I am not a beach bunny – even stretching way, way back to my bikini days. I love the ocean – being in, under or on it. But sitting on the sand, even with a book and a beer, palls very quickly. Walking along the beach though is a different matter. There is always something to gather.
My latest collections come from the beaches of St Croix. From one, the delicate little shells of palest pink to the deepest blush. Under candlelight on my dining table they take on a translucent beauty reminiscent of a Gainsborough portrait. From another beach, I gather sea glass, or as my granddaughter calls them, gems, tumbled and tossed ashore by tides and waves beginning their journey from who knows where. What start as bottles discarded by careless souls from boats, end up recycled as smooth fragments of opaque glass often used for island jewelry. Or, as in my home, placed in glass bowls to glimmer in quiet simplicity.
I still kick myself for throwing out a cache of elegant little black and white shells. Classic shell shapes – each striation a marvel of nature’s preciseness. I can’t remember where I harvested them, perhaps Australia, perhaps Thailand, but I liked them enough to carry around the world for about fifteen years. And then in a fit of throwing out, probably before another relocation, I tossed them.
That is the trouble with, or perhaps the benefit of, frequent moves. Each item must be judged worthy of container space. We have a problem with books but I think have, on the whole, reached an amicable arrangement. My husband’s collection of Folio Society books, and those left him by my father, always get a free ride. Reference, history and travel books too. Some novels I refuse to be parted from, Pride and Prejudice or Tess of the D’Urbervilles for example, or those which have struck enough of a chord to warrant a second, or third, reading also get a pass.
But beach novels get the heave ho – no ifs, no buts. Which, considering I am a writer attempting to break into the novel arena and know the agonies of bringing 90,000 words to publication readiness, is very hard to do. I feel I am letting the writerhood down but comfort myself with the thought at least the books will be available for others to enjoy, even if the author gets no royalties from the resale.
A truckload of fabric bought from markets around the world – saris, ikat, batik and so on – has also been a constant, with pieces showing up as curtains, tablecloths and cushion covers in other parts of the world.
And then there is a large box of Mexican tiles. Now they have been an ongoing bone of contention – with each relocation my justification getting thinner. Until St Croix.
Those tiles, lovingly collected over the years, now have a permanent home and there has been a certain amount of “see, I told you I’d use them somewhere!”
Our home in St Croix is in Christiansted. One day we will have a wonderful terrace and garden, but at the moment it is a quarry. We have enough stone to build our very own fort – never mind the one guarding the town and Gallows Bay. But it’s what is between the stones that delights me.
Chaney. Lots and lots of chaney.
Now to people not acquainted with the islands these little bits of pottery and china might just look like, well, little bits of pottery and china. But they’re not! Chaney was currency. Broken shards of table and kitchenware scavenged by children who would then file down the edges, probably on a rock, and use it as money. “I’ll swap you two chaney for a stick of sugarcane” kind of transaction. Early day bitcoins! The term ‘chaney’ is said to be the words – china and money – conflated. Or perhaps, and I have absolutely no evidence of this, chaney came from the word ‘change’. “You owe me two chaney,” sort of thing.
In 2017, chaney is still valuable. This time wrapped in gold or silver and sold as jewelry to tourists and residents alike. Currency of a different kind. These little pieces of china, nearly always blue and white, have though a multitude of uses – all of them artistic. They embellish lintels, become tabletops, or cover vases.
There are four distinct types of chaney: shell edge, a slightly fluted design from mid 1700s England; mochaware, off-white sturdy kitchenware with linear designs from a similar period; flow blue, from mid 1500s Germany when during the glazing process cobalt oxide blurred the design; and lastly the ubiquitous blue willow design, imported from China in the 1700s, and adapted by Thomas Minton for Thomas Turner of Caughley, Shropshire. The willow design depicts the forbidden love between a Chinese Mandarin’s daughter and his secretary. Upon the lovers untimely death, the gods immortalised them as two doves, forever flying together.
And as St Croix once flew under the Dutch flag, I wouldn’t be surprised if some of the blue and white fragments are Delftware.
As I wash each piece of chaney, I wonder about its story. These little shards of china and pottery – history found in our garden. History which will stay in our garden, to one day be incorporated into paving stones and risers. One collection which will not be moving on.