Britain’s favourite monument is stuck in the middle of a bad-tempered row over road traffic. By Charlotte Higgins (2019)
"Since Stonehenge slipped into the written record in the medieval era, it has been a place to project our ideas of ourselves. It was said, by the 20th-century archaeologist and writer Jacquetta Hawkes, that “every age has the Stonehenge it deserves”.
"And so today’s Stonehenge is not William Blake’s terrifying “building of eternal death”; nor is it Thomas Hardy’s “monstrous place”, where Tess of the D’Urbervilles sleeps her last night before being taken to be hanged. Nor is it even the Stonehenge of the counterculture, where peace-freaks revelled until they were brutally routed in “the Battle of the Beanfield” in 1985, one of the most notorious episodes in the history of British policing".
"Our Stonehenge has none of this grandeur or pathos. Instead, it is at the centre of a peculiarly modern British circus – one that involves an agonisingly long planning dispute, allegations of government incompetence, two deeply entrenched opposing sides, and a preoccupation with traffic and tourism. This absurdist drama, entirely worthy of our times, is a long and bitter battle over whether to sink the highway that runs beside it into a tunnel".
"Since Stonehenge slipped into the written record in the medieval era, it has been a place to project our ideas of ourselves. It was said, by the 20th-century archaeologist and writer Jacquetta Hawkes, that “every age has the Stonehenge it deserves”.
"And so today’s Stonehenge is not William Blake’s terrifying “building of eternal death”; nor is it Thomas Hardy’s “monstrous place”, where Tess of the D’Urbervilles sleeps her last night before being taken to be hanged. Nor is it even the Stonehenge of the counterculture, where peace-freaks revelled until they were brutally routed in “the Battle of the Beanfield” in 1985, one of the most notorious episodes in the history of British policing".
"Our Stonehenge has none of this grandeur or pathos. Instead, it is at the centre of a peculiarly modern British circus – one that involves an agonisingly long planning dispute, allegations of government incompetence, two deeply entrenched opposing sides, and a preoccupation with traffic and tourism. This absurdist drama, entirely worthy of our times, is a long and bitter battle over whether to sink the highway that runs beside it into a tunnel".
