It was one of those March evenings where the sun lingers longer than you expect for a land that’s still expecting winter.
I had been writing all day, under the influence of a single dried psilocybe mushroom. In contrast to my sedentary workflow, I enjoyed the feeling of my legs pushing away the ground and graffiti.
I ran alongside Eagle Pond with its magisterial views of the Crown Court, dodging between two boys on push bikes, and brushing the shoulder-slung handbag of a schoolgirl who veered digital drunk into my path.
As I ran into the forest, the water table rose to meet my trainers with a soft spring. Mud sops and splashes. My eyes and feet worked together deftly, skipping over roots, sinking into the sand, to the edge of the mythological Hollow Pond.
The pond is the afterlife of a gravel pit and you can easily imagine how its undulating dunes and hidden beaches inspired a song by Damon Albarn.
It’s Swallows and Amazons in Central London, paradise for fisher fowl. The swans make perfect mirrors of themselves in the water. Moorhens and coots dip and defend their territory. Canada Geese make a fuss on the shoreline.
Two laps of the skirt of sand that rifts and riles the waterside: I pause on a beachy spit, lie on the scratchy ground and stare out at a forested island, a puff of traffic just beyond the tree line. Fractal oaks against the sundown. A crescent moon hanging among twisted ribbons of cirrus.
Looking around at the amphitheatre of trees, the beech, the oak, the willow and the birch, for a moment I wonder why we can’t see sense sometimes, and I think of a friend who is a very long way away.
On the other side of a lapping inlet, another man is drawn to the water’s edge, where he holds a telephone conversation. I decide to run another lap of the pond, and surprise a woman with a red scarf as I crest a bank of gravel. ‘Glorious evening,’ I say. She looks up from her phone. ‘Yes, it’s lovely.’