{"id":44611,"date":"2024-11-05T10:25:05","date_gmt":"2024-11-05T10:25:05","guid":{"rendered":"https:\/\/suffolkcommunitylibraries.co.uk\/?p=44611"},"modified":"2025-09-23T10:35:26","modified_gmt":"2025-09-23T09:35:26","slug":"meet-the-author-richard-mabey","status":"publish","type":"post","link":"https:\/\/suffolkcommunitylibraries.co.uk\/pt\/meet-the-author-richard-mabey\/","title":{"rendered":"Meet the Author: Richard Mabey"},"content":{"rendered":"

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5 November 2024<\/strong><\/em><\/p>\n

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Richard Mabey is one of our greatest nature writers. He is the author of some 30 books including the bestselling plant bible Flora Britannica<\/em><\/a> and Nature Cure<\/em><\/a> which was shortlisted for the Whitbread, Ondaatje and Ackerley Awards. A regular commentator on radio and in the press, he was elected a Fellow in the Royal Society of Literature in 2012. He lives in Norfolk.<\/p>\n

His latest book The Accidental Garden: Gardens, Wilderness & the Space In Between<\/em><\/a> has been described as “part memoir, part naturescape and part gardening book… there is also something much rarer in this book: wisdom. What a treat\u201d by The Times and \u201cDelightful… The Accidental Garden provides an overview of Mabey’s evolved thinking over a lifetime… Richard Mabey is the doyen of UK nature writing\u201d by New Statesman.<\/p>\n

You can find The Accidental Garden<\/em> and Richard’s other books on the Suffolk Community Libraries catalogue<\/a>.<\/p>\n

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<\/strong><\/p>\n

What was your first introduction to books? Who were your formative influences?\u200d<\/strong><\/p>\n

I wasn\u2019t one of those precocious kids that read Jane Eyre<\/em><\/a> aged four. I was into Biggles and the adventures of Wilson in the Wizard. Then the summer holiday escape novels of David Severn. My first \u2018nature\u2018 book was Richard Jefferies\u2019 Wild Life in a Southern County<\/em><\/a> which I read when I was about eleven. But it was Dylan Thomas\u2019 poetry<\/a> that set me writing. Just the stuff for a romantic teenager. I hitched a lift with a fellow would-be poet to his native village in Wales \u200d<\/p>\n

 <\/p>\n

What is your writing process in the wild – how do you gather your thoughts and observations?\u200d<\/strong><\/p>\n

I don\u2019t have a process. I\u2019ve never taken notes, I just watch and listen and think a lot. It\u2019s the thinking that fixes the memory I suspect, so that my recall, which is pretty good, is already imaginatively processed!\u200d<\/p>\n

 <\/p>\n

You have described yourself as a ‘peerer’. To those of us who enjoy walking and noticing nature around us, how can we become better observers?\u200d<\/strong><\/p>\n

I\u2019m very keen on \u201cwatching narrowly\u201c as Gilbert White put it. But I don\u2019t believe that this is scientific commodification. Knowing the identity and life-ways of other beings is a mark of respect. Who are you? Where do you live? How are things? These are the courteous questions we\u2019d ask of members of our own species. So regard and enquire of our fellow organisms as if they were neighbours. \u200d<\/p>\n

 <\/p>\n

Flora Britannica<\/strong><\/em><\/a> is one of the cornerstones of any good library. What are your memories of writing it?\u200d<\/strong><\/p>\n

The four years spent on Flora B<\/em> were some of the most rewarding of my working life. We reckoned we received the memories and experiences of ten thousand contributors. The field work took me all over the UK: filming for Country File about surviving Christmas superstitions as I walked among the dwarf holly pollards on the Stiperstones, searching for red cowslips in Suffolk churchyards\u2026. I also vividly remember the writing process itself, some of it sitting under the beech tree in my garden in the Chilterns, typing on a smart Toshiba desk portable, surrounded by piles of reference books and the postcard and full length essays of our contributors. \u200d<\/p>\n

 <\/p>\n

Can you tell us a little about your latest book, The Accidental Garden<\/strong><\/em><\/a>?\u200d<\/strong><\/p>\n

Accidental Garden<\/em> is a mixture of memoir, philosophical meditation and documentary. It\u2019s an argument questioning the idea that gardening is about \u201cconnecting with nature\u201d. It\u2019s really just about control. Even when it\u2019s so called \u201cwildlife gardening \u201c we are dictating what goes where.<\/p>\n

Accidental Garden<\/em> is an account of what happens when, in a large part of your plot, you let nature take control , or at least engage in what I call \u201cparallel development\u201d. Watch how seed-ferrying insects and parasitic plants create grassland, how self seeded trees begin new woodland, all based on events in our own garden. \u200d<\/p>\n

 <\/p>\n

What’s next for you?\u200d<\/strong><\/p>\n

At my age I should be forcibly put out to grass! But when you\u2019ve written professionally for sixty years it\u2019s an ineradicable part of who you are. I\u2019ve written a lot about art over the years and I have the beginnings of an idea for a book about how our species has made images of the natural world, from cave painting to land art, and how these images have affected the way we see and think about nature. Provisional title Double Vision<\/em>. In the meantime I\u2019ve finished preparing a new edition of my 1993 book about nightingales, Whistling in the Dark, to be published next spring.\u200d<\/p>\n

 <\/p>\n

You are one of the speakers at the Southwold Literary Festival on Saturday 9 November. What can your audience expect?\u200d<\/strong><\/p>\n

I\u2019m in conversation with Ian Collins, whose latest book is an extraordinary biography of our mutual old friend – and Suffolk\u2019s literary godfather – the late Ronald Blythe. So I expect we\u2019ll be talking a lot about Ronnie, and about how the East Anglian landscape provokes, shapes, inflames and soothes ones writing. \u200d<\/p>\n

 <\/p>\n

You have often been ahead of the curve in our relationship with the natural world – writing about foraging in the 1970s, your TV work paved the way for Springwatch<\/em> and the like and you have written about the relationship between mental health and the natural world. What do you think is the next area we should keep an eye on?<\/strong><\/p>\n

\u200dWe are beginning to understand much more about the intelligence and resilience of wild organisms, and I think there will be much more attention – and respect- paid to their autonomy and agendas, and even rights. We are all still stuck with being human supremacists, but it\u2019s time to recognise that wild beings are equal citizens of the earth, and that we don’t always know what\u2019s best for them. \u200d<\/p>\n

 <\/p>\n

Who do you read if you pick up a nature book?\u200d<\/strong><\/p>\n

I don\u2019t find the current fashion in nature writing very appealing. The emphasis is egocentric, on the self, using the natural world as a mirror for its problems. But I love what I would call romantic ecology, and go back repeatedly to the essays of Lewis Thomas and Annie Dillard. \u200d<\/p>\n

 <\/p>\n

Can you tell us one thing about yourself that your readers may not know? \u200d<\/strong><\/p>\n

At school I sang in a madrigal choir and played lute accompaniments on my guitar. I\u2019ve been an early music nut ever since. Jordi Savall is one of my few heroes.<\/p>\n

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