God knows, there are worse views. From high up in the village, our house looks southwest over the orange village rooftops and beyond. Below us lies the whitewashed church, perched on its own hill in the centre of the village, and beyond, up on the next hill, two picturesque windmills and the green field below where white and chestnut horses peacefully graze. I can’t see the river, but the hills of Portugal are almost within touching distance and the river runs between them and the village.
It’s like a scene from a Hollywood movie, a cardboard cutout of an idyllic southern European village. Imagine Mama Mia, or Chocolat, or Jeremy Irons in the final scene of Damage.
It’s just as well that it’s such a pleasant view. Since September I have been staring at that view for more time than I ever could have imagined. To coincide with moving into the house (indeed, because of moving into the house) I slipped a couple of discs in my lower back, leaving me severely incapacitated. I can’t walk very much, I can’t do most of the things I love to do. All those things that draw me to life in the village and the things that make me feel part of village life are, for the moment, out of reach. It’s a strange and unpleasant feeling to be in the village and yet not in the village.
But I have the view. Despite the picture postcard quality of the place, I know this is no cardboard cutout. Behind those pretty whitewashed walls and under those orange roof tiles there is love and laughter, joy and sorrow. And in the hills beyond, the seasons bring change, there are lambs and rock roses and wild flowers.
I am reminded of (though in no way compare myself to) Seamus Heaney’s poem Field of Vision* as I sit looking out on the view from my office desk or from the sitting room. For almost six months I have watched the seasons change, the parched sun-baked golden brown of summer giving way to the bright rain-fed greens of winter and spring. I’ve watched the sky, the bright blue empty sky, and the immense clouds sometimes bringing torrential showers of rain. These mornings I look down on fog, an inversion over the river, like steam rising from a witch’s cauldron.
The changing life of the village is harder to observe from this remove. Like those subtler changes in the landscape, one has to be in the village, rather than observing it from afar, to understand and appreciate its changing moods. I cherish those rare occasions these days, when I get out, when I feel sociable enough to be a part of village life again for an hour or two.
I long for a time when I can once again take a carefree stroll down to the bar and have a coffee or beer with whoever happens to be around, chat with my neighbours when we pass on the street, be spontaneous in my socializing. And I long to get beyond the village, to take long walks in the hills again, to be nose-to-nose with wild flowers, to row across the river in my little red dinghy and walk the smuggler’s trail in Portugal.
I am optimistic that all those things will come my way again. I expect I’ll appreciate them all the more for the months I have spent merely observing life through the frame of my front window.
*Field of Vision
I remember this woman who sat for years
In a wheelchair, looking straight ahead
Out the window at sycamore trees unleafing
And leafing at the far end of the lane.
Straight out past the TV in the corner,
The stunted, agitated hawthorn bush,
The same small calves with their backs to wind and rain,
The same acre of ragwort, the same mountain.
She was steadfast as the big window itself.
Her brow was clear as the chrome bits of the chair.
She never lamented once and she never
Carried a spare ounce of emotional weight.
Face to face with her was an education
Of the sort you got across a well-braced gate —
One of those lean, clean, iron, roadside ones
Between two whitewashed pillars, where you could see
Deeper into the country than you expected
And discovered that the field behind the hedge
Grew more distinctly strange as you kept standing
Focused and drawn in by what barred the way.