Robin Ashenden

All my life I’ve wanted to take a narrow boat holiday down one of Britain’s canals but have never got round to it. There’s always been something easier and more pressing, perhaps even a touch more glamorous than a week spent floating around Britain – a trip to Andalusia, a city break, a train-ride round Siberia – but this year, in my mid-fifties, I’m finally making it happen. With my cousin and both our young daughters as crew members, I’ve shelled out on the rental of a four-berth narrow boat – painted a resplendent red and racing green, a bit like a Hornby train.

I spent seven hours yesterday cutting up cardboard boxes into little square pieces with a Stanley knife and stuffing them into rubbish sacks. I’ve just moved house and my home is piled high with bulging black bags and looks like Leicester Square during the Winter of Discontent. Given that I don’t currently have the necessary bin from the council, I could end up living with them forever.  These are just some of the stresses of moving into a newly bought flat. Everyone knows the legal process of buying a place is an ordeal – the multitude of documents you can’t find and questions you can’t answer, the survey that over-stresses all the problems, apparent 11th hour impediments to closing the deal that, as in a Hollywood film, finally evaporate as completion day approaches.

To nearly any English tourist, the small southern Italian town I’m currently living in, half an hour from my daughter’s school, would seem idyllic. It has an old castle, a monastery and olive groves in all directions, but in Puglian guidebooks it barely rates a mention. It’s the scruffy, down-to-earth cousin of richer or bigger towns nearby, places like Monopoli or Bari, but has nearly everything I could want. There are arches and stone stairways, pot-plants everywhere (80 in my alleyway alone), and that delicious, ivory-coloured stone which paves the streets in Puglia and which long use has polished to a shine. At night the street-lanterns turn the white buildings orange, and the sky above is inky blue with stars.

In 2020, the year of coronavirus, I came to a fork in the road. I’d just turned 50, a moment of looking back over your life, realising what you’ve failed to achieve, and accepting there’s only a finite number of years left to you. It was clearly a time for making a change of some sort, something fundamental and radical, and I duly made one. I faced reality, took myself in hand, and decided to switch to a new aftershave.  Until then, it had been Dunhill Edition all the way. Launched in 1984, it had caught me in my mid-teens, was my first taste of adult sophistication (Jeremy Irons wore it!) and it hadn’t really occurred to me in the intervening decades to wear anything else.

On visits to the continent as a child, what struck me was the strangeness of other European countries. Going to France or Italy, pre-internet, you cut off your connections to the outside world, and even got the British news a day or two late. People ate horse meat, tortellini in brodo or croque monsieurs, and the kids drank Orangina and watered down wine. The smell of black tobacco smoke – dignified and with a kind of ancient wisdom to it – seemed to permeate every public building. But what you also noticed was the cars – Renault 4s on the Riviera, Citroen DS-23s in Paris, and in Italy, overwhelmingly, the tiny, toy-like Fiat 500, a design classic thrumming with character and a part of postwar history.

I suppose there are people who stay in four or five-star hotels all their lives and become a kind of expert in them, turning their noses up at rooms I would regard as the acme of comfort, but since my parents stopped paying, I never have. In adulthood my standards have plummeted and, as a traveller, I’ve stayed in any number of grotty places. I’m not complaining either – you have much more fun in life when there’s nothing to protect you from what Maxim Gorky, in a lyrical moment, called the ‘lower depths.’  None of this was erotic in any way but had a kind of anthropological edge to it My real travels started when I moved to Estonia at 26.

A year or two ago I got my first expensive watch, a Longines Conquest Heritage. It wasn’t quite my dream timepiece – that was a 1960s Omega Seamaster automatic (think Bond films at the Sean Connery stage) but these are priced off the scale and need plenty of specialist upkeep. The Longines Conquest, very much out of the same retro stable (it’s a copy of a 1954 model) was selling at a discount before they upped the prices and released a new model in a much bigger size, and as I have wrists more or less the width of fettucine, it was clearly time to act.

As a young man I sought out the company of much older people in the arts, feeling they had some secret to life, often the same one in different guises, which I wanted, needed to discover. In the let-it-all-hang-out youth culture of the 1990s I felt awash, and the elderly (which to a 20-year-old meant anyone over 60) were also kinder, less threatening, more generous with their time. Two people who influenced me most were Daniel Farson – roistering Soho writer and broadcaster, a kind of modern-day Toby Belch – and Karin Jonzen, a septuagenarian Swedish sculptress with a studio off the King’s Road. It was all pure gold, a kind of heightened life you swore you’d always strive for Dan I met by design.