Wet Grain is a new, print-only poetry magazine published in Glasgow, and edited by Patrick Romero & Christian Lemay.
They describe it as “a new journal interested in the lyric grooves that channel and redirect our apprehension of the world and the ideas implacably fankling themselves within it.”
They were kind enough to include three new poems of mine, ‘Provenance’, ‘Muse’ and ‘Among Antiques’, alongside work by Eloise Birtwhistle, Richard Price, Elle Heedles, Colin Herd and many others. The cover art (and the photo above) is by Lorna Wade.
According to their Editorial, “taken together, then, these poems are germ, ferment and mulch, warm with a latent and malty potential for life and growth”.
Copies are available from the website at £5 plus postage.
F L Y is a new large-format book book published by the municipal gallery in Delmenhorst, Lower Saxony. In it Arne Rautenberg pairs some of his own poems with selected works from the gallery’s collection of contemporary art. Some of the poems were written specially for the project, others are from his earlier collections.
Edited by Dr Annett Reckert, the book is based on an exhibition that ran from March until September. In a year when so much has been postponed and cancelled, or at best moved online, it’s a delight to realise that some real-life projects were still possible.
I’ve translated Arne’s works for many years now, and for the book contributed a translation of his poem ‘gebirgsbach irr’. In English it became ‘hill stream will’, as a way of catching the internal ryhme of the title, as well as the play of meaning around ‘… irr / lichternd’; at one level the phrase refers to the flitting movement of the ‘irr [i.e. the stream], while also suggesting ‘irrlicht’, the will o’the wisp.
I’m just sorry I wasn’t able to travel to see the show. Maybe next year such trips will be possible again.
F L Y (Städtische Galerie Delmenhorst & Muthesius Kunsthochschule, 2020), 284pp. ISBN 978-3-944683-31-7
We put together a portfolio of poems and prints and approached the Book Festival about exhibiting them this year. And then Covid happened… so here they are online.
Although if you do make it to the WBF shop and gallery at 11 Main Street during the festival period (24 September to 4 October), you will be able see a set of Lisa’s prints.
There are nine prints, each featuring a different bird: blackbird, chough, corncrake, goldfinch, heron, herring gull, raven, snipe and wren. All feature in poems I wrote for last year’s WBF, and the prints were made by Lisa in response to the poems in early 2020.
All these birds have been present in Dumfries and Galloway, though corncrakes are now absent, and choughs the rarest of visitors. They, like most of the others, remain present as place-names, even if the languages spoken by those who coined these names are now also either absent or rare.
For example, Drumatrane and Cairnywellan (both from Gaelic) are ridge of the corncrake and rock of the gulls, while Cronkley (from Old English) is the heron’s clearing, and Penfran Burn (Old Welsh) flows down the raven’s hill.
The prints are in editions of 10 and available for sale framed (as singles or as a group of nine) and unframed. Unframed prints are also available by mail order. Please contact email@example.com for details.
Where are the birds taking me?
More far than near more guessed than known more heard than seen
their flight their calls their plumage
bullfinch-red or siskin-yellow black silk of a raven salt-white of a herring gull the blue flash of a magpie’s wing
as sudden as thought as absent as forgetting
to apprehend them requires a focus on stillness
an apprehensive stillness opening all the elsewheres the birds are taking us to.
I was supposed to be working on a Luminate project at the moment, going into care homes and sharing poems and writing activities with residents and staff. Sadly that’s become impossible, so Luminate have been uploading films with ideas for creative activities to their website.
There are quite a few now, and ‘Poems that count’, which I made last week, has just been added. In it I offer 5 ways to write a poem, using the numbers 1 to 5 to get started:
1 a word to start a mesostic
2 opposites – love and hate
3 first person, second person, third person
4 the points of the compass
It was an interesting exercise, working out to present an activity to a person or persons unknown, without the usual opportunity for dialogue or any of the other ways we communicate face-to-face.
If you try any of the exercises, let me know how you get on!
This year’s StAnza artist-in-residence, Astrid Jaekel, chose two poems I’m very familiar with for her festival exhibition, Plastik (Kunst). One is by the German poet and artist Arne Rautenberg, which I’d translated as ‘i declare the plastic debris of the oceans’. The other is George Mackay Brown’s ‘Beachcomber’, a poem I’ve used many times in workshops. Astrid’s lasercuts of the poem can be seen along Rose Street in Edinburgh.
Before the school sessions, I combed beaches on either side of the Firth of Forth, gathering plastic debris. I also prepared a set of of about 80 cards featuring single words relating to the Scottish coast and beaches (pebble, pool, blue, grey, gull, seaweed, boat, wave and so on), and various ‘rules’ for writing a poem using three of these words, such as
write a poem in which the three words appear in alphabetical order
write a poem using one of the three words as the title of the poem, one as the first word, and one the last
write a three-line poem, with each line containing one of the three words; the first line should be about the sea, the second about the land, and the third about the air
In class pupils were dealt a ‘hand’ of three cards, plus a rule, and asked to write a poem or poems. They then wrote their poems on luggage-labels and tied these to pieces of jetsam. (Between sessions, the class and their teacher at Waid Academy, Anstruther, went out and gathered their own plastic debris.)
These poems+objects were exhibited during StAnza, upstairs in J.G. Innes, the bookshop and stationer’s on South Street.
My thanks to all involved at Madras Academy, Waid Academy and St Leonard’s School, and at StAnza.
As Spring Fling x Wigtown Book Festival Writer-in-Residence for 2019, I’ve been creating new work exploring the links between birds, art and the landscape, inspired by my experiences during Spring Fling. The new work will be revealed at Wigtown Book Festival (27 September – 6 October) but in the meantime here are some insights and sneak peeks…
I’ve been researching place-names in Dumfries and Galloway which relate to birds. There are many, covering all sorts of ground, from coastal rocks to inland moors and up into the high hills. Many of these place-names are derived from Gaelic, spoken in Galloway until the 18th century.
Here are three, given with their English meanings, together with a description of the place taken from the Ordnance Survey place-name books compiled in the 1840s and 1850s. The map extracts are taken from OS maps published around the same time.
Benyellarie (N of Glentrool)
“A large lofty rocky heathy hill on the farms of Palgown… on its eastern side is a large precipice called “Scars of Benyellary.”
Benyellarie, from beinn iolaire, the eagle’s hill
Cairnywellan Head (by Port Logan, S of Portpatrick)
“A head land which terminates Port Nessock Bay on the South side. It is a Conspicuous object & well known to mariners.”
Cairnywellan, from cárn na bhfaoileann, cairn of the seagulls
Drumadryland (E of Cairnryan)
“A Broad heathy hill on the North side of a large Moor or marsh, and on the farm of Delhabach”
Drumadryland, from druim na’ dreolan, ridge of the wrens
“I like the elements of ‘serious play’ in Arne’s work. ‘gingko leaf fairy tale’ links the Brothers Grimm and Hiroshima to suggest, touchingly, both a loss of innocence and a reconciliation with the past… ‘the forgotten dream’ makes succinct comedy from inarticulacy.”
“The conversation with Christine has been, like her readings, measured and occasional. Her work deals in nuance, glimpse, intuition, and part of its appeal for me is that I don’t always understand it entirely.”
I was lucky enough to read with Arne at this year’s StAnza festival, and to hear Christine read at the Portico Library in Manchester.
“A Year of Conversation 2019 is about us all celebrating, initiating and exploring conversation in our lives. There will be some events involving many people at places you might expect – festivals for example. But there will be many conversation events that are smaller and more intimate too. What is a ‘conversation event’? It’s simply something that’s been planned – that you might have planned – in which conversation plays a significant part or which gives rise to conversation. So it may be a performance of some kind or it may be a group of people (you have) chosen for a special reason to share a meal. There will be information about events on the website, but there will also be space for you to reflect on your own experiences of conversation.” Tom Pow, Creative Director, A Year of Conversation 2019
As last year, this spring I led another project at Leith Primary School with Lorna Irvine and Suzanne Butler, and supported by the church of St James the Less, Leith. We worked with the two P4 classes on poetry, drama and song, focussing on their impressions of Edinburgh, and keeping fit and healthy. My group wrote about the games and sports they play, visiting Holyrood Palace, and the food they like to eat, as well as saying hello and goodbye in several languages. They also created a series of individual letters, which I collaged together to create ‘headings’ which were projected during the performance.
My thanks to the school, and especially the class teachers, Mrs McDonald and Mrs Kinneil. Here are some extracts from the script.
Hi – sup – heya – yo –
Bonjour — Salaam aalekum – Nihau – Priviet –
In other words… Hello!
We’re going on the bus to Holyrood Palace.
Outside the palace we looked around and saw
a tower that was 500 years old,
shields that had a unicorn and an eagle,
a bath house and a flower garden,
the learning centre and Arthur’s Seat.
Inside the palace we saw
the room with all the jewelry,
the king’s gorgeous jewels and golden swords –
some swords had diamonds in the middle.
We went into the gallery with 96 paintings
but barely any furniture
and our challenge was
to find a sword slash in one of the paintings
and a secret door that leads to the kitchen
and to count all the paintings
and we had to do all of that in 2 minutes!
In the evening we go home,
We’re hungry and want some food.
My mum’s banana split and coffee –
That sounds really good!
And when we go to the café
What we want to eat
Is toast or macaroni cheese –
What a delicious treat!
We hope you have enjoyed
Spending the day with us
In our Edinburgh.
Au revoir – Gudafis – Zytien – Papa –
So long – See you later – Cheerio – Missing you already –
In other words… goodbye!
Over the Spring Fling weekend (25–27 May) I visited artist studios across Dumfries and Galloway, from Gatelawbridge to Port William, speaking to artists and visitors. As well as seeing a fantastic range of bird-themed artworks, I spoke to lots of folk who shared their sightings and memories of birds.
Over the next few weeks and I’ll be reflecting on my Spring Fling experiences, and writing a new piece of work to be presented at the Wigtown Book Festival in the autumn.
In the meantime here’s a selection of birds from the weekend – some spotted during conversations and workshops, some glimpsed as I travelled, and some contemplated in studios and galleries. My thanks to everyone involved.
Conversations I heard of an oystercatcher nesting on a roundabout, a crow that kept banging into the window, and jays burying acorns. I was told there are no magpies around Kirkcudbright and Wigtown – some say they were exterminated, others that they can’t co-exist beside carrion crows. I heard of swallow fledglings standing in a line on a beam, sometimes for three or four days, before they launch themselves, of thrushes littering the garden with broken snail-shells, and of a buzzard swooping to lift a frog from a pond, like an osprey takes fish. I was told of stock doves nesting in owl-boxes, and that there are more egrets now, but fewer lapwings and swallows. I heard from a member of a rowing club who enjoys seeing gulls, sandpipers and herons up close, and a member of a golf club who sees mostly magpies. I was told of a sound like someone in distress, which turned out to be a barn owl, and of green woodpeckers, red kites, small owls and bittern in Cambridgeshire. I heard of a heron which stands in the pond that’s not full of newts, and of a raptor which, falling on chaffinches gathered at the bird-feeder, misjudged its flight and crashed into the fence, before picking itself up and flying away embarrassed. I was told of a thrush singing at Carstairs Station, of blackbirds flying out from the bay tree, and of a hen pheasant which planned to nest in the field behind a house until the neighbour’s cat disturbed it. I heard of the bell in the County Buildings remaining silent when the ospreys didn’t return, and of sedge warblers which sound like techno and hiphop.
From the car I notice a woodpecker land on the verge, its distinctive black-and-white striped head, while a large puddle in a lay-by that loops off the road has attracted a duck and several ducklings. The looping flight of siskins around a flowering laburnum tree, oystercatchers heard through an open door, the songs of a Galloway hedgerow in late May. At the Cairnholy stones, a blackbird flies from the nearby house to the far side of the valley in seconds. From within an evergreen a thrush emerges, stands speckled on the threshold a moment as if deciding where to, then off. A buzzard circles above the green slope at Port Castle Bay, now seen, now hidden.
I’m delighted that Heroines from Abroad is one of 8 books on the shortlist for this year’s Oxford-Weidenfeld Prize. The prize is for book-length literary translations into English from any living European language. The winner will be announced at the prizegiving and dinner at St Anne’s College, Oxford on Saturday 15 June 2019.
Heroines from Abroad was published last summer by Carcanet. It’s a first collection of poems by Christine Marendon, with her poems in the original German alongside my translations.