In the churchyard next to Wilmington Priory in East Sussex, I found a yew so ancient and stooped that its trunk had eaten half a gravestone. Its boughs were supported by long poles, a creepy sight that made me shudder. I had come here to see something just as strange, but more benign than this folk-horror vision – the figure of the Long Man of Wilmington on the hillside opposite, on the steep scarp of the South Downs. He treks over the hill, a stave clasped in each hand. Climbing Windover Hill, just beneath the South Downs Way, I saw that while he was once a chalk giant, his lines are now marked with concrete blocks.
The Long Man may be Anglo-Saxon in origin – the shape is similar to the design on a buckle discovered in Kent in 1964 by the archaeologist Sonia Chadwick Hawkes, which probably represents the god Odin (or Woden); but he may be a much later adornment for the hillside, made to be viewed from the priory. His form entranced the photographer Lee Miller and her husband, the artist Roland Penrose, who lived close to the Long Man. Penrose painted a surrealist representation of the Long Man on the inglenook fireplace at Farleys, their home – for them the figure was a protective spirit. It also inspired the composer Avril Coleridge-Taylor, the folk collective the Memory Band, and Benjamin Britten picnicked at its feet.
