Dominic opened by welcoming a full and attentive audience, sharing highlights from the rich programme of events coming up in the weeks ahead, before introducing Ysella Sims, whose warmth and curiosity created a relaxed, free‑flowing conversation with Jon Woolcott. After a brief introduction, Jon began by reading from early in The Tattooed Hills, gently drawing us into his world of chalk figures and the landscapes that hold them. His journeys across southern and central England form the backbone of the book, tracing vast carvings cut into hillsides—white against green—that are at once artworks, landmarks and mysteries. Some are ancient, others surprisingly recent, yet all carry meanings that have shifted over time, becoming emblems for communities while sometimes also sparking reinterpretation.

As the conversation unfolded, it became clear how personal this subject is for Jon. Growing up in Wiltshire among chalk figures, he developed a lasting fascination with their presence and persistence. Horses in particular captured his imagination—forms that feel both elemental and elusive, etched into the land yet never quite fixed in meaning. His book explores not only their history but the wider culture of geography: the stories, beliefs and encounters that gather around these places. There was a thoughtful nod to psychogeography and the ways landscapes shape feeling, though Jon was keen to balance this with storytelling, humour and lived experience alongside the archaeology.

Ysella reflected on how immersive the book feels, and this sense of movement carried through the evening. Chalk figures, unlike stone monuments, are not static. They require continual care to remain visible; without it, they slowly fade back into the hillside. That act of maintenance means each generation plays a part in reshaping them, consciously or not. As Jon described it, these are living artworks, their meanings and even their forms subtly shifting over time, much like tattoos that must be revisited to endure.

The discussion turned to how these figures have been understood across different periods. During the Second World War, some were covered to prevent them being used as navigational markers, a reminder of their practical as well as symbolic role. Jon also spoke about how many more may once have existed, now lost through time and neglect, leaving only traces or stories behind. That sense of absence added a quiet poignancy, a reminder that these landscapes are as much about what has disappeared as what remains.

Folklore naturally ran through the conversation, particularly its renewed visibility among younger generations. Chalk figures form a distinctive part of the English landscape, contributing to ideas of identity while resisting any single interpretation. When asked about Englishness, Jon’s response was thoughtful: these places have been claimed in different ways, but they are also open, shaped by those who care for them and share their stories. His journeys brought him into contact with communities deeply connected to their local figures, and he spoke warmly of the kindness, curiosity and pride he encountered along the way.

What lingered most strongly was that human thread. The miles walked and cycled, the conversations gathered along the way, bring the book to life as much as its research. That sense of connection continued into the Q&A, where one audience member shared their experience restoring a chalk figure as a National Trust volunteer, tending to something as specific as its chin. Other questions touched on newer figures, from playful modern carvings to those created for recent commemorations, reinforcing the idea that this tradition continues to evolve.

By the end of the evening, after a final reading, the shop felt quietly reoriented, as though the landscapes around us might hold more stories than we had noticed before. Jon stayed to sign books and chat with readers.  It was a real pleasure to have both Jon and Ysella with us.

Signed copies of The Tattooed Hills are available in store or online HERE