All posts by Ken Cockburn

Ken Cockburn is an Edinburgh-based poet, translator, editor and writing tutor.

there were our own there were the others

Killerton REMEMBRANCE

I spent much of summer 2014 driving the motorways and country lanes of England and Wales with Luke Allan for there were our own there were the others, a project by Alec Finlay for the National Trust to mark the centenary of the outbreak of the First World War. Luke & I visited 23 properties, all of which had some connection to the war – a family member who served and was perhaps killed; a house used as a hospital, grounds used as a training camp; gardens planted as memorials to the carnage. At each I led a silent memorial walk, bookended by a pair of poems from the past century on the theme of conflict. At most properties we set up a pair of lecterns, on which the poems were presented, and at some the lecterns were placed either end of a sandbag wall, reminiscent of the trenches. At a few we flew a red flag featuring a circular version of project’s title. That phrase is taken from Hamish Henderson’s Elegies for the Dead in Cyrenaica, about his experiences in the North African desert in the Second World War, but it seemed an apt way of memorialising all the victims of conflict, rather than just those ‘on our side’, as did the large-scale ceramic poppies installation at the Tower of London.

This gallery above shows some photos from the tour (all are by me, except Killerton Chapel by Hannah Devereux, and Liverpool, by Luke Allan). The full itinerary is on the website.

After the English and Welsh tours I was able to visit Belgium at the end of September to visit some of the First World War sites near Ypres: graveyards, battlefields, memorials. I also saw the excellent exhibition In Flanders Fields in the Lakenhalle in the centre of Ypres itself, which shows the war from the perspective of the four armies who were fighting there: Belgian, French, British and German. We stayed at Talbot House in Poperinge, a small town which, for most of the war was just far enough behind the front line for it to be fairly safe. Talbot House became a social club for off-duty soldiers, and retains many features of that time.

A book of the same title documents and reflects on the project. It includes poems and prose by myself about the walks and the poems, as well as the poem ‘Cloqueliclot’ about my experiences in Belgium. It also features fine photos by Luke and Hannah.

our own the others front cover

The Road North – published by Shearsman

the road north front cover

After the road-trips of 2010 and 2011, Alec Finlay and I wrote a long poem about our travels on The Road North. It’s now been published in book form by Shearsman as the road north: a journey through Scotland guided by Bashō’s oku-no-hosomichi, 15 May 2010–15 May 2011.

You can buy the book via the Shearsman website.

You can download an audio version free of charge from iTunes – search for ‘The Road North (Alec Finlay & Ken Cockburn).

With thanks to Tony Frazer at Shearsman, and Tomohiko Ogawa for the cover photograph – it’s a postcard of Scotland which Alec sent to Tomohiko, who ‘matched’ it with a landscape in Japan.

If you’re interested in the background to the project, click on the link below to read an article I wrote for The Author, the magazine of The Society of Authors, earlier this year.

KC TRN The Author

And you can still read the original blog, written while we were on the road.

the road north back cover

Revisiting Outlandia

2014-08-08 13.41.57

In August 2010 Alec Finlay and I visited Lochaber as part of The Road North. Our destination was Outlandia, a newly-built mountain hut, or artists’ field-station, commissioned by London Fieldworks (Bruce Gilchrist and Jo Joelson), designed by Malcolm Fraser, built by Norman Clark. Located a short, steep walk up from Fort William’s Braveheart car-park, it looks across the glen to the western slopes of Ben Nevis. You can read the account of our visit back then here.

Four years on and we’re returning to take part in Remote Performances, a collaboration between London Fieldworks and Resonance104.4fm. Over the course of a week, a series of specially commissioned artist performances and programmes created with local residents were broadcast live from Outlandia.

Driving north we stop and test the waters of Loch Eilt, a fondly remembered station from 2010, and we’re staying with Bruce and Jo, and many of the participating artists, at Frisealach in Lochailort, the house of Malcolm Fraser and Helen Lucas, where we also stayed a couple of nights in 2010. On the track up to Outlandia, Alec picks and I eat an angel’s-wing mushroom, prompting a Proustian memory of our previous visit; eating them raw in the hut with oatcakes, and cooked for breakfast at Annie Brigg’s the next morning, with fresh eggs from her chickens.

Our contribution to Remote Performances is a reading of the long poem The Road North, which developed after and to some extent out of the blog we kept over the year we were travelling. In the hut we sit with our backs to the window at a table supporting a large sound-desk. There is no electricity supply to the hut, and Bruce tells me all the equipment is powered by a hydrogen generator, which runs off hydrogen drawn from the atmosphere.

When I look up I see tree-tops and rain patterning the high roof-window. After a introduction from Tam Dean Burn, we’re on… back in Outlandia, recalling B-roads and Passing Places, and speaking to people… here, there and everywhere. We read the whole poem apart from the two Epilogues, which we don’t quite have time for.

That reading is available on Sound Cloud, as are all the other Remote Performances broadcast from Outlandia; and the poem will be published in book form by Shearsman Books this autumn.

With thanks to Bruce and Jo for the invitation to take part, and to everyone who made Remote Performances possible.

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Walking Poets: the books

Earlier this year I mentioned that I was taking part in the exhibition Wordsworth and Basho: Walking Poets at Dove Cottage, Grasmere. That exhibition is now up and running – it closes on 2 November – and this post is about three books connected with it.

While yet we may coverA-ga coverWalking Poets cover

While yet we may is my contribution to the exhibition. It exists as a boxed set of 68 cards, and as a book. “While yet we may is composed of 17 words from Basho’s Oku no hosomichi (best known in English as The Narrow Road to the Deep North, though I worked mainly from the English translation by Cid Corman and Kamaike Susumu published as Back Roads to Far Towns) and 51 extracts from The Prelude, The Recluse and ‘Lines Composed a Few Miles Above Tintern Abbey’ by William Wordsworth. The idea for While yet we may came from a ‘variable construction’ by the poet Gael Turnbull (1928–2004), which consisted of two sets of cards : one of 28 cards, each featuring a noun, the other of 112 cards, each featuring a qualifying phrase. As Turnbull explained, “any one of the one-hundred-and-twelve phrases may relate to any of the twenty-eight nouns”. Of a published version in which each phrase was paired with a noun he wrote, “this version is no less final than any other”. The same applies to the version of While yet we may printed here.”

While yet we may spread
While yet we may cards
Copies of While yet we may (book and cards) are available from the bookshop at Dove Cottage, at £8.00 and £25.00; alternatively, you can buy them online at Big Cartel.

Alec Finlay’s contribution to Walking Poets is the booklet a-ga : on mountains, which includes pieces composed for the road north.

A-ga spread

The exhibition catalogue has now been published, a fine full-colour publication edited by Mike Collier, and featuring work by, among others, Autumn Richardson, Richard Skelton. Ayako Tani and Brian Thompson. You can buy a copy here for only £9.99. One of the photos I took on the walk up Easdale Tarn in January has made its way onto the front cover.

Walking Poets cover
Walking Poets back cover

Library Promenade

Earlier this year with the help of Artlink I devised a performance at the National Library of Scotland for visually impaired and sighted visitors. ‘Some Bat-squeak Echo of Other Time’ took its title from a phrase in Audrey Niffenegger’s novel The Time Traveller’s Wife, and the performance connected various spaces within the library building on George IV Bridge with extracts from fiction – so the grand staircase became the setting for a scene from James Joyce’s Dubliners story ‘The Dead’, while the reading rooms hosted the “stout, middled-aged man with enormous owl-eyed spectacles” (described as being “somewhat drunk”) from The Great Gatsby. I read the extracts along with Jenny Hulse and Lorna Irvine, and we were accompanied by Laure Paterson on fiddle and Sally Thomas on flute – before a four-strong choir closed proceedings with a wonderful rendition of ‘Let’s Do It’ on the staircase.

You can listen to a podcast which features extracts from the performance, and interviews with some of those involved, and there’s more information on the project on the Artlink website.

Husum

Storm sign 1
I was in Germany in March, visiting friends in Kiel, and had the chance to visit Husum, on the west coast of Holstein. It was here that the 19th century writer Theodor Storm lived for many years, and I happened to be reading his novella Der Schimmelreiter (The Rider on the White Horse), so I looked into his old house, now a museum.

The copy of Der Schimmelreiter which I was reading had been given to me by a friend, who’d meant to buy an English translation but had got a German edition instead. I thought I should take some photos of the book in situ, having as it were found its way home.

Later I enjoyed a reading by the poets Arne Rautenberg and Hendrik Rost at Der Speicher, an old warehouse on the quay. I spoke to Hendrik afterwards. He has three children, and said he wrote a whole book of poems on the commute between Lübeck and Hamburg, and could even quantify the time thus spent – 560 hours.

Storm’s heavy wooden writing desk – a gift for this 70th birthday – offers a rather different writing environment.

Ettrick Valley

I visited the Ettrick Valley with painter Andrew MacKenzie on Easter Monday, April 21 – a field-trip of sorts, as Andrew and I have been talking about a collaboration, and this is a first step.

We drove along the B7009 which runs alongside (more or less) Ettrick Water, through Ettrickbridge, then turned off at Wardlaw / Hopehouse. Leaving the car we follow a path above the river, which snakes between the spruce woods on the hillside and the ‘Ettrick Marshes’ next to the river, as far as a (slightly dilapidated) bird-hide. From there, in the shadow of the spruce-wood, we look down over the pale sunlit marshland and over to the pale spring hillsides opposite.

Back in the car, we stop at the Hogg Memorial, or ‘Monument on Birthplace of James Hogg’, as the OS has it, with its image of Hogg in profile surmounting four well-horned sheep-heads. There’s a dog barking either side: it must be those sheep… While there’s no line from Hogg on the memorial, behind it runs a semi-circular stone bench, where visitors can read lines of their own choosing; perhaps these from The Queen’s Wake, said to be a self-portrait:

The Bard on Ettrick’s mountains green
In Nature’s bosom nursed had been,
And oft had marked in forest lone
Her beauties on her mountain throne;
Had seen her deck the wild-wood tree,
And star with snowy gems the lea;
In loveliest colours paint the plain.
And sow the moor with purple grain;
By golden mead and mountain sheer,
Had viewed the Ettrick waving clear,
Where shadowy flocks of purest snow
Seemed grazing in a world below.

Further on, the road’s mainly used for taking timber from the surrounding hillsides. We park at a locked gate, and walk towards the last house, Potburn, where the Borders historian Walter Elliot grew up, and where the painter William Johnstone lived in the 1960s. It’s been empty for some years now, and while the roof is more or less intact, it is gradually decaying, especially the outhouses.

We continue along the track past a caravan, presumably the residence of a forestry worker – perhaps the one who just passed us on a quad-bike – and make for Over Phawhope Bothy. Andrew made a wall-drawing here a year or two ago, which is still intact, though with a few additions, which he doesn’t seem to mind.

Our last stop is at Ettrick Kirk, where Hogg is buried. It’s an neat little church, the wooden pews inside admitting no disorder; outside I enjoy the combination of spring sunshine and still leafless trees. The graveyard is dominated by the remarkably well-maintained monument of Thomas Boston (1676–1732), an uncompromising but popular minister from the Covenanting tradition. Hogg’s stone is more modest, but has been cleared of the springy green moss spreading over its neighbours.

Orkney

we sail past Stroma’s empty fields
the Maidens grind the sea-gods’ salt
binoculars to scan the scene
the latent power the races hold

the Romans came and saw and left
Vikings named themselves in runes
a hoard of shards the dig unearthed
the sacred grove is made of stone

unfurl your banner to the breeze
starlings wheel across the sky
a spotted orchid in the verge
the wind is in the blades and flags

divers down among the wrecks
I don’t know what it is I’ve found
a haar drifts in across the rocks
the crab’s blue shell fades in the sun

Last autumn I took part in The Written Image, an exhibition organised by Edinburgh Printmakers Workshop and the Scottish Poetry Library. Poets and printmakers were paired, and I worked with Cat Outram. When we met she was just about to visit Orkney for the first time, and I’d visited the previous summer, so that became our theme. We came to settle on four of Cat’s images that seemed to give a good overview of Orkney: FERRY (geography), FARM (economy), BEACH (ecology), and BRODGAR (archaeology). I returned to a notebook I’d kept while there in 2012, and another relating to an unrealised project at John O’Groats; for each image I composed a 4-line stanza, guided by half-rhymes. The order in which the stanzas can be read is interchangeable. ‘The Maidens’ are one of the powerful tidal currents, or ‘races’, in the Pentland Firth.

Orkney print 2

Wordsworth & Basho: Walking Poets

Sill Stone

I was in the Lake District last week for a symposium on ‘Wordsworth and Basho: Walking Poets’. A group of us were there to meet and discuss what we might make for a forthcoming exhibition at Dove Cottage, Grasmere, home to the Wordsworths from 1799 to 1808, now a museum and home of the Wordsworth Trust.

The Prelude mss

Curator Jeff Cawton shared his enthusiasm for ‘The Prelude’ and its various manuscripts. Most are written in the hand either of Mary, the poet’s wife, or Dorothy, his sister, with amendments by William; apparently he found writing physically painful, so composed in his mind while out walking, dictating the results when he came home.

Wordsworth ms

The pages above show a draft of Book 10, with William’s revisions on the left hand page:

… As a light
And pliant harebell, swinging in the breeze
On some grey rock, its birth-place, so had I
Wantoned, fast rooted on the ancient tower
Of my beloved country, wishing not
A happier fortune than to wither there
And now was from that pleasant station plucked
And tossed about in whirlwind. I rejoiced…

Wayfinder

A group of us managed a walk in Easedale, up Sour Milk Gill (a fast-flowing stream) to Easedale Tarn (a placid lake). At the foot I read ‘Emma’s Dell’, one of the ‘Poems on the Naming of Places’ – right place, wrong season, as the poem is set on “an April morning, fresh and clear”, whereas we had damp January.

Easedale Sour Milk Gill

Though with all the recent rain, it was still true that

The Rivulet, delighting in its strength,
Ran with a young man’s speed…

The white waters reminded me the Inverianvie, of one of our stations on The Road North, so I adapted a line from Basho to fit the new location.

Poem-label gillEasedale label rapidsEasdale 1