Thursday, June 04, 2026
2026 PLAYLIST - No 14 - Cursive by Mandy, Indiana
Monday, June 01, 2026
SHERINGHAM DIARY No 140 - On The Ethics of Bird Feeding
The usual barometer of when Spring arrives is activity on the bird feeder in our back garden. The number and frequency of birds feeding upon it reaches a new peak, as enthusiastic broods of fledglings come to learn the ropes - Here is a bird feeder. Here is the meal worms suspended in fat Here, is a lot easier than scrounging about for worms and insects in earth, I can tell you. You babes don't know you are born these days. So, pull in your bum fluff and get the hang of it boys and girls. I'm going to take a bath in the water jacuzzi with your dad. What's going on there? Well never you mind, just tuck in and look away.
Robins appear particularly stupid. They try and they flail. They flap wings madly, whilst simultaneously attempting to peck at the feeder. They make real hard work of what ought to be a simple enough task - Land on bird feeder, grip the wire with your feet, extend the head towards the food object, tuck in. Repeat. It's not rocket science. I thought birds and animals were genetically pre- programmed with such abilities. Weeks later does it dawn on Robins finally how you get the hang of it.
This year has been noticeable different. The birds didn't really stop breeding over the Winter, because everything was 'so unseasonably mild', as the weathermen like to put it. This Spring there's been an increased volume of bigger birds trying and failing to make bird feeders work for them. Because, if truth be told, they are too f.....g big. Bird feeders were designed for petite birds, like sparrows, blue and great tits, reed warblers, coal tits, pied wag tails and robins, these have all come to use of our increasingly deluxe boutique bird feeding facilities.
The problem for larger birds is that they are large. And by large I mean more than medium large - blackbirds, jackdaws, magpies, thrushes and woodpeckers. We get mega large wicked looking crows and fat wood pigeons rolling in on their wobbly chassis. Flapping about manically, they get at most a peck or two and then go. It's exhausting just watching them struggle to snip even a small morsel between their beaks Unless you are our local spotted woodpecker, who turns up early every morning, and gets stuck into a hanging half coconut of mealworm fat. This bugger will happily gorge itself till he explodes. I have, I admit, cultivated a disdain for woodpeckers, they are bloody greedy fuckers and are extraordinarily messy eaters, to boot. Throwing as much food left and right and onto the floor as what they eat. No one wants to watch a glutton eat. He keeps the wood pigeons happy though. With a wild scattering of crumbs on the ground beneath.
It got so bad recently, when half coconuts of mealworm in fat were being consumed at a rate of two a day. I mean, I'm not made of money. I just stopped putting them out for half a week. I've tried going to war with them, giving them a preliminary warning - look just don't abuse my generosity guys and gals or I'll get really mean. Larger birds are the bullies of the bird world, they scare off anything small. My getting annoyed,however, is a waste of energy. There is no point in discriminating between small and large birds, no matter how vexing I find the greediness of a spotted woodpecker. They have, I expect, ravenous broods to feed like everyone else. I am penalising all birds if I do that. So I have tried to learn my lesson. Put up and shut up. Through heavily gritted teeth.
As we are buying a lot of fat sticks and half coconuts stuffed with mealworm lately, I have good cause to raise a concerning question. The birds who come into my garden and feed on the bird feeder, am I just training them to be lazy and creating a new obese generation of tits? If I put seed or peanuts or hard fat balls out, they are not remotely interested, far too difficult a digestive problem. My goodness, do fledglings have rubber beaks that can't chew or masticate. Because ours simply want to gorge on the softer mealworm fat. Now I know these are hungry fledglings learning to eat for themselves, but shouldn't I be encouraging them to eat wholesome stuff like insects, things they will consume as adults,? Am I merely storing up trouble for wild birds by making them dependent on me serving up the bird equivalent of a McDonald's Cheese Burger?
AI reaches new nadir
Yesterday, I was trying to type 'Papal sanction' into a blog I was writing. AI apparently knew better what I was really trying to say, and automatically changed it to Pay Pal. It's becoming increasingly the case that as I write my blogs, half the time I am recorrecting the AI auto correct of what I originally wrote. This is the future we are going to be f.....d over by.
Blog Stats For May - 170,357 views.
ART 'N' AB ART - Global Textiles at Blickling Hall
Karun Thakar's fabric collection must be absolutely huge. This is a man totally obsessed with design, pattern, the skills and techniques of fabric makers. And what we see here is only scratching the surface of what he holds in his personal collection. There are some truly stunning pieces of cloth just hung up in the entrance hall alone. What you find as you walk around the house, is that the Indian fabrics are where the strengths of this display are, but there are also some superb Japanese kimono, African and Russian cloth too.
The attempt to link the fabrics to specific individuals from Blickling Hall felt trite, and a bit of a skimpy afterthought. It was on the level of, he worked in India around this time - so what? I would have found it much more interesting for the researchers to have gone into more specific detail on how Indian textile designers adapted to the Western market. How European textile manufacturers took over the production of popular Indian cloth designs. The influence it had on European aesthetics and fashion trends. Not to mention European protectionism of their own cloth making industries. Was there asset stripping of Indian cloth designs? What were the Calico Acts etc ? I suspect it was assembled on a very low budget, hence the poor level of display, or came together hurriedly in a short space of time. I'm afraid this was a missed opportunity, and hence disappointing as an exhibition overall.
CARROT REVIEW - 3/8
WATCHED - Mare of Easttown ( 2021 )
Erin (Cailee Spaeny) is a teenage single Mum. Bringing up a child is not easy for her, and though she loves him to bits, she is struggling. She never gets out much, and rarely meets up with friends her age, or goes on a date. Then one evening she arranges for her son's Father to look after the kid, and goes to a wood where all the young set hang out, to meet a blind date. Erin never returns from this trip. She is found the next morning her body abandoned in a stream, murdered.
Mare Sheehan (Kate Winslet) is a local detective. She's pretty much known or is related in some way to everyone. Divorced, she lives with her catty Mum Helen ( Jean Smart), her eldest daughter, and the boy her son had before he took his life. Her ex-husband lives with his new girlfriend just across the lawn from her house. Mare. Is bad tempered and unpredictable, doesn't really look after herself. She's never really come to terms with the suicide of her son. Solving crimes keeps all that messy emotional stuff at bay, just about. Her police department aren't sure she's able to handle this case alone. so bring in Colin Zabel ( Evan Peters ) as her side kick, which she initially deeply resents. But as the investigation progresses the case and everything related to her starts messily coming home to roost.
Mare of Easttown is by far and away the best crime drama since The Killing. And it shares a few common qualities. It has a great sense of place, the character and landscape that Easttown sits within, the range and type of individuals who live there. The script does not put a foot wrong. It's a crime procedural, but this one has a heart and a soul, that paints a vivid picture of the consequences for people of the murder of someone you loved, of people not being able to handle their grief. The characters are all believably well rounded. They take their time just letting you get to know and love them for all their flaws and eccentricities. All of this makes Mare of Easttown dramatically punchy. By the time you reach the final episode you are left drained and emotionally moved by the overwhelming sadness and tragedy, with all the hurt, betrayal, guilt and loss on screen. Deservedly it won Emmys for the scriptwriting, and the performances of Kate Winslet, Julianne Nicholson and Evan Peters all won gongs.
Highly Recommended
CARROT REVIEW - 8/8
Friday, May 29, 2026
INSIGNIFICANT MOMENTS IN THE FOLDS OF TIME - Learning Moon Language

Wednesday, May 27, 2026
2026 PLAYLIST No 13 - You You You by Arab Strap
Monday, May 25, 2026
FINISHED READING- Another England by Caroline Lucas
In the UK, the far right have basically occupied the high ground in defining what Englishness is. Wrapped in flags, nostalgic for Empire, exceptionalism and clinging to the frail ideal of England as being a morally superior culture. The regular repetition of these major shibboleths has consequently poisoned social and political discourse, to the extent that even a supposedly socialist party believed it had to resort to the same toxic gutter and morally emptied itself of all principle and empathy, in order to curry popularity.
Caroline Lucas, in this perceptive book, looks at what Another England to that of the far right might look like. What dignified role can pride in your, country, people and place have these days? She chose to write this book to put out some ideas of her own on paper, to kick off a discussion. A discussion that left leaning parties are noticeably wary of even broaching, for fear of justifying the very views they wish to oppose. Such is the curious political bind we are in, everyone knows Reform needs to be challenged in this area and their selective use of what is thought to be patriotic, but merely resort to name calling.
What defines a nation is really all about the stories we tell ourselves. Because whatever they are, these manifest in how we relate to and behave in the world, how we treat others, and the environment. And in a country where more and more people are struggling to make ends meet, giving them hope and pride is not insignificant. Lucas begins by utilising our heritage of English literature as an entry point into discovering what that other England might look like. The poetry of John Clare bemoaning the enclosures, the stories of Charles Dickens and Elizabeth Gaskell about the human costs and wrongs of the Industrial Revolution. It's true that as the first modern industrial nation, we also were innovating the social responsibility of capitalists. Pioneering a welfare state and the NHS.
There is also the frequency of protest throughout English history, as an agent for change. How the actions of ordinary people of England have forced social, economic and environmental improvements, stretching from the Peasents Revolt, Kett's Rebellion, Levellers, Diggers, Chartists, Suffragettes all the way to Occupy and Extinction Rebellion. These point to a progressive demand for social, economic and environmental justice running like a positive vein of English blood through them all. This starts to tell you of Another England that isn't regressive or toxically obsessed with resisting the imaginary blandishments of 'wokery'.
She makes some suggestions about a way forward, but this is a work in progress. For this is really about the renewal of our broken democratic contract with the people of this country. That England needs to be better represented as an electoral entity. That practical things like net zero needs to be reached now, not in 2050. We need to stop behaving as if the climate emergency can be put off or delayed. Britain, and it's governments currently have a lack of urgency about this and many other issues, it responds slowly and incrementally, this is somewhat endemic and it's making us all poorer, sick and apathetic.
Don't read this book expecting to find all the answers here, it is simply giving you a few much-needed directional pointers. We all have to discover for ourselves what we believe we want our country to be and then fight for that.
But as James Baldwin so succinctly puts it -
'Not everything that is faced can be changed, but nothing can be changed until it's faced'.
CARROT REVIEW - 4/8
WATCHED - The Way Down (2021)
Tuesday, May 19, 2026
2026 PLAYLIST No 12 - Go Fuck Yourself by Fat Dog
2026 PLAYLIST No 11 - Radiator by Getdown Services
Getdown Services - Radiator
Sunday, May 17, 2026
SCREEN SHOT - Sisu ( 2022 )
Friday, May 15, 2026
FINISHED READING - The Book Of Trespass by Nick Hayes
" Property decides what is proper. It decides what land is for and who land is for. If you can't afford to pay for access to city clubs or country festivals, or if you don't own property spacious enough to create your own community gathering, if no landlord will give you permission, there is simply nowhere for you to commune. As long as what happens on the land is governed by a select few there will never be a society that reflects the values of anything but a tiny minority of its citizens. If we are truly to discover what we have in common, we must be allowed to gather on common ground. "*
Thursday, May 07, 2026
SHERINGHAM DIARY No 139 - When The Chips Are Down
Wednesday, May 06, 2026
CHURCH LARKING - Aylsham Parish Church
Like many Norfolk towns Aylsham benefited from the prolonged boom in wool and cloth trading in medieval East Anglia. A priest was first sent here in 1066, and work on building a church began over a hundred years later. All that remains of that first church is the large Lady Chapel window tracery, the roof and chapel having been heavily refurbished in 1489. Some decorated roof timbers with an 'M' for Mary design, date from this period. This refurbishment undoubtedly brought it up to scratch with the north and south processional aisles that were installed earlier in this period. Viewed from the outside the window nearest the Lady Chapel looks abruptly cut off on one side. As most of the window tracery was replaced in the 19th century this might indicate there was a minor miscalculation in the window layout.
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| Lady Chapel window and painted roof |
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| Lady Chapel - 15th century Piscina |
The remainder of St Micheal and All angels church, the tower and south porch are largely mid 14th century, built under the financial auspices of John of Gaunt, with the chancel being entirely rebuilt a century or so later. So this church was constantly upgraded to the latest architectural fashion, and there was enough surplus money washing around to finance that.
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| A deteriorated bit of stained glass |
The very beautiful east window, with it's four evangelists, unfortunately ended up being partly obscured by the massively imposing reredos placed in front of it. This reredos is notable for two reasons. First, It was designed by John Repton, the architect son of Sir Humphrey Repton, the famous landscape designer, who is also buried in a tomb which rests against the outside chancel wall. Second, the reredos though it looks full on Victorian Gothic Revival, does very cleverly include some of the remaining upper structure from the original medieval roof screen, which sets ones imagination off reassembling it all in one's mind.
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| Medieval rood screen panels. |
Aylsham has managed to retain all sixteen of the lower panels from its medieval rood screen. These portray all the typical saints you would expect. Unusually, they also include portraits of two Aylsham medieval wool merchants who paid for the rood screen to be gilded - John Jannys and Thomas Wymer. The saint's faces have all been damaged or erased during the Civil War, but the original quality of the rood screen painting does however still impress. If you look up to the left of the screen you will find the blocked up doorway that would have provided entry to the rood loft itself. The rood loft, before the age of pulpits, was where sermons would be given, and in the absence of a gallery, where musicians might play. Behind the pulpit you'll find a locked gate and a small spiral staircase that still ascends to that doorway.
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| This staircase once led to a rood loft |
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| 15th century font |
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| Wine glass Pulpit |
Other pieces of church furniture to look out for include a rather fine 15th century font, with its carvings of the instruments of Christ's passion and symbols of the Evangelists. At its base are the coat of arms of John of Gaunt and Sir Thomas Erpingham. There are some worn medieval brasses set into the floor in the north aisle and the altar enclosure. Aylsham also has an extremely rare carved wooden wine glass pulpit from 1637 with its classically inspired panelling. This pulpit's staircase was entirely replaced in the 19th century.
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| Altar sedilia with squint on the right |
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| Through the squint towards the altar |
Just to the right of the altar shrine you will find a squint in the wall that allowed you to view the sacrament. These are normally outside the church looking in, and are often referred to as Leper's squints. Was this squint originally outside, but is now inside. or was it conceived as an internal squint from the start? It is most likely a historical remnant from before the present wider chancel and aisles were installed. Otherwise one might be left to conjecture that Aylsham once had an anchorite cell, or an internal space set aside for ill people to view or take sacrament. Though there is no historical record of either happening here.


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