Etincelle of Wanderreiten im Havelland has a snack.
Hello to everyone who arrived after the New York Times piece on Sasa and Tav. I’m in the final months of writing book two, so I’m a terrible blogger just now. However, I do have a few long reads in the archives and on other sites, and you’re welcome to dip into them. I also didn’t realise until this week that Amazon has made a US Kindle version of If Wishes Were Horses: A Memoir of Equine Obsession available. It has no US publisher as folk found it a bit too British, but it’s still a good 120,000 words of horse history and memories. Here’s my eclectic long reads selection:
Sasa’s name means “so-so” in Portuguese. It’s a little joke, because the gray lusitano gelding is anything but — he’s a beautiful horse who can, like many Iberian equines, claim descent from the war horses of the Renaissance. Look at Uccello’s “Battle of San Romano” and there’s Sasa’s likeness carrying a Florentine general: compact as a rubber ball, strong enough to balance on his hinds, and with a crested neck that ends in ears tilting forward like his rider’s lance.
This a piece I’ve written for the New York Times‘ Menagerie blog and horses and how we communicate with them. When I publish something I like to provide a little cheat sheet and some links to source material, because most of the readers who like this blog also want to do their own investigating and reading around.
Here’s the paper on horses and heart rates. This is the Uccello painting, The Battle of San Romano, which is at the National Gallery in London.
A little “unpacking” for the term sprezzatura, as some of the sense of the piece got lost in a series of last minute additions and edits. There’s a line missing before that sentence, which is, “My instructor calls this the art of doing bugger all.” Sprezzatura is indeed a Renaissance term, but I’m not sure if it was directly applied to riding by contemporaries. It’s championed by Castiglione in his Book of the Courtier, and there’s a little explanation here. My source/inspiration was a really excellent thesis on riding, the Renaissance and sprezzatura by Treva Tucker, called Destrier to Danseur: The Role of the Horse in Early Modern French Noble Identity. She unpacks it far better than I can in my wee NYT piece, so hunt it out.
This is the page for my memoir, If Wishes Were Horses: A Memoir of Equine Obsession, and some more photos of Tav. You can get a US Kindle edition here.
Here’s a couple of videos of Sasa in action with a much better rider than I (he and Holly Barber are currently ranked 10th in the world in Working Equitation). And here’s the school that owns him: Pine Lodge in Norfolk, UK.
Thank you to artist Christa Joo Hyun D’Angelo for drawing my attention to this work by Brazilian artist Jonathas de Andrade. Andrade organised a race through the centre of the Brazilian city of Recife for the carters who – despite being officially outlawed by city officials who see them as an afront to their notion of a modern, fully urban community – are a daily part of the economy and landscape. It’s called “Uprising” (somewhat wince-inducing but also magnificent photos of the horses at this link):
The rite blessed invisibility in a celebratory existence. The men with the carts didn’t give a fig for the movie, and the project became a pretext for taking the city in a coup and at the gallop. The ground was churned up – the paw, the horseshoe, the horseshit. Characters were incorporated. Any protagonism of the team was wiped out and dissolved into the mass. The front was taken by the horseman, a herdsman minstrel bellowing out improvised verses about the scene, the cart flying along. Forces came to the fore pulling on the reins; rhythm; momentum – ecstasy and disobedience. The sound of the horses’ hooves on the asphalt was multiplied, echoed off the walls of the buildings and spread throughout the city. The sound silenced and set the boundaries of the territory. An atmosphere of a trance being underway. Presence of spirit, incorporation of desire – Pure Candomblé*. The uprising became more that of the tremendous, sensory and corporeal passing into being of formulating policy, and the project gained new meaning from its own reinvention.
More at VDrome.
The Equine Army is a BBC documentary about Britain’s horses and mules in the First World War, and the people who sourced, trained and handled them. It’s on BBC4 today at 8pm, and features yours truly squinting into the sun with a migraine. And some cavalry charging. And mules. And some fascinating stories delivered by historian Saul David.
If you’re interested in finding out more about women, horses and the Great War, here are two lovely long reads I prepared earlier.
Women, Horses and World War One
Russley Park Remount Depot, Women, Horses and Sources
If the history of humans and horses is your scene, you might like If Wishes Were Horses, which takes you from Lascaux to My Little Pony, with many nostalgic stops in between (Pat Smythe and the W H Smith Win a Pony contest, anyone?)
Tommy’s Ark is a collection of first-person accounts of animal life in the trenches of the Western Front, compiled and elegantly edited by Richard Van Emden. This story is from Captain Charles McKerrow, an RAMC attending the tenth Northumberland Fusiliers in 1916.
A very funny thing happened yesterday. One of our transport mules turned up in the transport lines of another battalion, covered with mud. It appears that this mule was affected with colic, right up near the line, three days ago. Llewelyn went out from our HQ and gave it a bottle of whisky. With tears in his eyes he returned to the others and said that the mule had drunk the whisky, given a groan (presumably of satisfaction) and died. He described very graphically how its eyes glazed and it shuddered. A burial party was sent out, but, as it was very dark, could not find it. They went out next night and again missed it. Meanwhile, the mule recovered and went home. Probably, being tight, it thought it had better go to some other transport lines. We are all roaring with laughter at the story.
From Geoffrey Wheatcroft’s review of Jane Ridley’s new biography of Edward VII in the NYRB.
In a scene too lurid for the trashiest episode of Downton Abbey, Sir Charles Mordaunt returned unexpectedly from a fishing holiday in Norway to find two white carriage ponies in front of his country house, and his wife Harriet talking to the Prince of Wales [Edward VII to be], who had given them to her. Bertie left hurriedly while Harriet rushed indoors, but she was dragged back outside by Sir Charles to watch as he shot the ponies.
Mordaunt went on to divorce his wife, forcing “Bertie” to appear in court and deny any connection. Poor ponies.
He rode an Arab horse
That King Darius had sent him. [...]
You could not name the price of this horse,
Because he was so swift, and knew how to spin on his heels.
His back was two colours:
On one side he was white as an ermine,
On the other, black as a mulberry.
Nobody in the world could run beside him.
You can be sure, there was no other
So agile, be they bay or brown.
And he swiftly outstripped the brown and bay, left them flatfooted.
You would have to be mad to want a faster mount.
From the French version of the medieval poem, Roman des Thèbes. My (free) translation. All faults my own.