She loves the stories hidden in the landscape – particular hedges, the small paths that signify cross-breeding links, farming styles, a new kerbside or a route home. To me Dorothy Hartley is a fellow student following the complex web of how the physical, natural world translates to our daily and cultural material experience.

I slip my hand deep inside the ewe. Reach in turn for one front hoof then bent leg. My fingers meet the inner wall of the ewe’s womb, her muscles ribbed in symmetry with the ridges of the ram’s horns.

As the water poured over the sills we could see it in several different forms: hanging just above the top sill, oily blue, darkly mirroring the sky; falling in a smooth sheet down the face of the weir, sparkling with light; breaking into cataracts that fell like braids; tumbling chaotically over the next sill; and so on down.

I’m writing to you about a tree. A pine tree, perhaps a hundred years old, maybe a little older, that until yesterday stood on a hill at the edge Bridport in Dorset. It’s a tree that you felled yesterday to make way for a new mobile phone mast. I’ll tell you the story as it happened, and at the end I’ll ask you to tell me a story in return.

If you are lucky enough to witness roosting horseshoe bats, you may see them gently swinging to and fro, rather like a gymnast about to start a routine on the high bars. They have switched on their directional sonar and are detecting your whereabouts. They know you are there.

Trees have character, just like animals and people. Some have grown tall and rangy in a rush for elevation; others have a more rounded crown and are already strongly branched. When I am alone among the trees, I often stand under my favourite, a fourteen-footer that spreads its tent of foliage over a young tree’s muscular limbs, and casts a cosy, yellowish gloom of light around me. Seán Lysaght on watching trees grow.