Tuesday, 17 June 2014

#whatsinyourpaper

I inhabit a paradox. As a writer, I want vast quantities of paper to come pouring off the presses with my words on it, but as a campaigner for forests and the people who depend on them, I want the paper industry to stop trashing forests. This paradox has driven my obsession with paper for years.

It must be possible for paper production to be achieved sustainably, and many of us believe it is. In my day job I co-ordinate a network of environmental and human rights campaigners who all have a vision for the future when paper is made and used in benign ways. This is the Global Paper Vision, which was launched today, signed by more than 120 organisations around the world. It's worth following the link just to see how pretty all their logos are! You can make a pledge to make sure that you do what you can to use less paper and make sure you know what's in it. Join us!


Sunday, 4 May 2014

Cows on the croft

We have two new residents on the croft. Life suddenly has a new rhythm to it, with feeding time late afternoon, and two big, furry, friendly animals to stroke, pat, chat to and be mystified by.

They leave a scent trail. You can hear them coming from the rasping tear of gums on grass. In the rain, they steam and carry on munching. They can empty a pail of water with a single gulp. When I shake the feed bucket, they look at me with their beautiful, melted chocolate eyes, and follow me wherever I want them to go.

I am besotted.

Saturday, 26 April 2014

Primroses etc

Two weeks fly by. The poem every day trial was de-railed by a trip away. First there was relief not to have to expose these seedling poems to the harsh light of cyberspace, and then, I have to confess there were some days when no poem got written at all. Not that I didn't write every day; the novel gets its daily scribbled page no matter what at the moment, and my notebook is full of neat blue ink lines. Just not poetry, or not every day anyway. There have been some bursts onto the page though, so in the spirit of NaPoWriMo, here are some of them.

a big beary bumble bee
feeding on arctic bearberry

--

we                 all

         need
         much

more             space


--

explosion


the fuse is lit
life smoulders
through mats of fibres
sap wicks up
lusting to bloom

-- 

All the primroses say

Wake up! Winter's over.

Come and peer down on us
with eyes full of willow catkins.

Which of our two shades is primrose yellow?
Why not the other one?

Violets are so blue.
Celandines so gold and glossy.

You have to bare your soul
or bees will not come.

We are not afraid of the pig
though he seems wary of the way we gaze at him.

We may look innocent but we are sex machines.

Pin and thrum. Vive la difference!

Of course we do this every year. 
It is not a ritual. It is survival.

Birds are singing of love and so are we. 
What do you mean you cannot hear us? 
Are you listening?

Thursday, 10 April 2014

Nursery

Here is a poetry seedling for #NaPoMo2014

Nursery


Poems are like seedlings.
Keep them moist.
Gentle them.
Some wilt.
Others succumb to frost.
Bring on the rest
but not too quickly.

Pot up.
Give space.
Nip out lush growth.
Show care.

Then harden them off
for the cold world out there.
Ready them
for wrath and wonder.

Wednesday, 9 April 2014

Of edges and boats

It's been a busy few days of work, plus we bought a sailing boat on Monday - Happy Daze! Getting daily poems onto here has therefore not been feasible, so here's the backlog.

The first is a musing on the edges again, after our exciting trip down into the underworld of High Pasture Cave at the weekend. And then there are inevitably a couple of nautical poems, including one which is just a shopping list for the boat in vaguely iambic pentameter. These are all definitely seedlings that look vulnerable to dying back, but in the spirit of the thing, I shall bare them to the world. I have to say showing such raw work feels a bit like going out in my underwear.

Liminal

shine a torch
turn the light off

let waves wash in
wash out again

speak this tonguetranslate into an canan eile

rub off the paint
apply another layer

old bracken collapses
new fronds unfurl

the moon wanes
waxes again

the day lengthens
but still the fire is welcome

conflict happens
peace is possible

the edge is thin between action
and inaction

all boundaries are made to be broken
all edges are crossable

Happy Daze

Although every boat requires love of a kind
different from the care we lavish on each other

I am won over by freshly-polished wood,
talk of hinges, well-worn sheets,

hooked by dreams of shrouds
making music in a summer evening breeze

the song of undercurrents, trickles under keel.
In any future year I might let my probing fingers

press into the red flesh below the waterline,
scratch at the pitted scabs beside the crusty anode

but it is spring and barnacle geese
are skeining for the northern isles,

Faroe, Iceland, Jan Mayan, Svalbard,
ice-fringed coastlines where balugas rise

and dive. I must be on the ocean
tracking Pytheas along the wrack-scent margin,

while the nights are brief and pale.
Thule beckons in the wind among the trees.

Shopping list

The ropes go up the eight yard mast then down(although today, because the stick is prone,
they run along a horizontal line and back);
we're measuring them, and making plans
for when good sailing weather will arrive.
The boat has overwintered in dry dock.
Her shrouds are slumped. She does not look alive.

The best of it is drawing up the shopping list:
new sheets, halyard, anodes for the keel,
barometer, a plumbline and a tender,
a scrubber for the hull and anti-fouling,hasp and hinges where the rust set in,
life vests, coastal charts and mugs for tea.
Soon we'll be all set to go to sea!

Sunday, 6 April 2014

High Pasture Cave

Yesterday I went down Uamh an Ard Achadh, the cave at High Pasture on Skye, with Martin Wildgoose, the archaeologist who has been exploring this incredible site for the past 10 years. The picture, drawn by him, shows how it may have looked when it was in use, between 750BC and 100AD. The crescent-shaped structure is a huge burnt mound, made from stones heated in a fire and then used to heat water. In front of this is the original cave mouth, which is now sealed.

The ceremonial cave can now only be reached through about 130 metres of underground passages, through limestone, with pools and subsurface streams. This is where Martin took me.

It is absolutely exquisite, with black chert boulders and white marble stripes among grey limestone. The surfaces swarm with stalactites and needles, scallop patterns and calciferous growths like elves' ears and rows of teeth, as if there are people frozen into the stone. The running water chuckles and sings continuously, and everywhere drops of water gleam and glitter in torchlight, making the whole place seem to be lined with gems. It is utter magic.
 
The site was clearly used for ceremonial purposes, and it seems most likely to have been linked to the Celtic goddess Brigid. There are lots of pointers to this: when the sun comes over the hill at Imbolc at the very end of January (a date sacred to Brigid), it would have shone directly into the cave. Within the cave there are burials of the bones of whole cows (which were sacred to Brigid), as well as many objects linked to women (beads, hairpins, querns etc) which were ritually deposited. Brigid was the goddess of smelting and there are signs of metal working in the cave as well. It seems many people may have been cremated on the sacred fire outside, and then their remains brought down to the underworld and perhaps offered to the running water within. Brigid is also goddess of poetry, and so I wrote yesterday's poem by trying to imagine what might have been sung or said by those using the cave.

Liminal

stone from a shore
from sea to pasture

body to flame
from breath to fire

ash to the cave
from higher to lower

wish to water
from now to ever

time of wonder
over, under


In 100 AD the cave entrance was blocked up with clay and boulders, and guarded by a buried woman, together with her dismembered infant child and foetus, and the foetus of a pig. Who was she? Why was the cave sealed up after almost a thousand years of ceremonial use? We will never know.

And finally today's poem, a cave haiku:

drinking in darkness
a handful of pure nothing
cupped from a cave pool

Friday, 4 April 2014

Spring Butterfly

I like to test the boundaries of what a poem is. Does this count?