in various parts of the country stories of the Devil taking punitive measures against those intent of enjoying themselves, were common. And that is the point of the book - to demonstrate just how fluid folklore can be and how it gets shaped by culture and society, appropriates the past and literary influences (much as country dance is often 'debased' aristocratic dance) and continues to evolve.The Devil’s craftsmanship, so horribly casual in its immensity, of such enormity that it breaks open the mundane, is also bested, diverted, and limited in mirthful ways – and for all that his power is immense, he can be undermined by ordinary, salt-of-the-earth folks. There are some 'big moments' - the emergence of the Protestant revolution and the crushing of Catholic ways of seeing, the itineracy of the working class and traders, the rise of a travelling middle class eager for sensation, the emergence of folkorists as a class - but these do not change the picture. The point is well made that “magic in folk stories is always something physical and local, a lore of crossroads and thresholds, rings and staffs and bottles.” (p. 155) However, while he is correct that the grimoires are often in love with language and literacy, the reality is that this so-called high magic contained just as many rings, staffs, bottles, crossroads, and thresholds, even in England. One only has to look at John Dee’s shewstone or his alchemical obsessions and productions of minerals whilst seeking the Philosopher’s stone, or the continuance of particular virtues in certain materials as part and parcel of a whole worldview. That was Jeremy Harte just then speaking in italics. He's written this wonderful book, a collective of folklore about how the Devil is responsible for things we see in the English landscape. You can tell these places by their names: The Devil's Chapel, The Devil's Elbow, The Devil's Arrow, The Devil's Dyke, The Devil's Jumps, The Devil's Chair.

Cloven Country: The Devil and the English Landscape - Jeremy Cloven Country: The Devil and the English Landscape - Jeremy

As literacy advances so the Devil tale advances. Places get re-named for him to advance a story rather than to reflect local 'reality'. We have mentioned tourists creating the tales they wanted to hear simply by being present in the right place at the right time (and then reporting them as 'true'). This is a damnably good book, thanks largely to Harte's wit and erudition and ability to take folk tales at more than face value, and tease out inferences that would be opaque in a less insightful writer's hands." Northern Earth Before beginning this I had considered any Devil-related features on the landscapes that I know well. In the interview I begin by talking with Jeremy about what inspired the idea for the book and then look at the history of the Devil's appearances in English folklore, and some of the themes and motifs that are most common there. We also talk about the relationship between this kind of folklore and peoples personal experience of the supernatural, and how the latter has become much more prevalent in modern times, to the extent that presence of the 'landscape devil' in recent storytelling is hard to discern.Unlikely was he to have callouses upon his hands, though he could raise up walls and dykes with little effort. In this sense, he resembles the learned and landed classes who were supposedly the “betters” of the ordinary people. Just as now, the rich and powerful had privilege – literally “private law” – which others did not: a different set of rules by which they altered the world to their whim, and the poor labourer or widowed woman would have no choice but to be swept along. Usual UK delivery timescale (excluding custom prints) is between 5 and 7 working days from the date of dispatch. Please allow up to 14 working days for delivery. For custom print delivery pricing and timescales see below. Folklore is intimately connected to trade and travel. The Netflix of the early modern period was the chapbook. These could spread memes widely and feed off each other. Heroes of Devil tales were often from the partially itinerant class that could spread stories in a community, men such as cobblers. These stories then are about the processes of a worldview meeting with the landscape. They are about the strangeness in the world, not necessarily as explanatory narratives, but the evocation of the pull which the so-called supernatural has. Owen Davies, Professor in History, University of Hertfordshire, and president of the Folklore Society

Cloven Country by Jeremy Harte | Waterstones Cloven Country by Jeremy Harte | Waterstones

From a perusal of any detailed map of England, you would think we were a people satanically obsessed. Place names include the Devil’s Highway, the Devil’s Punchbowl, the Devil’s Thumb, the Devil’s Frying Pan… Even midnight is 'the Devil’s dancing hour' and the dragonfly is 'the Devil’s darning needle'... Fear not, says Jeremy Harte in this fascinating study, Britain is not as terrifying as these names make it appear."Scratch can be bested, yes, but slip up, and you and yours are deeply in trouble. Harte makes the point early on that this story-Devil is a latecomer to these interactions with landscape – and even those things like bridges, which humans make. The brief comparison with Celtic stories is instructive because the Welsh tradition managed to avoid the early modern emphasis on the Devil and so retained forms of the same stories as the English with an older medieval cast of characters.