Beer – FOOD, FILMS 'N' TINGS

Leipzig, Bach and Kaffee

Leipzig is a city located in the eastern part of Germany in the state of Saxony. Although badly bombed during WWW2 and unsympathetically rebuilt under Soviet rule, it is still an attractive city, popular with visitors (especially classical music aficionados) as during the 18th and 19th centuries it was a centre of learning and culture, with famous composers like Johann Sebastian Bach, Felix Mendelssohn, and Richard Wagner all working in the city.

Bach is particularly associated with the city. He spent the last 27 years of his life in Leipzig, from 1723 until his death in 1750. During this time, he held the prestigious position of Cantor, or Directore Chori Musici Lipsiensis, which meant he was responsible for directing the choir and music in the city’s churches.

The Organ console from Johanniskirche, St. John’s Church, which Bach was known to have tested and played after its installation.

In addition to his work as Cantor, Bach was also a respected organist and harpsichordist. He was involved in the design and construction of several organs in Leipzig’s churches. In particular, St. Thomas Church (Thomaskirche) and St. Nicholas Church (Nikolaikirche) both have strong associations with Johann Sebastian Bach.

At St.Thomas Church, Bach served as the music Director (Thomascantor) from 1723 until his death in 1750. Many of his most famous works, including the St. Matthew Passion, were premiered at the church. He is buried in the church crypt and his grave is marked with his name as the sole inscription. ‘Joh. Sebast Bach’. The crypt was not the original resting place for his bones as his body was originally buried in an unmarked grave in the cemetery of St. John’s Church (Johanniskirche). The church , which was located just outside the city’s Grimma Gate, was destroyed by aerial bombing during WW2.

Over time, the exact location of Bach’s grave was lost, but in 1894, church officials decided to search for Bach’s remains during renovations at the church. According to local lore, Bach was buried “six paces from the south door of the church,” and excavators focused their search in that area. On October 22, 1894, diggers found a plot that matched the description and discovered Bach’s oak coffin, one of only twelve oak coffins buried at the church in the year of Bach’s death. The bones were transported in an open zinc casket on the back of a handcart to St.Thomas Church. The remains were later confirmed to be those of Bach through various analyses, and in 1950, 55 years after the discovery, Bach’s remains were reinterred at St. Thomas Church in Leipzig, to commemorate his role there as Cantor.

However it was St. Thomas Church which was to play a key role in the protests against the Soviet controlled German Democratic Republic (‘GDR’) in 1989. The protests began in September 1989 with a weekly prayer service at St. Nicholas Church. Protesters gathered in front of the church and marched to Augustusplatz, where they held peaceful candlelit demonstrations to demand democratic reforms and the right to travel freely. These peaceful demonstrations, known as the “Monday demonstrations,” grew in size and intensity over the following weeks, with tens of thousands of people taking to the streets to call for freedom and democracy.

On October 9, 1989, the largest of these demonstrations took place, with over 70,000 people marching through Leipzig’s streets. The GDR security forces did not intervene, marking a turning point in the protests. Within weeks, the Berlin Wall fell, and the East German government collapsed.

Leipzig’s role in these events is often referred to as the “Peaceful Revolution” and is considered a key moment in the broader movement for freedom and democracy in Eastern Europe.

Leipzig played a crucial role in the fall of the GDR, as it was the site of peaceful protests that eventually led to the opening of East Germany’s borders and the end of communist rule.

Despite attempts by the East German authorities to suppress the protests, they continued to grow in size and spread to other cities across East Germany, leading to the eventual reunification of Germany.

Those original protesters in September 1989 had headed away from St. Nicholas Church to Augustusplatz, the most important public space in Leipzig. The square is surrounded by a jumble of disparate architectural styles culminating in the monolithic Opera House which stands at the northern end of the square.

The history of the Leipzig Opera House is one of destruction and reconstruction. The original venue, known as the Oper am Brühl, was built in 1693 and opened its doors that year. Unfortunately, this original opera house was found to be in a dangerous state in 1719, leading to its closure in 1720 and demolition in 1729. A new venue was eventually built in 1842 (‘the Semperoper’) but this was destroyed by fire in 1869.

The original Leipzig opera house, known as the Oper am Brühl, was built in 1693 and opened its doors on May 8th of that year. Unfortunately, the original opera house was found to be in a dangerous state in 1719, leading to its closure in 1720 and demolition in 1729. It took a while for a new opera house to be built in the city, the Semperoper which was constructed in 1841 but destroyed by fire in 1869. A further opera house was created, the Neues Theater which served as the city’s premier music venue until it too was destroyed during the air raids of World War II in 1943.

The Neues Theater hosted many famous musicians and performers, including Richard Wagner, who premiered his opera “Die Meistersinger von Nürnberg” at the theater in 1868. Other notable musicians who performed at the Neues Theater included Giuseppe Verdi, Pyotr Ilyich Tchaikovsky, and Johannes Brahms.

After the destruction of the Neues Theater during the war, it was not until 1960 that a new opera house, the current Leipzig Opera, was built on Augustusplatz.

The Leipzig Opera House was the only new opera building constructed in East Germany during the 41 years of the GDR regime, and it remains an important, if somewhat unsightly, cultural landmark in the city today.

The opera house was designed in the socialist modernist (aka socialist realist) style that was prevalent in East Germany and elsewhere in the Soviet controlled territories of East and Central Europe during the 1950s and 1960s. Monumentality, uniformity, a functional design and simplicity are all key characteristics of the style, one you can see embodied not only in the opera house in Leipzig but also in the Palace of the Parliament in Bucharest, the Stadthalle in Chemnitz (formerly Karl-Marx Stadt) and the Palace of Culture and Science in Warsaw.

*Old post card view of Chemnitz with the StadtHalle to the rear on the right*

Leipzig declined as a city during the Communist years but is now very much on the up, especially with the young and creative who are flocking to a city dubbed the ‘new Berlin’ for its arts scene, cheap rents and overall ‘vibe’. To date it has avoided obvious gentrification with the negatives that process entails although how long the city can avoid the pitfalls of ‘hip’ popularity which have befallen other cities.

In particular, the city’s local authority has been especially supportive of the arts and it has helped to create an environment where creativity and innovation can flourish by providing funding and resources to help transform former industrial sites into creative hubs. It has also encouraged the development of new art galleries and exhibition spaces. As a result, the city is attracting artists from all over Germany and elsewhere in Europe with its affordable studio space. In particular, the Leipziger Baumwollspinnerei is especially noteworthy in this respect. It is a 10-hectare industrial site in the city’s Lindenau district where over 100 artists’ studios and eleven galleries and exhibition spaces, with approximately 120 independent artists creating their work on the site. Resident artists pay rent to have a studio or exhibition space at the Leipziger Baumwollspinnerei. The rents are comparatively low with some paying around 200 Euros per month for a shared studio. Other noteworthy creative spaces include the Taptenwerk, with its mix of galleries, workshops, Westwerk with its artist’s studios and Monopol, the former liqueur warehouse which now houses painters, actors, musicians with it’s pertinent motto of ‘leben, kunst and gutes karma’ (‘love, art and good culture’). Leipzig seems to be avoiding (at least for the present) the fate which has befallen other former creative hot spots such as London and New York when the onset of gentrification is so advanced, only the wealthy can afford to live in formerly bohemian neighbourhoods, where your neighbours are no longer writers per se but copywriters.

Alongside its art scene, Leipzig is home to a proud coffee house culture which, although far less vibrant than a city like Vienna, are still great places for both a kaffee and. Leipziger Lerche, a ubiquitous treat in the city of shortcrust pastry filled with crushed almonds, nuts and strawberry jam. Although Bach’s favourite coffee house in the city, Cafe Zimmermann (where several of his work including the Coffee Cantata were first performed) is no more, there are still around 11 popular cafes and coffee roasteries in the city.

Our favourite coffee house is the Cafe Riquet in the centre of Leipzig, standing as it does between car parks. The surrounding area, like much of Leipzig, was heavily bombed during World War II. The cafe itself suffered significant damage, with large parts of the pagoda and first floor being burnt. However, the building was able to survive the war, and was eventually restored to its former glory.

The original Cafe Riquet in Leipzig was founded in 1745 by a French Huguenot named Jean George Riquet. He established Riquet & Co, a company that specialized in importing exotic items like tea, coffee, and chocolate. The owner later included a public coffee dispenser and the cafe grew from that. The current building, with its two elephant sculpture heads flanking the entrance, was built in 1908. The interior features ornate wooden carvings, vintage furniture and wooden panels that create a warm atmosphere and a place to linger, especially on a cold day.

The café is known for its speciality coffee (variously Kaffee Riquet, Elefantenkaffee, and Pharisäer) and cakes, including, of course the Leipziger Lerche.

Food wise, whilst you can eat well in Leipzig (and the city has no shortage of Munich style beer halls), overall other German cities we have visited recently (e.g. Kőln, Hamburg and Munich) have a far more diverse restaurant scene in our opinion.

Still, if you want a schnitzel and a beer…..

Köln, Kölsch and Cola

Köln (aka ‘Cologne’) is the fourth largest city in Germany. Devastated by the extensive bombing campaigns of Allied aircraft during WW2, the city is essentially one of concrete, steel and glass and some what ‘thrown up’ in nature. So great was the bombing devastation that is some way past the interchange at Barbarossa Platz (where the southbound U Bahn to nearby Bonn rises to the surface), before you are amongst the older suburbs of turn of the century housing. Köln is, not a pretty city and there is, a fair amount of homelessness (even in the airport) and urban grime. Like Berlin or Hamburg, there is nothing neat or ‘twee’ about the place. Nevertheless, the city is friendly, cultural and full of character and it reminds us in a way of Manchester in the North of England.

Three key city landmarks spring to mind. Most important amongst them is the Cathedral, the Kölner Dom, it’s outline of blackened sandstone visible from miles around. It is the largest Gothic church in Northern Europe and is Germany’s most visited landmark.

Second in importance in our opinion is the Hohenzollern bridge with its three distinctive arches. It runs east of the main train station and crosses the Rhine. It is used by both pedestrians and trains and with the exception of the walls of hideous ‘love padlocks’ which line the railway fences along the bridge, it is an otherwise pleasant way to walk across the Rhine to the other side.

Clearly visible from the bridge are another city landmark, the three Kranhaus buildings of the Rhineauhafen urban regeneration area. The area was once a commercial harbour for loading and unloading goods from Rhine barges. Now the area’s most eye catching buildings, the three ‘Kranhaus’ loom over the river as if they were modern day harbour cranes of glass and steel.

Rhineauhafen is a commercial and aesthetic success in our opinion as is the revitalised MedienHafen district of nearby Düsseldorf, another former harbour area now a media industry district distinguished and enlightened by impressive architecture including Frank Gehry’s Neuer Zollhof buildings

Düsseldorf is forever associated with the artist Joseph Beuys who was the professor of monumental sculpture at the city’s art college, the Kunstakademie. The artist Paul Klee had also taught at the Academy.

Joseph Beuys outside the Kunstakademie. ‘Wer nicht denken will, fliegt raus’.

Kõln and Düsseldorf between them produced two of Germany‘s most innovative and influential music groups, Can from Köln and Kraftwerk from Düsseldorf. You cannot underestimate the influence the music of these two groups had on popular Western musical culture from Rock to Techno, from Hip Hop to Electronica. If you add Donna Summer (who was identified with the Munich scene) to the work of Can and Kraftwerk you more or less have the blueprint for the electronic dance music of the UK and USA which was to evolve in the 80s and 90s

Kraftwerk even extended their influence to London’s ‘Ebony Steel Band’. They who covered Kraftwerk songs in their 2021 album ‘Pan Machine’. The album’s name is a pun on Kraftwerk’s 1978 album ‘Man Machine’, a ‘Pan’ being the nickname of the oil drums played in a Steel Band.

As for classical music, the nearby city of Bonn (easily reached from Köln by U- Bahn) is the birthplace of Beethoven. His family home, the Beethoven House, is the most popular attraction in the city for visitors.

Köln is especially well known for two popular drinks, the first is a soda (‘afri cola’) and the second is the local style of beer known as ‘Kölsch’.

Afri cola is a very high caffeine (250m/L to Coca Cola’s 32 m/L), ‘old fashioned’ tasting local soda, first manufactured in Köln in 1931. The birthplace of the drink can be found in the grounds of the Courtyard by Marriot hotel on Dagobertstraße, north of the main train station. The original stoneware tanks used in the production process of the drink‘s syrups are housed in the hotel’s reception area, afri cola graphics adorn the walls.

The drink’s popularity peaked in the 60’s when the brand was advertised on German TV via a ‘risqué’ TV commercial by Ad Director Charles Wilp whose 1968 creation for the brand featured super stars of the day Donna Summer, Marianne Faithfull, Amanda Lear, and Marsha Hunt as well as a leather clad biker and a moustachioed Vietnam era US soldier with the commercial set to a discordant sound track.

https://youtu.be/RW-_8okYW5I – follow the link to the 1968 advert, well worth watching.

Although it had been hugely successful, the drink was more or less discontinued by the 1990’s. Foreign competition from the likes of Coca-Cola, a change in the recipe and a reduction in the caffeine content all contributed to the brands’s demise. However, the drink was revived thereafter with its original, taste, high caffeine content and logo resurrected. The drink is readily available all over the city including at an atmospheric bar/restaurant, the Gaststätte Max Stark on Unter Kahlenhausen, near the cola’s original source on Dagobertstraße.

The Max Stark is also a great place to drink a glass of the city’s unique beer, Kölsch. a light, fine tasting drink. The term Kölsch is a protected designation of origin in the EU and it can only be used for a specific type of beer made within 50km of Köln and which has been brewed to a defined standard.

Kölsch is served in a tall, thin glass known as a ‘stange’ in small 200mm measures. The glasses keep the beer cold and help it to retain a frothy head.

Kölsch is traditionally served by rather ‘stern’ waiter known as a ‘kobe’ who circles the bar handing patrons glasses of Kölsch from a circular tray known as a ‘kranz’ . Each time a customer takes a beer the waiter marks a piece of card with the tally. As is the custom with the Brazilian currasqueria, the kobe will continue serving until the customer places a beer mat over the glass indicating that they have had enough.

Inside, the bar is cool and dark. Older regulars line the tables to the left as you walk inside. To the right is the main restaurant area with it’s fulsome plates of German food and, of course, Kölsch.

Nevertheless, in our opinion it is Turkish food that reigns supreme in the city.

Prost!

Munich, Art and Beer

The Haus der Kunst (‘House of Art’) is a contemporary art museum located on the corner of an intersection where Von-der-Tan Straße becomes Prinzregentenstraße in the city of Munich. Whilst the museum exhibits art of the present, the museum building itself dates from 1937 being originally built under the Nazi’s to house work that regime considered true ‘German Art’. Hubert Wim, a pro-Nazi artist explained at the time that the latter exhibition was about the “representation of the perfect beauty of a race steeled in battle and sport, inspired not by antiquity or classicism but by the pulsing life of our present-day events”.

In reality the Exhibition staged the kind of pompous, sterile rubbish beloved of fascists everywhere. Meanwhile across town at the Institute of Archeology in the nearby Hofgarden, the Nazi’s staged a counter presentation of work the regime hated, work which they felt evinced the ‘moral decay’ of the Weimar era. That exhibition was of ‘Entartete Kunst’ (‘Degenerate Art’) and it featured work drawn from the modernist spheres of Dada and Surrealism. The Exhibition’s raison d’être was the mockery and denigration of the avant-garde by linking it’s concepts with an alleged Jewish-Bolshevik plot to undermine the ‘wholesome family values’ of the Nazi state.

The exhibits at that exhibition were a small portion of the 16,000 art works seized at the time which the State deemed ‘degenerate’. Many of these works were then sold by the State overseas for “hard“ cash“ whilst some 5000 were burned in Berlin, mirroring the ritual destruction of thousands of literary works in book burnings across Germany a few years previously.

Paintings by artists of the calibre of Otto Dix, Marc Chagall, Wassily Kandinsky, Paul Klee, Emil Nolde, George Grosz went on show at the exhibition. The works were deliberately hung askew on the walls with adjacent graffiti mocking the artists and the subject matter of the paintings. The idea was to rubbish the art by presenting the paintings as morally and artistically worthless.

Portrait of the journalist Sylvia von Harden, 1926 by Otto Dix

Unsurprisingly, given the quality of the artists whose work was on involuntary display, the Exhibition of Degenerate Art attracted significant crowds of visitors whilst across town the dismal counter event of the Nazi approved Great German Art Exhibition drew a far smaller crowd

Today, the Haus der Kunst looms somewhat forlorn and sullen on the Prinzregentenstraße in the centre of the city where it stands as a space for contemporary modern art, the exact opposite of it’s original function. In its interior it’s cool, spectral rooms and corridors eventually end up at the surprisingly elegant and atmospheric Golden Bar. The murals in the Golden Bar date from 1937 and it’s centrepiece chandelier came from the Hotel Savoy in Zurich.

Beautifully renovated in 2010, the Golden Bar opens out on to a terrace whose columns are crowned with a lengthy banner of Yiddish slang, Meshugener, Alter Kocker, Pisher, Plosher….The banner is an art work named ‘The Joys of Yiddish’ by the American artist, Mel Bochner and it is now a permanent fixture, having originally been exhibited in 2013 and then reinstalled in 2021. The banner’s text is rendered in yellow letters on a black background, the same colours used for the ‘Star of David’ patches and armbands worn to identify and denigrate Jewish citizens.

Modern Art survives in splendour in Munich and of the city’s many galleries a special mention should be made of the Pinakothek der Moderne, one of Europe’s largest collections of contemporary design, architectural and artistic installations.

Classic designs at the Pinakothek der Moderne

The museum exhibits include a favourite of ours ‘Sledge’ by the artist Joseph Beuys as well as a reproduction of the iconic image of that artist titled ‘La rivoluzione siamo Noi’ (The Revolution is Us) produced for an exhibition in Naples 1971 featuring Beuys striding towards the camera in his trade mark fedora and fishing vest.

According to Beuys, his art was shaped by his experience as a Luftwaffe pilot during WW2 when the plane he was flying was attacked and shot down and he crashed into a Crimean landscape peopled by nomadic Tartars who saved him from freezing by wrapping his body in a heat retaining mix of felt and fat before taking him to safety on a sledge pulled by dogs. A wonderful story indeed and one upon which Beuys built his mythology. Nevertheless, as influential on Beuys though it may well have been, the story is probably little more than fiction.

‘Patti Smith 1’, a large scale painting by the Swiss born artist Franz Gertsch also hangs at the Pinakothek der Moderne. The work is the first in a series of five paintings of the American poet/musician by Gertsch dating from 1977. Four of the five paintings in the series were created by Gertsch from a poetry reading Smith gave at Galerie Veith Turske in Cologne in 1977 on the anniversary of the death of Arthur Rimbaud. An illicit recording was made of the performance and later released on a cassette tape. An article Smith wrote for ‘Hit Parader’ magazine about her visit to the city at the time can be found here http://www.up-to-date.com/bowie/heroes/smith.html.

Around the corner from the Pinakothek der Moderne is another modern art gallery, Museum Brandhorst with it’s distinctive ceramic exterior.

The museum has a permanent exhibition of the work of the late American artist, Cy Twombly, one of the largest collections of work by the artist in the world. In fact, the entire first floor of the museum is dedicated to his work. This is not so surprising as Twombly had a special relationship with Munich, a city where he exhibited frequently and of which he was exceptionally fond.

Behind the Brandhorst and back to the grounds of the Pinakothek der Moderne we found a welcome collection of food trucks and a hopeful dog at a cheese stall.

The dog should have made it’s way to the Viktualienmarkt a daily food market in the center of Munich near the St Peter’s church! Dating from the early 1800’s the market has over a 100 food and craft stalls as well as the city’s most central beer garden.

There is also a smaller beer garden at the ever popular Kleine Ochs’nbrater with its organic sausages, pretzels, fried potatoes, cabbage and, of course, wheat beer from the local Landshut brewery. Much as we loved the food, beer and busy ambience at this café, we felt that overall, the curry wurst in Berlin is generally better than the same dish in Munich.

….but if beer is your drink of choice, you have come to the right place. Munich is indeed a beer drinkers paradise with some of the best breweries in the world within its environs. Our favourite ‘staple’ is the Paulaner Münchner Hell, a classic light beer dating from a brewery first established in 1684.

Modern craft breweries are also making their mark on the Munich beer scene with the Schiller brewery particularly noteworthy. The brewery is housed on their premises on the Scillerstraße which is near city’s main railway station. Their copper mash and brewing tuns are housed at the front of their premises whilst their beer is served with very traditional local food in the restaurant behind. Their beers range from light and dark brews to a classic wheat beer. Food includes sour vinegar dumplings, schnitzels, pork and potatoes.

Finally, we will let another poet , T.S.Eliot, an influence on both Patti Smith and whose poem ‘The Waste Land’ was of particular interest to Cy Twombly. Elliot mentions two Munich locations in the extract from the poem below.

“April is the cruellest month, breeding
Lilacs out of the dead land, mixing
Memory and desire
Summer surprised us, coming over the Starnbergersee
With a shower of rain; we stopped in the colonnade,
And went on in sunlight, into the Hofgarten,
And drank coffee, and talked for an hour. “

T. S. Elliot, “The Waste Land,” 1922

Court Green, Plath, Patti and Beer

Court Green is a house in the county of Devon in the far south west of England. It was the home of poets Ted Hughes and Sylvia Plath. Plath wrote most of her celebrated Ariel collection of poems whilst living with Hughes at Court Green. When the couple separated, Plath moved to London with her two small children to the house where WB Yeats had once lived. It was here that she committed suicide in 1963.

Hughes continued to live in the house until his death in 1998. A ‘secret’ stone memorial lays on a remote hillside on nearby Dartmoor. The memorial, especially requested by Hughes, lay undiscovered in its moorland location for years until it was uncovered by walkers. Although the memorial stone and its whereabouts were known to friends of Hughes, it’s exact location was kept secret to prevent it becoming a shrine to the poet.

By way of a contrast, the grave of the poet’s former wife, Sylvia Plath is very much a shrine to the late author, attracting visitors from across the world.

Sylvia Plath is buried in St. Thomas’ Churchyard in the village of Heptonstall in West Yorkshire. The village lies above the historic town of Hebden Bridge. It is surrounded by rugged moorland. Although she had separated from Hughes at the time of her death, they were not divorced. Hughes was from the village of Mytholmroyd near to Heptonstall, and he chose the latter as the site of her burial.

Heptonstall is, a small, cobblestoned settlement of a couple of pubs, a post office , a gift shop and a great café for coffee and cakes. It is a mixed community made up of those from the locale and incomers to the area attracted by the village’s picturesque beauty.

Sylvia Plath’s grave can be found in the New Cemetery which is to the left of the church. As you approach the headstones looking for her plot, an elderly gentleman called Stuart may well be waiting close by to guide you to the site. He is a charming, helpful individual who has lived in the village his whole life. He knew the Hughes family and although he did not know Sylvia Plath, his care in maintaining her grave and his assistance to the many admirers of her work who come from far and wide to visit the site, has earned him the gratitude of her surviving daughter Frieda (Plath’s son Nicolas committed suicide in Alaska in 2009). Stuart keeps a record of the number of visitors to the site and where they are from. As well as visitors from the UK, well wishers from all over the world (especially the US) make their way to the grave, many leaving a pen in a container under the headstone which has been left there for that purpose.

The jar full of pens is just about visible

When we visited, the full name Sylvia Plath Hughes was clearly visible on the headstone although the name Hughes appeared to be somewhat faded. Stuart explained that some admirers of the poet blamed Ted Hughes for her suicide and tried to deface the name Hughes on the headstone. Stuart had cleaned up their attempts and had been personally thanked by Frieda for his efforts apparently.

One American visitor is poet and musician Patti Smith who has made the journey to the grave several times. Her memoirs ‘M Train’ from 2015 recounts her three visits to Plath’s grave including one she made with her sister who was keen to visit nearby Brontë country, a location especially popular with Japanese visitors who are especially enamoured of the sisters.

Smith is reverential towards other great artists and her M Train memoir describes her visits to the Japanese gravestones of poet and ultra nationalist Yukio Mishima, Ryūnosuke Akutugawa, father of the Japanese short story, and the revered author Osamu Dazai. All three had committed suicide.

Schrader’s outstanding ‘Mishima: A Life in Four Chapters’

The grave of another American poet, Asa Benveniste also lies in the churchyard. His gravestone reads “Foolish Enough to Have Been a Poet”. Benveniste was not only a poet but a publisher as well. As the founder of the Trigram Press in London in 1965 he specialised in publishing the work of Beat Generation writers including William Burroughs and Gregory Corso.

Patti Smith is a clear fan of the Beat writers. She told the Beatdom literary journal in 2012

‘I was very attached to William [Burroughs]. I knew Gregory, Gregory Corso, very well…

I was very privileged to know these people and I had different relationships with them all. Gregory was very, very important to me in my learning process of how to deliver poems live…and in my reading list.

But William was the one I was most attached to. I just adored him. I had sort of a crush on him when I was younger and he was very good to me.’

Asa Benveniste once ran a bookshop in the nearby town of Hebden Bridge, a cultural place in its own right. The town has an excellent venue in The Trades Club where many great performers (including Patti Smith) have played over the years.

We do not know whether Patti Smith visited the grave of Asa Benveniste when she visited Heptonstall as she does not mention the poet’s grave in her writing to the best of our knowledge.

What we do know is that Patti Smith is, like us, a cat lover having kept the animals since childhood.

Patti Smith in 1974. Photo by Robert Mapplethorpe

Sylvia Plath was certainly a feline admirer. As well as writing the poem ‘Ella Mason And Her Eleven Cats’ she created the following drawing in 1956.

The churchyard at St. Thomas’ is no stranger to cats. Whilst we stood before Plath’s headstone, a large black beastie who Stuart named as Otto was roaming through the graves a few feet away. When we approached him he slunk further into the brambles, his tail swishing behind him.

Sylvia Plath was both influenced by the wild Yorkshire moors and by the Brontë sisters and Wuthering Heights in particular. The Brontë family home was at Haworth, a few miles from Heptonstall.

Plath wrote the following in a letter to her mother in the US in 1956 after a visit to the moors and the Brontë home in Haworth in 1956.

‘I never thought I could like any country as well as the ocean, but these moors are really even better, with the great luminous emerald lights changing always, and the animals and wildness. Read Wuthering Heights again here and really felt it this time more than ever. ‘

After visiting the grave on an especially bleak winter’s day, Smith made the following comment in her excellent book M Train:

It was such a desolate place in winter, so lonely. Why had her husband buried her here? I wondered. Why not New England by the sea, where she was born, where salt winds could spiral over the name PLATH etched in her native stone?

In an extract from her Journals, Plath describes the moors in a way that only someone who loves them can:

‘…..across the slow heave, hill on hill from any other direction across bog down to the middle of the world, green-slimed, boots squelchy – brown peat – earth untouched except by grouse foot – bluewhite spines of gorse, the burnt-sugar bracken – all eternity, wildness, loneliness – peat-colored water – the house – small, lasting, pebbles on roof, name scrawls on rock – inhospitable two trees on the lee side of the hill where the long winds come, piece the light in a stillness. The furious ghosts nowhere but in the heads of the visitors & the yellow-eyed shag sheep.’

In 1961 Plath wrote her own poem entitled ‘Wuthering Heights’ an extract from which reads

The sky leans on me, me, the one upright

Among all horizontals.

The grass is beating its head distractedly.

It is too delicate

For a life in such company;

In 2013 Patti Smith played a small acoustic set at the Brontë schoolroom in Haworth in aid of the Brontë society. She is an enthusiastic admirer of the sisters as is her own sister, Linda who also visited at the time. She gave a ‘shout out’ to Wuthering Heights’ Heathcliff and Cathy at the gig apparently.

Emily Brontë is buried in the family vault at St. Michael and All Angels’ Church, Haworth.

The village of Heptonstall and the adjacent town of Hebden Bridge are a part of the Upper Calder Valley which includes Cragg Vale which is situated high on the Pennine moorland.

Cragg Vale has two breweries, Vocation (www.vocationbrewery.com) and the Little Valley brewery (www.littlevalleybrewery.co.uk).

Our favourite brews locally are the Little Valley beers. The brewery has been around since 2005 when it was formed after a Dutch farmers son met a Geordie lady (i.e someone from Newcastle in the North East of England) whilst cycling in Kathmandu.

Their beers are 100% organic and better tasting for it in our opinion.

With all these words about poets, Japan, beer and cats, we thought we would ‘attempt’ a Haiku for you.

A Haiku

Wintry eventide

A tiny tabby cat purrs

Enjoying the beer

LIQUEUR, WITCHES AND BLACK CATS

Burnley, a town in the county of Lancashire in the North West of England is not the sort of place that you would regularly find in the Financial Times newspaper. Usually the ‘FT’ reserves its comments to the wealthier parts of England, usually in the South of the country and usually in London. Nevertheless it was pleasure that we came across a fascinating article in a recent ‘FT Weekend’ on Burnley and the town’s reputation as the biggest market in the UK for the French liqueur, Bénédictine. The article is behind a ‘paywall’ and so are unable to link to it here. Nevertheless, we were fascinated to learn that this Northern industrial town was of so much importance to the French producers of this drink.

The French company has an international market for its product in France, the UK, USA and, of course, Singapore where it is a constituent of the famous ‘Singapore Sling’ cocktail.

When the war finally ended, the soldiers of the East Lancashire Regiment brought their taste for the drink back to England and two towns such as Burnley where it is immensely popular usually in the form of a ‘Bene and (h)ot’, Bénédictine mixed with hot water and a slice of lemon. So popular is the drink that the Burnley Miners Club in the town apparently orders around 1000 bottles a year when most bars might order one or two in that time (unless they serve a lot of Singapore Slings of course!).

The venerable old football club, Burnley FC (who play at the delightfully named ‘Turf Moor’ ground) serves ‘Bene and ot’ to its match day fans making it (probably) the only League club where supporters are real enthusiasts for the French liqueur.

Burnley is also the home to several breweries, our favourite being Moorehouse who are based in the town. They have been brewing for 150 years. They produce a superb range of core, craft and small range beers some of whose names (Blond Witch, White Witch, Straw Dog, Black Cat, Pendle Witches Brew) refer to the legends and tales of the nearby Pendle Hill.

Pendle Hill is an eerie and haunting old hunting ground of mystery and infamy.

The Moorhouse website quotes the following lines about ‘Mystical Pendle’:-

‘When the mist rolls in, as it often does, the hill is enveloped in a veil of secrecy and intrigue. It is this atmosphere and eerie presence that still lingers on and can be felt across the moorland and woodland alike. Especially when the mist lingers, or in the dead of night, that this land of rich myths and legends comes to life.‘

Pendle is known as one of the most haunted parts of Britain and it is forever associated with the Witch Trials of 1612 and the execution by hanging of 10 local women accused of the craft.

The names of Moorhouse’s Blond Witch, White Witch and Pendle Witches Brew beers clearly refer to those infamous trials but the names of two of their other core ales, Straw Dog and Black Cat are worth a further explanation.

Straw Dog is the name the brewery gave to a quality golden ale referring (as their website explains) to the locally infamous Demdike, the colloquial name of of one of the alleged witches, Elizabeth Southerns, ‘who gave her soul to a devilish hound, which would carry out her devilish deeds’.

Our personal favourite, the dark mild Black Cat with its luscious overtones of chocolate and mocha, is quite low in alcoholic content, 3.4 ABV (a shock to any Belgians reading this!). It is therefore ideal as a ‘session beer’ i.e. one to enjoy in quantity with your friends over a long winter’s evening without slurring your words as a result! As for its name, once again the Moorhouse’s website explains the connection with the Pendle Witches by noting ‘still guarding Malkin Tower, the Black Cat patrols the ruins, warding off insolent travellers to protect its master’s estate’. Malkin Tower was the home of Elizabeth Southerns aka ‘Demdike’.

The following is an interesting link on Malkin Tower :-

http://www.pendlefolk.com/malkin-tower-rachel-and-andrew-turner-on-their-quest-to-find-the-witches-house/

The name Malkin itself is derived from ‘Grimalkin’, an archaic term for a cat. Cats themselves were thought to be the Witches familiar.

‘I come, Grimalkin’ says the First Witch in Macbeth.

Madam Malkin was the name of a witch in the Harry Potter books.

Above, the 16th century St Mary’s Church at Newchurch in Pendle where the tombstone known as the Witches’ Grave and the “Eye of God” are to be found. One of the accused at the Trials was alleged to have desecrated graves in this churchyard to collect skulls and teeth.

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