Some Seascapes by Helen Boden

My poems responding to Emily Learmont’s exquisite ink and egg tempura miniatures Sixteen Seascapes https://emilylavinialearmont.wordpress.com/2016/07/17/sixteen-seascapes/

Emily Lavinia Learmont

Some Seascapes    Helen Boden

  1. Graphic

‘She gets so attached to things’

they’d say in other rooms, thinking,

or not, she was out of earshot.

It’s true she insisted on keeping

the wrappings from Christmas presents,

tried to hold onto holidays, clutching the rail

at the back of the boat as islands receded

1976

begins her newest fable

from this July’s fortnight

in a shore cottage in Sleat

1769

an inkblot cloud pursues the Ardvasar

                                                     

galleon         sail         cloud

all speech bubbles

flurries of vowels        morphemes       ideas

on a punctuation-flecked sea

swirls       whorls

of inverted commas

conversation billows

between  the Ardvasar and the Glenelg

a thought detaches from the former          memory sprays

a wake for the clearances

will they consolidate

into a skerry of…

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Pop-Up Light and Shade

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Campaigning group We Walk We Cycle We Vote staged a pop-up park under the banner ‘Shine a light: Help us Reimagine our City Streets’ outside St Andrew’s House on Edinburgh’s Regent Road as part of the 2018 Firestarter Festival last Friday. Volunteers, from organisations such as the Lothian cycle campaign group Spokes, and Sustrans,  found themselves in shadow – in the shade of a building whose architecture Donald Dewar allegedly thought too fascistic to be considered a future home for the new Parliament.  You can put on an event called ‘Shine a Light’, but you can’t make the sun rise above St Andrew’s House in February.

In an essay on Kathleen Jamie written while the Scottish Parliament was being reborn, I argued, maybe more in hope and optimism than anything else, that  new Scottish writing rejected its historic dualisms and the ‘Caledonian antiszygy’ in favour of multiplicity and plurality. The last two decades have encouragingly seen  greater ethnic diversity in Scottish writing, for example, but the old Jekyll-and-Hyde binaries remain surprising resistant – they were alluded to during the  BBC’s recent documentary for the centenary of Muriel Spark, for example.

I’d spent Friday morning with Southside Community Centre’s wonderful writing group, warmed by the equally wonderful coffee and scones from Arthur’s Community Cafe, and the lunchtime looking at an exhibition in the National Galleries; I wasn’t cold. When I arrived to have a look at the site and decide how best to use it for creative writing that would help re-imagine the space, those who had been there since 8.30am were starting lose the use of their hands and feet – despite a warming skipping competition being one of the not-motorised options on offer. I quickly dropped plans of engaging directly with the pop-up park by writing about what we liked and disliked about the space and why, or saying what we’d change about it; or doing some take-a-line-for-a-walk  flow-writing to see what the unconscious came up with about potential uses for it.

We set off up the supposed traffic-free road to Calton Hill a few metres east, and stopped in the first patch of sunlight, above the old Royal High School building and below the green slopes of the hill, flecked yellow by the emergence of the gorse. The sun branded shadow railings onto the road surface. We turned our faces to the sun and scanned the southern skyline, from the ancient blocks of the crags to those of the built environment, to the city centre monuments and cranes in the gap beyond St Andrew’s House and the end of the hill. I chose this road rather than going further along Regent Road, which was also in sun, because it was supposed to be traffic free, but we had to step aside several times to let vehicles pass. None of us had had occasion to take in precisely this cityscape before. We’d gained a bit of altitude over the pop up park, and about ten degrees celsius. It was light, and energising; you knew Spring wasn’t far behind. We shut our eyes to listen to birdsong and construction noise and attune the other non-visual senses, then  recorded and shared our impressions before heading back down to chalk them on the wall in the cold shadow of St Andrew’s. Maybe the light / dark binary continues to be more applicable than proponents of multiplicity and plurality like to think; maybe it’s not always a bad or outmoded way of imagining the city. I left, for a warming cup of tea, buzzing with new ideas for combining poetry, activism and active transport, and a haikuesque poem-let for the day:

Divided City

Half of this
‘no access road’
is green.
The other side –
Enlightened grey

 

 

Photos by Suzanne Forup of Cycling UK Scotland

Walking with Wilfred Owen

10 August 1917: a dozen walkers from the Craiglockhart War Hospital Field Club, including Wilfred Owen, walk in the Pentland Hills. According to an article Owen wrote for the hospital magazine The Hydra, the route took them from Balerno tram terminus to Threipmiur Reservoir, Bavelaw Castle, Green Cleuch, Loganlee and Glencourse.

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Threipmuir / heather

10 August 2017: a dozen walkers, and a dog,  from Edinburgh, Glasgow and Canada retrace Owen’s route, led by Neil McLellan, chair of the Wilfred Owen’s Edinburgh 1917-2017 committee, and indefatigable researcher of Owen’s time in Edinburgh, Tommy McManmon, Natural Heritage Officer (that’s a Ranger, pre-rebranding by the council), and me, poet of these parts.

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We departed, in both senses of the word, from Owen’s route, at Harlaw Visitor Centre, to have a cuppa, make introductions and do some warm-up exercises to prime us for walking as poets. Then along to Threipmuir to fall into century-separated step with Owen (I’m reminded of Nan Shepherd’s ‘one is companioned, but not in time’, The Living Mountain, ch 5).  We also fell into step, conversation, and companionship with each other, sharing stories of what brought us here, today, literally and figuratively. Periodically we  stopped and Neil took us back to 1917 and the findings of his own research.

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2017 historian / walkers

After a lunch stop at the Howe (‘Habbie’s Howe’ to Owen), we fell into silence for a spell, to observe, hear and generally ‘sense’ the experience of walking in August 2017 – both to be mindful of the present moment, and to remind ourselves of  the 1917 walkers, here as part of a rehabilitation that would make them fit to be returned to the front, that would see Owen unnecessarily killed a few days before the Armistice. Beneficiaries of post-WW2 peace and prosperity struggling to come to terms with Brexit and Trump, we used our minutes of silence to walk in an act of remembrance and maybe resistance, for peace, integration, tolerance; and to write. The results were stunning and I hope they will be in the public domain at some point.

 

A humbling, inspiring and companionable experience for someone who, like many, was introduced to, and became enthralled by, modern poetry when studying the WW1 poets at school; who has lived somewhere between Craiglockhart and the Pentlands for the last 7 years, and walked this route for over 20 without realising until now that it was the one taken by Owen. Not my average day’s walk in the hills of the adopted home.

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harvest / Harlaw

Sightlines at StAnza

This year’s StAnza Poetry Festival started for me before Aurélia Lassaque sang in Occitan at the  launch in the Byre, before I crossed the Forth on an auspiciously bright first morning of March. It may even have started a few years ago,  in exhibition venues around the town where poetry was combined with visual art, and I thought how it would be fantastic for  Words on Canvas to do that.  WoC are an ekphrastic group formed at the National Galleries of Scotland in 2008, who also respond to exhibitions by working artists, give readings and produce pamphlets.

Forward to the winter of 2016-17, and we started responding to linocuts by last year’s artist in residence Hilke MacIntyre as jpegs of them were emailed to us. In mid-Feb we sent fourteen new poems back to festival director Eleanor Livingstone, who combined them with their corresponding images (big shout-out to Eleanor here: it’s not like she doesn’t have enough to do two weeks before her festival starts). When I arrived  in Fife on the 1st, StAnza’s printers had turned them into rather lovely 30cm sq foam boards. Local WoC member  Susan Grant and I hung them in the room above the Public Library that is used for the StAnza workshops. Then I checked into my favourite B and B, quiet by the Kinness Burn, where the owner keeps his own hens – my marker for good holiday accommodation when not staying in a town.

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A wall from the Sightlines exhibition

The weather was stunning. Before going off to my first booked event on Thursday I  bought a selection of participants’ books from the StAnza bookseller JG Innes, before stocks ran low – I was too late to get everything I wanted last year – and sat in the sun for a couple of hours, sheltered from a still-cold wind in a south-facing  nook in the harbour wall, watching the tide come in.

And then into the flow of words. I’ve already gushed on Facebook, in my own post and on others’ feeds, about how Paul Stephenson gave a masterclass in the delivery of a poetry set, reading from his Happenstance pamphlet about living in Paris during the November 2015 attacks. How I thrilled to the sounds of Occitan, Catalan, Arabic and French (that my friend Tessa Berring was one of the four poets on a four-day residency devoted to translating each other’s work between English, French and Occitan, added another layer of interest). How Joan Margarit, Robert Crawford, Alice Oswald and Kathleen Jamie played to the strengths of their voices, personalities and material. How Jacque Darras’s homage in sound to Jean Tinguely’s kinetic sculpture was one of the best examples of ekphrasis I’ve been privileged to experience. How stimulating I found the mix of poetry and themed discussion (& coffee!) in the breakfast panels on this year’s themes: the Heights of Poetry, and On The Road. And more.

The first time I attended StAnza I was struck by how it was like a mix of a Hebridean holiday and being back at university: you bump into the same people everywhere and you made new friends quickly. This year, most of the members of the two peer crit groups I belong to in Edinburgh where around at some point, as well as regulars from the Scottish poetry scene and guests from many parts of  Europe and beyond – more of a joy than ever in this post-brexit vote year. Before taking your seat in the Byre auditorium,  you can greet familiar faces on all four sides of you.

On Friday this sense of community was augmented by the arrival of the remaining members of WoC, who had made a very early start, from the Borders and East Lothian as well as Edinburgh. If they were tired by the time our Meet the Artist event started at 3.45pm in the Library, they didn’t show it. We’d hung the Sightlines boards randomly, because, after a bit of experimentation with grouping and ordering, we thought they looked best that way. The  reading proceeded thematically, however, in the spirit of  On the Road, beginning with poems inspired by  Hilke’s townscape (the one that’s on the front cover of the brochure), moving into a café scene, progressing to The Byre, and concluding – with sound and shape poems – with our responses to Hilke’s response to last year’s Jazz evening.

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Jean Taylor’s poem responding to linocut of St Andrews streetscape by Hilke MacIntyre

There’s a lot going on at StAnza, and you have to make difficult choices, so I had been a bit worried that the 11 of us might outnumber our audience, but we didn’t. They asked interested questions that enabled us to open up about our process, how we use artworks – or sometimes a small detail from them – to trigger a linguistic response. This could form a kind of poetic commentary on the image or be a ‘translation’ – a poetic equivalent – of it; or it could send the writer on a geographical or historical path or other associative journey well beyond it, or into personal memory. I’d become very familiar with this set of fourteen poems, as we considered constraints such as readability on a wall, and made decisions about fonts. Voiced by their authors, they took on fresh life. Like Hilke’s linocuts, they sang.

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Meet the Artist reading & discussion for Sightlines

 

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Cafés scenes: poem by Moira Scott, linocut by Hilke MacIntyre

Umbrellas of Edinburgh, redux

Fellow contributor to the Freight Books Anthology UMBRELLAS OF EDINBURGH [I have to do caps; if I type instructions for itals this Word Press dialog box tries to send an email . . . ]Laura Clay on the reading at Edinburgh University last week. I was rather fazed by the vast expanse of bright carpet, and felt as though I should be doing some gymnastics, not reading a couple of poems, but it was a very enjoyable evening. At the end of it, a group of poets occupied said carpet to discuss poetry mags and traffic jams.

This whole project has been a joy, from offsetting the January blues last year by researching my locations (Morningside / Royal Ed; and Dreghorn & Redford woods, haunt of Wilfred Owen on the edge of the city), to launches, readings and events at the end of the year. Much thanks to editors Russell Jones and Claire Askew for the energy, commitment and professionalism they brought to the whole enterprise. I read this new anthology of a city already so well written about, and fall in love again with the place where I’ve lived, by a considerable margin now, longer than anywhere else.

Writings from Otherworld

Last night, I read my story A Beltane Prayer at the University of Edinburgh, as part of the latest fab event since the Umbrellas of Edinburgh anthology launched last autumn. What with having never read this story aloud before and not having done a public reading since October, I was more than a bit nervous.

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