A Year of Wonders Under a Circling Sky

Writer and filmmaker James Murray-White reviews Neil Ansell’s new book. The Circling Sky, an account of a year-long immersion in England’s New Forest, is both a guidebook to close observation and a reflective elegy to place and belonging.


1,680 words: estimated reading time = 7 minutes 


Neil Ansell is a writer of extraordinary sensitivity and insight, and as others have said of his work, it comes from a place of deep and sustained immersion — into the very essence of place. This new work, The Circling Sky: on Nature and Belonging in an Ancient Forest, demonstrates exactly that quality, offering a sensuous and at times challenging journey to get to know The New Forest in Hampshire, southern England.

Showing the cover of The Circling Sky: On Nature and Belonging in an Ancient Forest, by Neil Ansell
The Circling Sky by Neil Ansell

Ansell does know something of the Forest to start with, having grown up nearby. And the memories of his childhood forays into wilding — partly to escape the traumas and unknowing of this time — are made physical again by finding a stash of diaries; they act as a framework to refer to, and finally to grow out from, “the ghost of my childhood self”. The forest called to him “insistently”, and he determined to visit repeatedly over the course of a year; he writes in the preface reflecting back upon that year, just before we all were submerged into these pandemic times. And I’ve been reading The Circling Sky over the past weeks of this lockdown, so it’s been a great gift to visit through his eyes a place I know only a little, walking alongside such a guide during these days of homebound reflection.

“It has been a year of wonders, my forest year. I have had the opportunity to experience so much that I had never anticipated: great clouds of spiralling butterflies, a sea of orchids, flowers that I had never even known existed, sudden, unexpected sightings of creatures of great beauty. A nightjar watching over me as darkness fell, falcons on the wing, hawks and honey buzzards deep in the woods. I have listened to the cackle of the geese on the marshes, and the aching trill of the last curlews. I have heard the woodlark sing, for all its lost chords, and the comforting call of the raven, back at last. The year has been thick with scents, heather and furze and bog myrtle, peat and pine and the sour smell of a boot full of bog water. These things give life new meaning.”

Forest – place and belonging

This is the ideal book to help us navigate a way out from a lockdown deep nature observation to whatever this post-lockdown time may entail for us as a species. It is both a guidebook to close observation and a reflective elegy for space, place, and all the beings that inhabit and pass through — as we do.

He muses on clearings as spaces to reflect within: both the clearings in the forest and the experience of coming out of dense woodland into a wider space, and also internal clearings: finding some space inside ourselves, to think, rest, plan, get on top of things — to meditate, if you like.

Sometimes he walks with maps, and seeks out remnants of human history and habitation; as the ‘dominant’ species, we seek out our ancestry and can turn up astonishing neolithic knowledge, as well as exasperation and fear at the trajectory we are taking ourselves upon.

The recent history of ghettoising gypsies, who had made some of the forest their space for five hundred years, needs to be widely known, and I’m thankful and yet further saddened to read the evidence he shares of the forcible eviction of the Coopers in 1963 — the most recent manifestation of internal cultural colonialism happening on this small isle, following on from the Highland and Fenland clearances, the Irish Famine, the Enclosure Acts and more: ‘civilisation’ turning within itself in grotesque power.

Some of his visits are focused: to revisit some of his childhood camping spots, for example, or to go to certain areas in the hope of engagement with the wild belonging beings; or else they are sometimes simply “an aimless walk in the woods”. Both approaches provide him with an abundance of riches — the glare from a goshawk’s eye is one that springs out, and he finds the rare Dartford Warbler (the ‘fuzzacker’), in a gorse-bush, after many years of looking (“they look like little plums; plums on a stick”). Elsewhere, “great numbers of painted lady butterflies flutter from heather flower to heather flower. This must be a new generation, born here this summer.” And

“I can hear laughter echoing in the distance — not human laughter, but green woodpecker laughter. I look about, but can’t see it: I can’t pinpoint where the sound is coming from. Instead I see a pair of black and white spotted woodpeckers just overhead, rising and falling in flight like they do, crossing the heath from wood to wood.”

Dartford Warbler
Photograph: Dean Eades Creative Commons Attribution-Share Alike 4.0 International https://commons.wikimedia.org/wiki/File:Dartford_warbler.jpg

One eye, however, is on the human scale and how this dominates the land: 

“For the past century or so, the Crown lands have been managed by the Forestry Commission, so there is some commercial woodland here, though the understanding has been that these plantations are not allowed to account for more than a relatively small acreage of the forest. And as public awareness has grown with the understanding that all woods are not equal, and that large, evenly-spaced stands comprised of only fast-growing conifers may result in something close to an environmental wasteland, some have been replaced after felling by a mixed woodland more in keeping with the spirit of the place.”

Photograph showing beech trees in the New Forest
Beech trees in Mallard Wood, New Forest
Photograph: Jim Champion, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=13444789

As a novice bird-knower, I’m absorbed in the book’s engagement with birds as individuals and as groups, and his thoughts on migration routes, seasonal movements, and how they engage and belong, within this specific forest eco-system. Stone-chats, or fuzz-jacks, are ones I’m going to seek out. Another thriving group of animals in the forest are the odonata: the dragonflies and damselflies, abundant thanks to the wide diversity of wetland habitats there.

A circling sky, an obligation to see

Ansell’s book is many things and will inspire readers in many ways. What stands out the most for me is that it is both a deep personal meditation on place and belonging — told by the many visits he makes, the more-than-human and the human that he encounters — and the way of describing place. 

“As a writer who loves nature, it would come very easily to me to just walk through the woods, take joy in the animals and plants that I come upon, and depict them as creatively as I can, along with the many small epiphanies that they bring me.

“But it no longer feels that purely observational writing is enough. The time has gone when I could even write a private nature diary, just for myself, and turn a blind eye to the wider implications of what I see. To delight in an encounter with a rare and beautiful bird, while wilfully ignoring why it is rare, why it is threatened, is itself a deeply political choice, and one which no longer feels supportable. And really, nothing is more political than the way we engage with the world around us. We have an obligation to see the world for what it is, the bad as well as the good, and we have to blinker ourselves to keep on pretending that it is not broken.”

Within a broader polemic on our human relationship with the living breathing more-than-human that completely surrounds us, and how we’ve got to this place of separation and duality, he identifies (him)self as both observer and that-being-observed, and caught within the inherently broken state of being that has created this divide. It is a state that is absolutely wrapped up in the system of resource use and destructiveness. Neil Ansell’s powerful and urgent writing and observation in The Circling Sky is part of the great process of leading humanity back to a merged connection with Earth.


Find out more

James Murray-White‘s pre-lockdown work was completing Finding Blake (2020), a feature documentary exploring the contemporary relevance of artist, poet and mystic, William Blake — with further explorations on the Finding Blake website. His lockdown ‘project’ has been co-ordinating Save the Oaks, a campaign to rescue oak saplings that were scheduled for destruction in a potential ecocide of the UK Government’s making. A future post-lockdown work project will explore regenerative agriculture in the UK, in documentary form.

James is also co-founder of Extinction Rebellion Rewilding and took part in a recent discussion on Rewilding Humanity as part of Ubiquity University’s Humanity Rising series. As the host, artist Stardust Magick, says: “Rewilding is a golden key to how we can reverse things such as climate change, species extinction and pollution. Since we are part of nature, we can also rewild ourselves: inducing states of being extremely present, inspired, expressed, confident and playful.” In this session, James joined author Jay Griffiths, rewilding coach Rachel Corby, poet Huw Wyn and wild food expert and teacher Sunny Savage for personal discussions of why we would want to create, support and encourage rewilding efforts and how we can rewild ourselves. You can watch the recording of their discussions, introduced by Ubiquity University President, Jim Garrison (with the rewilding conversation starting at just over 2 minutes into the recording).

Neil Ansell has been an award-winning television journalist with the BBC and a newspaper journalist. His previous books include Deep Country, Deer Island and The Last Wilderness. The Circling Sky: on Nature and Belonging in an Ancient Forest is published by Tinder Press (2021). You can see a short video from Little Toller Books of Neil discussing his earlier book, Deer Island, and leading a wild life.

The New Forest — ‘new’ when it was created in 1079 as William the Conqueror’s ‘new hunting forest’ — has been a continuously managed landscape for a millennium. It was designated a national park in 2005. It is one of the largest remaining tracts of unenclosed pasture land, heathland and forest in Southern England.

James Murray-White
James Murray-White
A writer and filmmaker linking art forms to dialogue around climate issues, whose practice stretches back to theatre-making.
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