The Old Ways

August 27, 2012
This scintillating travelogue is a celebration of well-worn footpaths and ancient sea routes. Naturalist MacFarlane (The Wild Places) traipses across Britain via Stone-Age trails, sand flats that briefly emerge between daily tides, and sea lanes to the Hebridean Isles. He ventures abroad into the bullet-strewn hills of the West Bank and follows a pilgrimage route in Spain. Along the way, the author meets artists, poets, farmers, sea-bird hunters, and adventurers, each with stories to tell and idiosyncratic attitudes toward the terrain ahead. MacFarlane writes with a discerning eye and an immediacy that immerses us in his surroundingsâwhether a delicately misty shore, a seemingly chaotic field of rocks that reveals hidden patterns, or a holy Himalayan mountain that makes him " up, neck cricked and mouth bashed open at the beauty of it all." MacFarlane strikes a fine balance between lyrical nature writing and engrossing scholarship that makes him the ideal walking companion.

Starred review from September 1, 2012
Macfarlane (English/Cambridge Univ.; The Wild Places, 2008, etc.) returns with another masterful, poetic travel narrative. The author's latest, focusing broadly on the concept of walking, forms what he calls "a loose trilogy," with his two earlier books, Mountains of the Mind and The Wild Places, "about landscape and the human heart." As in his previous books, it seems nearly impossible that a writer could combine so many disparate elements into one sensible narrative. It's ostensibly a first-person travelogue (of England, Spain, Palestine, Tibet and other locales), combined with biographical sketches (such as that of poet Edward Thomas, who died on a battlefield in France in 1917) and historical anecdotes about a wide variety of subjects (e.g., a set of 5,000-year-old footprints made by a family along the coastline just north of Liverpool). In the hands of a lesser writer, these divergent ideas would almost certainly result in unreadable chaos, but Macfarlane effortlessly weaves them together under the overarching theme of "walking as a reconnoitre inwards, and the subtle ways in which we are shaped by the landscapes through which we move." While this notion may seem abstract, the author's resonant prose brings it to life--whether he is writing about the mountains of Tibet, where a half-frozen stream is "halted mid-leap in elaborate forms of yearning," or the mountains of Scotland to which he returned for his grandfather's funeral, where he found "moonlight shimmering off the pine needles and pooling in the tears of resin wept by the pines." A breathtaking study of "walking as enabling sight and thought rather than encouraging retreat and escape."

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Starred review from November 1, 2012

Walking is an intimate way to experience a landscape because it proceeds at a pace that lets travelers contemplate nature, history, and self. In his travels around Great Britain and other countries, Macfarlane (English, Univ. of Cambridge; The Wild Places) follows a variety of old paths (called "ways") on both land and sea, some that date back thousands of years. This highly readable narrative weaves together landscape, local history and myth, art, literature, natural history, ritual, and the internal dialog familiar to any who have spent time alone in nature. The people he meets and the places he visits are luminous and extraordinary in the retelling as Macfarlane explores the idea of place and of self as well as the close relationship between the two. The book closes with a brief biography of fellow path walker and author Edward Thomas (1878-1917), from whom Macfarlane draws inspiration throughout the work. VERDICT The author's love of the land and his elegant use of metaphor make for a moving book that anyone who loves being part of nature will treasure.--Sheila Kasperek, North Hall Lib., Mansfield Univ. of PA

Copyright 2012 Library Journal, LLC Used with permission.

September 15, 2012
A literature professor and prodigious perambulator, Macfarlane has walked in England, Scotland's Isle of Lewis, and elsewhere and describes his experiences here. While descriptive observations of trails and vistas inform his presentation, Macfarlane's animating idea is the construction of a meditative sensibility that involves imagining history, exulting in nature, and interpreting literature. Macfarlane confides that his inspiration for walking-writing is Edward Thomas, author of The Icknield Way (1913), a foot travelogue that Macfarlane's loosely replicates, routewise; England's southern hills, the chalk downs, are where Thomas ambled. Macfarlane's contemporary peregrinations partake of a fine-grained feeling for the pathway, encounters with fellow itinerants, and the occasional ghost-haunted campsite. With a penchant for neologism and literary allusion, Macfarlane seeks out ancient footpaths across an Essex mudflat, on a section of the pilgrim's way to Spain's Santiago de Compostela, within a circumambulation of a Chinese mountain sacred to Buddhism, and sea routes around Lewis. Concluding with Thomas' biographyhe was killed in WWIMacfarlane renders his feelings toward landscapes in ruminative, mysterious hues.(Reprinted with permission of Booklist, copyright 2012, American Library Association.)