A place of everyday magic – Lough Owel

By Hannah-Louise Dunne:

Here in the middle of Ireland, there is a lake that shines bright as a blue button in the darkest of winter days. When I was younger – much younger that is – it acted as the backdrop to long lazy summer days for my sisters and me, where we jumped off the jetty and took turns in paddling friends out to a waiting buoy on our battered surfboard.

It’s the place where I first splashed around as a toddler, and where, years later my youngest sister tested her nerve as a 3-year-old when she took a long-running jump into the deep water from the jetty. Her armbands abandoned on dry land, we watched in shock as she sailed through the air, curls flying in her wake and surfaced victorious before doggy-paddling to shore.

Many years previous to that, the lake set the scene for the dramatic drowning of the Viking, Turgesius, dispatched to his fate by the powerful King of Tara, Máel Sechnaill mac Máele Ruanaid, in 845. Captured for posterity in the Annals of Ulster, the dramatic event is recalled today in the name given to the nearby Captain’s Hill, which overlooks the shore of Lough Owel, down which Turgesius is said to have rolled to a watery grave.

Local folklore recalls a more magical past, in tales of a betrayal between two sister witches. Legend has it that one sister loaned her favourite lake from Connacht to the other sister in Leinster, only to find that her sister refused to return the lake to its rightful home.

Elsewhere, ruins of an old stone church on the lake’s Church Island are evidence of a more devout history. Once called Inis Mor, it’s said to have been home to the monastic St Loman, who centuries ago survived on his lone outpost by eating edible herbs grown on the island’s fertile ground. 

Whatever its origins, there is no denying the lake’s everyday magic, where fresh springs bubble underground to keep the water bright and clear and well-fed trout dart here and there, leading local fishermen on a merry dance around the water. While the addition of tiered diving boards to the lake offered generations of swimmers the ideal spot to cool off in the summer, and nowadays, to test their mettle in the cooler months.

But at 18, its appeal was lost to me. Back then, conceding to the pull of the lake’s cool waters meant failing in a bid for independence. So, placing its beauty firmly in my rear-view mirror, I headed for the freedom of life as a student in Galway. Nights out at Cuba, racing into lectures with the Galway rain rising in damp clouds of steam above my head, and working a variety of part-time jobs across the city kept me busy and distracted from what I’d left behind.

Visits home were rushed and infrequent, and with the focus of youth on remaining stubbornly indifferent to the hold that places you love can exert on you, the next decade and a half were spent trying out new places to call home. A stint abroad where I found myself drawn to a city intersected by water in the form of winding canals, and later a move to Dublin, where years later, life led me eventually closer and closer to the sea.

As it turns out you see, places you love stay with you always, revealing themselves in the most unexpected moments.

They are there in the re-discovery of the joy of wild-swimming, of immersion in the open water. In the feeling of perfect harmony when you surface and swim under a clear blue sky.

There over Christmas on a trip back home, when months spent in various stages of lockdown in the city put the wide-open spaces, the everyday magic of the lake, in sharp focus.

Where the unusually bright winter weather crafted an otherworldly backdrop to daily swims as dropping temperatures transformed the fresh water into cold silver sheets of ice, stretched out along either side of the diving boards.

Bathed in bright winter sun, we dipped our toes – and then our whole bodies – into the thrill of ice-swimming, marvelling as we swam alongside great floating sheets of ice underneath the winter sun.

Afterwards, groups of plump robins hopped from branch to branch as we dressed, darting closer and closer, in search of tasty treats.

It is there now for you to visit on your next trip across the country. And there for me too, when I return.

***

Hannah-Louise is a former journalist, turned advertising executive, and writer, who is interested in the way our past and present intersect to form and shape us. She has written about family, places she loves, and formerly, celebrity culture, for national press publications, and is currently building her first long-form fictional work. You can follow her on Medium, or catch her searching for calm waters to swim in around Ireland.

The Banshee and the Roundabout - Online talk with Helena Byrne and Gareth E. Rees

This coming Sunday, November 8th, Elsewhere Books Editor Marcel Krueger will be talking with Irish seanchaí (storyteller) Helena Byrne and writer Gareth E. Rees (who has just released the wonderful "Unofficial Britain", you can read our review here about the importance of scary/unnerving/bizarre stories and folklore today, and what makes a place "haunted". They will also talk about the importance of urban legends in comparison between Ireland and the UK, a fitting theme for a gloomy November Sunday. The talk will take place on Zoom and is free to join, details below:

Sunday 8 November
5pm UTC

https://zoom.us/j/97900297948
Meeting ID: 979 0029 7948

Helena Byrne is a singer, storyteller, actress and songwriter, and for the past ten years has combined her passion of music and singing with her love of Irish folklore, performing as a seanchaí (storyteller) and singer for audiences of all ages across Ireland and further afield. Akin to the travelling seanchaí of times past, Helena performs regularly in the US and interweaves tales of Irish folklore and history with traditional Irish songs and wonderful insights into an Ireland of days gone by.

Gareth E. Rees is the founder of the Unofficial Britain website and author of Car Park Life (Influx Press 2019), The Stone Tide (Influx Press, 2018) and Marshland (Influx Press, 2013). His weird fiction and horror have been published in Best of British Fantasy 2019, An Invite to Eternity, This Dreaming Isle, The Shadow Booth: Vol. 2, Unthology 10 and The Lonely Crowd. His essays have appeared in Mount London, An Unreliable Guide to London and The Quietus.

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Skytrails

By Leonard Yip:

Kruger National Park, South Africa
June 2019

We spend the day in search of lionesses – all afternoon in the jeep, through the golden dust clouds of the Sabi Sands, out onto the low bareness of the bushveldt at the height of its winter. 

Jess, our ranger at the wheel of the jeep, tears off-road across brambles and dirt ditches, stopping every so often where bush gives way to sand. The Shangaan tracker with us, aptly named Advice, dismounts here: tracing the padded footfalls of the big cats in that pliant, wind-dusted earth, ghosting into the acacias and re-appearing again with a new set of directions in which to chase.

We never do see the lionesses that day, but the journey back to the lodge is marked with a quieter wonder. The sun sets and sinks and kisses the earth in fire, composing the leafless branches of fever trees into sharp silhouettes. Dark shapes of elephant herds in the distance move along the horizon line. In between the cold clarity of moonrise and the sun’s final dip beneath the Drakensberg mountains, there is a moment that seems to hang long and suspended in the clear air. Unprepared for the quickness of nightfall in the bush, I crane my neck upwards and the oncoming dark smothers me in its sudden descent: an entire sky dissolving to black.

Staring into its enormity, I lose my sense of perspective as it settles across the ends of the veldt. I sit in mute, fearful mesmerisation, this vast and unknowable thing erasing scale and obliterating our field of vision. Landmarks disappear and the roads before us are swallowed up into an inky chasm. My stomach lurches and I feel like I’m falling, leaping upwards into the infinity of everything I do not know. I reach reflexively for the guardrails of the jeep.

This uncanny, reversed vertigo clears only when the stars wink themselves into existence. The shapes of the veldt resolve themselves again faintly by the pinpricks of light. Cloud-like, the galaxy begins to pattern itself across the sky, looking for all the world like a rippling reflection of the road below us. Jess slows the jeep and leaves the lights dead. She and Advice teach us to navigate by the stars, locating the Southern Cross, mapping a southward bearing from where its lines bisect along the axis. They tell us the stories and folktales of the Shangaan bushmen – that the Milky Way is thought to be the trail walked by the spirits of their ancestors, and how a girl once threw the sparks from an ember’s core deep into the night sky, where they gathered into the constellations that guide the sojourner and the wayfarer home. 

Sat there listening, I am amazed at how acts of imagination become so closely tied to acts of pathfinding. I think of how writers and etymologists have followed the origins of the word ‘learn’ to the Old English ‘leornian’, meaning ‘to get knowledge’. The imprint of its lilting consonants and rolling vowels on our tongues trails even further back to the Proto-Germanic ‘liznojan’; to find a track. Learning, then, carries the same sense as following a track, making known the unknown through the tracing of one sand-swept footprint at a time. Even across cultures, how we make meaning of the world so often finds its way back to the very act of finding a way – galaxies becoming ground, stars turning to soil, walking and tracking as learning and understanding. Garnette Cardogan once wrote that ‘walking is, after all, interrupted falling.’ His words spring back to my mind as Jess and Advice map out the night sky for me, the resonance of trailblazing disrupting my sensation of upwards descent.

Advice turns on the searchlight, and the beam lances hot and bright ahead of us. The jeep trundles along the trail home. The air goes wild with the noise of the bush coming to life, and hyenas navigate by lone stars rising to their shadowed kills. Somewhere, lions roar into the night.

***

Leonard Yip is a Singaporean writer with an interest in landscape, people, place and faith - and often the intersections where these meet. He recently graduated with an MPhil in Modern and Contemporary Literature from the University of Cambridge, and his work can be found at leonardywy.wordpress.com. 

Notes from a Frontier Town: Some might say, secrets interred

By J. Miller: 

Standing atop the dunes of Echoing Sands Mountain (鸣沙山). At the dunes’ base sits Crescent Moon Lake (月牙泉), where some say that at some point in history flying dragons paraded around the shadowy pond where hidden dragons lurked in the depths. That nearby, a monk translated and hid thousands of religious documents. That it was at this geographical point where Christianity and Buddhism mixed. Some might say that it is speculation. 

Off into the distance, an ancient-looking portico unburdened by a building directs its gaze northward towards Dunhuang (敦煌). Camels jockey at the portico, and off-season 4x4s await riders that never come. Snow blankets the dunes. A narrow path leads up the tallest dune. A rope ladder, a staircase that lifts travelers and tourists up the dune. These dunes composed of grains of sand appear sturdy yet transient. The traveler, a temporary pause. A footfall compresses the sand, leaves an indefinite footshape, and sand granules tumble down the dune leaving sunken lanes.

Coming here from faraway I sink into thoughts that travelers’ desires shape their experiences, that experiences can become a form of folkloric experience, and that writing about these experiences is a chance to grasp dead time, or the past.

I find myself unaware that my feet were sinking into the shifting sands. I find myself imagining others that visited here before, who let their feet sink into the sand. Shifting like the sands, the landscape is recontextualized by a traveler’s desire. Wandering throughout the buildings attached to Crescent Moon Lake – a history museum that reminds the viewer of the lake’s impermanence – is a reminder that through these shifting sands the dunes act as a natural barrier for Dunhuang.

I am grateful that I have the museum and park mostly to myself, and that I can come from faraway to visit Dunhuang, if even for a moment.

It’s imaginable that some of the sand also came from far away. That sand was carried through the thin desert air, and it is imaginable that the crescent lake is always threatened. Most of the time the threat comes from some unknowable force. For a time, I tried to let the dunes speak for themselves. Some might say Echoing Sands’ name comes from the sand that whips across the dunes. What language can they speak, where human-language does not factor into the conversation? At one point in time, Dunhuang along with three other cities were frontier garrison towns. Jiuquan (酒泉), another of the garrison towns, is neighbor to a fortress called Jiayuguan (嘉峪关), which some point out has a gate where the exiled and the travelers passed through on their way into the Gobi Desert.

Exiles that passed through this gate carved a note as ritual commemoration, an attempt to internalize the place while at the same time casting it out from memory. The Gate of Demons or the Gate of Sighs. I could not find it. Some might say that it is the gate wishing not to speak with me; that it is an attempt of the fortress to maintain its secrets from an outsider. Checking every gate and tunnel for etched farewell notes, and desiring to interpret contemporary scrawlings for ones thousands of years old [1], I reached an impasse. As one of the travelers visiting a site and trying to create their own narrative to a place, I was a traveler attempting to navigate the fortress’s physical space: the building, arrangement of rooms and entertainment theatres, the angle and height of its ramparts and bastions, and the labyrinth of its corridors reconfigured for a tourist. At the same time, this fortress contained the secrets and shadows and imprints interred in the building.

Writing down my thoughts in a coffeeshop turned barbecue lamb restaurant, a sense of disquiet pervades me. Pictures aside, this written document is the only tactile item that I intend to bring back from this trip. Even then the pictures are just digital relics on a memory card. It’s proof, like a selfie posted on social media, that at one point in time I visited this place. 

I went to a place that on the map said coffeeshop, but instead it sold different variations of the popular Chinese grain spirit (白酒, baijiu) and the owner told me to turn the corner and walk 200 meters, and when I arrived at that location, the restaurant advertised barbecued lamb and served hot water infused with white sugar and soluble coffee-powder. At some point this document will be an attempt to reclaim something, to resuscitate my immediate present with an experience already passed.

Sitting in the barbecue restaurant, the religious grottoes and fortress’ architectural designs protect their secrets in different ways. Thinking about the material and imaginary facets of places: why do certain facets take precedence over others with some aspects of a place declared irrelevant [2]? What makes my search for coffee in a once-garrison town irrelevant compared to looking for scrawlings in stone by exiles? Each place and person is a relic grasping at the tendrils of dead time. In a time of mass consumption, it is imperative to remember that through consuming articles about place, the writing is an act of commemoration. That commemoration is an act of bidding farewell. That it is a ritual practice to forget, and to welcome that place in folkloric history. 

The tourist is not content to let things lie as they should. An imposition of personal narrative always shines through, where the tourist transforms their experiences into an experience that defies any process of linear time. Each traveler reorganizes geographical space and dead time to co mingle with a sense of commemorating the past and leaving with a sense of relevant story, to share with friends, family and other loved ones.

***

J. Miller is a bicyclist and educator based in Wuhan, China. His writings can be found on A South Broadway Ghost Society (2019) and A Dozen Nothing (2019) with a broadside from Chax Press (2020). J. Miller is a lecturer at Central China Normal University, where he is constantly clipping branches from the Osmanthus trees. He is the founding editor of Osmanthus which has collective focus to publish reflexive poetry and prose chapbooks and related objects. As tea drinker and bicyclist, find him in the Osmanthus branches, or here on Twitter, @yawn_sea

Notes:

[1] Cable, Mildred. The Gobi Desert. London: Readers Union Limited, 1942. pp.13-14

[2] Mbembe, Achille. “The Power of the Archive and its Limits.” In Reconfiguring the Archive, eds. Carolyn Hamilton, Verne Harris, Jane Taylor, et al. 19-26. Boston: Kluwer Academic Publishers, 2002. pp.19-26. 

Ravens and Bones – Icelandic sagas and places

Photo: Kai Müller

Our books editor Marcel Krueger has a new book out this week – Iceland - A Literary Guide for Travellers is published by I.B. Taurus on the 19 March. In this expanded excerpt he writes of his fascination with the Icelandic sagas and how they influence place names in Iceland today

Islands are places apart where Europe is absent.
– W.H. Auden, Journey to Iceland

Writing about an island should be easy. After all, it is surrounded by the sea, neighbouring lands far away. The boundaries are set. The outlook can only ever be inwards, away from the tides. 

Nothing could be further away from the truth in the case of Iceland. This is an island of many identities, of constant flux, just like its unruly volcanic ground. It was the last place in Europe to be settled, but the first democracy; a backwater under foreign rule, its population almost eradicated by catastrophe and neglect; emerging as a progressive Nordic democracy after the two World Wars; and finally from being one of the poorest members of the European Economic Area to becoming a major global financial player, only to be brought crashing down again by greed and failing banks. Today, Iceland is once again reinventing itself as the one destination on everyone’s holiday bucket list. To say that Icelanders have developed a certain resilience and ingenuity over the centuries, and a very peculiar way to express it, would be an understatement. An island settled by explorers and raiders, the view of its people was never just inward – and it manifested itself in a rich oral and literary heritage, something that to this day links Icelanders past and present. 

My personal fascination with Iceland began, as for many others, with the Norse myths and the sagas, with stories about Odin and Loki, about Víking raids and the discovery of Vínland. Kevin Crossley-Holland says it best in the introduction to Norse Myths – Tales of Odin, Thor and Loki (2017):

When I think about the Vikings or talk about the Vikings my eyes brighten, my heart beats faster, and sometimes my hair stands on end. Energetic and practical and witty and daring and quarrelsome and passionate, always eager to go to the edge and see and find out more: that’s how Vikings were. Their tough and stubborn and often beautiful women managed self-sufficient farmsteads in Norway and Sweden and Denmark and Iceland and Greenland, and were at least as capable and outspoken as their men. And for around three centuries – from the beginning of the ninth to the end of the eleventh – many of their husbands and not a few of their sons and daughters sailed south and east and west in their elegant and superbly made clinker boats as mercenaries, traders, hit-and-run raiders, settlers and rulers. And of course they took their gods and beliefs and language with them.

This is, of course, an idealised view of the Víkings and their mythology; but as the country settled by them is as much shaped by storytelling as it is by tectonic activity, Norse lore always served me well as a beeline into both country and Icelandic literature over the years. After all, its mountains and rivers, shores and valleys have all been named by the settlers and writers recording the tales of the settlement. It is both the otherworldliness of the landscape and the outward-looking culture of Icelanders that has made me return to the island time and time again.

There is some literary evidence that Irish monks, the so-called Papar, arrived in Iceland before the Norsemen somewhere between the sixth and tenth centuries; however no archaeological evidence has been found to this day. The real show began in the ninth century, when the first Norwegian travellers and explorers, arrived. Their names and those of the areas in which they made their homes during this so-called ‘Age of Settlement’ were recorded in a number of chronicles written down between the twelfth and fourteenth centuries, like The Book of Icelanders (Íslendigabók), The Book of Settlements (Landnámabók) and The Book of Flatey Island (Flateyjarbók). As Robert Ferguson puts it in The Hammer and the Cross (2009):

The Book of the Settlements [Landnámabók] is a full and often dramatic account of the colonisation of Iceland. Based on a lost original from the early twelfth century it contains the names of over 3,000 people and 1,400 places. 

According to the Landnámabók, Iceland was discovered by a man named Naddodd, who was sailing from Norway to the Faroe Islands when he lost his way and came to the east coast of Iceland instead. Only observing it from the safety of his ship, Naddodd called the country Snowland (Snæland), The first proper settler however was Hrafna (‘Raven’) Flóki Vilgerðarson, named after the fact that he took ravens with him on board ship and released them periodically. When they didn’t return he knew they’d found food and land. Hrafna-Flóki settled for one winter at Barðaströnd in the southern Westfjords region. His journey and stay did not start out well however: his daughter drowned en route, and then his livestock starved to death during the harsh winter. The Landnámabók records how this led Flóki to give the country its name: 

The spring was an extremely cold one. Flóki climbed a certain high mountain, and north across the mountain range he could see a fjord full of drift ice. That’s why he called the country Iceland, and so it’s been called ever since.

After that hard winter however the whole island started to turn green, making Flóki realise that it was habitable, so he returned to Norway to spread the word about this new fertile island he had discovered – but kept the name. The first permanent settlers after Flóki were Norwegian chieftain Ingólfur Arnarson and his wife Hallveig Fróðadóttir, who arrived around AD 874. According to the Landnámabók, Ingólfur threw his two highseat pillars (crucial parts of a Víking chieftain’s hall) overboard as he neared the island, vowing to settle where they landed. After wintering on the south coast in the first year, Ingólfur sailed along the coast until the pillars were found in a place he named Reykjavík, or Smoky Bay, after the geothermal steam rising from the earth – a place that would become the capital of modern Iceland. He was followed by many more chieftains, their families and slaves, who settled all the habitable areas of the island in the next decades, mostly along the fjords and river plains. These settlers were primarily of Norwegian, Irish and Scottish origin – most of the latter being female slaves and servants raided from their homelands. The stories of the Settlement Age and the next 200 years are recorded in the sagas, the most important Icelandic literary heritage – a fascinating canon of heroic and family stories written down between the ninth century and the fourteenth century, its structure and composition unlike anything written in contemporary Europe of that time. According to the sagas, the new immigrants arriving from Norway were independent-minded settlers fleeing the harsh rule of King Harald Fairhair, a man who makes an appearance in almost all of the Sagas of Icelanders (Íslendingasögur). 

During the eleventh and twelfth centuries, the power of independent local farmers and chieftains gave way to the growing power of a handful of families and their leaders. This period is known as the ‘Age of the Sturlungs’. The fighting became a proper civil war that ravaged the country. The Age of the Sturlungs also saw a veritable proliferation of sagas being written down, maybe in an attempt to reunite the country by making the stories of heroic deeds widely available. It also saw the emergence of the first giant of Icelandic literature, polymath Snorri Sturluson. A member of the Sturlungs and a politician, he is today best known as the author of the Prose or Younger Edda (Snorra Edda, thirteenth century), one of the two sources that have introduced the Norse pantheon and mythology to the modern world – the other being the Poetic or Elder Edda (Ljóða Edda), an anonymous collection of poems from around the same time. In the Prose Edda, Snorri might have recorded his own assessment of the age he was living in based on a quote he took from the Elder Edda: ‘A sword age, a wind age, a wolf age. No longer is there mercy among men.’

Highly-accomplished literary works of that time include Egill’s Saga (Egils saga Skallagrímssonar), the life of the warrior-poet Egill Skallagrímsson; the Saga of the People of Laxárdalr (Laxdæla Saga, a triangular love story set in West Iceland; the Saga of Gisli Súrssonar (Gísla Saga Súrssonar), the tragic tale of a heroic outlaw in the Westfjords; and the Story of Burnt Njál (Njáls Saga), generally considered the high point of Icelandic literary art, a complex and rich account of human and societal conflicts playing out across the fertile fields of south Iceland. 

Closely related to the sagas are the Eddas, among the main sources for the knowledge about Norse gods we have today. The Poetic or Elder Edda is a group of more than thirty poems on gods and human heroes preserved in oral tradition until they were recorded by an unknown chronicler (or group of chroniclers). The Prose or Younger Edda is the work of Snorri Sturluson and the most important source of modern knowledge on this subject, and also contains a guide to poetic diction and the kennings, a typically two-word metaphor found in Norse and Icelandic that stands in for a concrete noun: ‘bone-house’ (body), ‘whale-road’ (sea), ‘wave-horse’ (ship), ‘sky-candle’ (sun).

The sagas are still a central part of Iceland’s culture and continue to be taught in its schools, and most people are familiar with a good number, if not all of them. The sagas are certainly known to a much greater extent than British people are familiar with famous works of medieval literature. One key to understanding the power of the sagas lies in their relationship with the landscape itself. The sagas explain how place-names all around the country came to be: some of their explanations about events and characters gave names to natural places – like farms, hills or bogs – and have a historical basis, while others were invented by a saga-author but are nevertheless still used to this day. Because of this and despite their age, the sagas still live on in many of the local areas in which they are set – and have a life over and beyond the printed page. Not only have they served as inspiration for countless modern literary works, art and music, but there are also many new saga trails criss-crossing the country today, and living history museums, saga theatres and cultural centres allow both scholars and visitors to learn about the stories in the actual landscape where they took place. For me, it is often difficult to think of an analogy in another country where a corpus of medieval literature is so close to people’s hearts on a national scale.  It is always a delight to come back to the island and reconnect with its names and places.

A week in Orkney

By Tim Cooke:

One summer, my father took us, Rob and I, to the Orkney Islands, to see the Viking burial sites, Pictish and Neolithic ruins, and to do some fishing. I was still in primary school – year five, I think. The first evening we arrived, we watched three locals unload their catch from a small motorboat onto the boggy shore of the lake we were staying on. We ate dinner in a barn, or outbuilding, with stuffed fish mounted on the walls, gawping over our shoulders at our food. Dad drank Guinness, as he would each night for the coming week, while me and my brother sipped ice-cold cans of Irn-Bru. I don’t remember what we spoke about, just that Rob kept repeating Will Smith’s line from Independence Day – Let’s kick the tires and light the fires, Big Daddy.

We fished most mornings, Dad steering us out to the silky deep, but didn’t catch a thing. He’d choose a spot, kill the engine and cast our lines, then wait quietly for a bite. Every so often, one of our wires got snagged in the weeds. My lack of experience meant the first few times this happened, I flicked up my rod and shouted, I’ve got something, only to reel in handfuls of mulch. After every twenty minutes or so – not nearly long enough – Dad broke the silence by announcing we were to move on, because the fish were surely basking in that pool of sun over there, or whatever. Reflecting on our failure one night, he blamed the seal apparently stalking the boat and stealing our trout. He’s stuck to this story ever since.

We’d travelled to Scotland a number of times before our week in Orkney. I’m not sure how many trips we’d made, but they’ve all sort of amalgamated into one in my mind. I recall, for instance, a murder of crows alighting on the roof of Edinburgh Castle, and that very same day, as far as I can tell, driving beside Loch Ness. I was obsessed with the monster mythology and told everyone I was going to see it. And then I did. I had this pamphlet with a condensed history of the beast – a few grainy black and white shots dispersed between paragraphs – that I must have read a thousand times or more. I loved the ‘Surgeon’s Photograph’ – categorical proof, if any was needed, that some time-evading horror lurked below us and would, on occasion, rise to the surface. 

I held on tight to this leaflet as we drove along a narrow country road. There was a screen of lush green foliage to my left, beyond which the water bobbed and chopped. I longed for a breach, and sure enough it came. I’d only been looking at the loch for a matter of minutes – ten perhaps, without averting my eyes – when two humps broke the crest of a wave, followed by a third and fourth, and finally the pointed tail, the last bit to disappear back into the sloshing abyss. It was over in three seconds flat, only ripples remaining – working away from the site of incision like lights on a radar dial.

There – I saw it! Look, over there! Look at the water!

My parents were enjoying my burgeoning interest in cryptozoology and had told me they, too, believed in the creature.

Well there you go, Mum said, you’ve seen it now. You can tell Nan when we get back to the hotel.

Did you see it, though? I was bouncing in my seat.

They smiled at one another and Dad confirmed he had, indeed, seen something.

Nearing the end of our time in Orkney, we visited Maeshowe, a Neolithic cairn and passage grave constructed around 3000 BC. From the outside, it looked like a small hill, a place a hobbit might inhabit. The entrance tunnel, which runs to the central chamber, is only three feet tall, so we had to shuffle through on our hands and knees. As I crawled along, I was struck by the smell of the damp earth, far stronger than that I was familiar with. It left an almost bitter aftertaste. We’d been told there were bodies here and, despite the likelihood of this information being false, I could feel them. I paused in the passageway, unsure as to whether or not I should go any further, but Rob was gaining on me, so I had to keep moving. It was as if I was being sucked into the ground.

Stepping into the chamber was like stepping out of our world and into a different dimension, a time capsule. While the guide talked about dates and architecture, man-hours and angled buttresses, I zoned out and heard sounds and voices swirling in a maelstrom around me. I’d been thinking a lot, at night, about death and heaven. Dad tried to comfort me with words of God and eternal life, but to be honest the idea of forever scared me more than anything else. I couldn’t get my head around it.

I stood facing the wall, looking at an image of a dragon scratched into stone by a Norse graffiti artist in the twelfth century. As recounted in the Orkneyinga Saga, a group of Viking travellers broke into the tomb and left more than thirty runic inscriptions, the world’s largest collection of such engravings. It occurred to me that this dragon I was staring at might, in fact, be skulking in the depths of Loch Ness. Had they seen him too?

I flinched at something wet and warm moving along the back of my skull. I turned around to see Rob grinning. He’d taken, lately, to surreptitiously chewing a tuft of hair protruding from my crown – he loved that I hated it so much. What’s the matter with you? 

Back outside, in the fresh air, we walked along the coast. It could have been a different day, I don’t know. We paused by a farmer’s field and watched a woman delivering a foal, her arm inserted deep inside the back end of the horse. Rob touched the fence and jolted backwards. 

It’s electric. He touched it again. Whoa. That’s so weird. He turned to me. You have a go.

I placed my finger on the wire. Shit! It felt as though my bones were being pulled from their sockets. 

Dad caught up and joined us. 

It’s an electric fence, I explained.

Don’t be silly.

The woman in the field looked up. It is actually. I wouldn’t touch it if I were you.

His hands were already stretched out – it was too late to retract them. Strewth! Bloody hell. The woman shook her head.

We continued walking along the cliffs. The wind was blowing hard now and the sea writhed like a snake pit. Always full of energy, Rob ran on, sidestepping knots of couch grass, skipping over divots and molehills. He was straying dangerously close to the edge.

Robert, get away from there. Dad was holding my wrist ten or fifteen metres inland. Come back here with us. The wind is very strong. Rob strolled over, his mouth twisted into a smile.

What would you do if I fell?

I’d grab your brother and jump off too. The words startled me – I looked up to see if he was joking, but his face was stern, almost angry. I could never go back to your mother with just one. Where was she, anyway? Why hadn’t she come with us? I looked out at the ocean, at the thrashing waves, and felt unsafe.

***

Tim Cooke is a teacher, freelance writer and creative writing PhD student. His work has been published by the Guardian, Little White Lies, The Quietus, 3:AM Magazine, New Welsh Review and Ernest Journal. His creative work has appeared in various literary journals and magazines, including The Shadow Booth, Black Static, New Welsh Review, Foxhole Magazine, Prole, Porridge Magazine, The Nightwatchman, The Lampeter Review, Storgy, Litro Magazine and MIR Online. He recently had a piece of creative nonfiction published in a Dunlin Press anthology on the theme of ports and is currently working on a collection of short stories. You can follow him on Twitter @cooketim2

Now, for the Future at the Open Eye Gallery, Liverpool

Preview by Paul Scraton:

The photography organisation Shutter Hub have teamed up with Liverpool’s Open Eye Gallery this November for a new international exhibition that brings photographers from around the world together to explore contemporary ideas of myths, folklore and memory. The motivation for the exhibition was to not only explore the many unique ideas for creating a visual language drawing from the past and the present, but also one that, in this time of growing environmental crisis, plots potential road-maps for the future.

‘We’re looking for the myths and fables of today. Will the stories we tell today survive to be the folklore of the future? We hope that Now, for the Future could be a visual handbook for emotional survival.’
– Shutter Hub Creative Director, Karen Harvey

David Come Home © Simon Isaac

One of the highlights of the exhibition promises to be the work of Simon Isaac, whose work ‘David Come Home’ explores ideas of migration, home and homecoming through the story of David, who crash-lands back on earth having lived on a distant planet. Once here, he walks the landscape in search of his brother, reflecting the contemporary reality of many migrants who travel on foot for countless miles, leaving behind their loved ones because of war, the need to survive or simply the human desire to explore.

Elsewhere, the exhibition showcases the work of more that 20 photographers from across the planet, including Bolivia, Canada, France, Germany, Japan, Israel, US, Portugal and, of course, the United Kingdom. It promises to be a thought-provoking exploration of how photography can be used to tell stories that help us understand what’s going on around us, and allow us to find common ground in this increasingly fragmented world.

About Shutter Hub

Shutter Hub is a photography organisation providing opportunities, support and networking for creative photographers worldwide. They provide the chance for photographers to professionally promote their work, access high quality opportunities and make new connections within the photographic community through their website, in-person meet ups and exhibitions. Shutter Hub has dramatically changed the way photography exhibitions are run. An online entry form and low entry fee with no further costs for printing, framing or postage levels the playing field, allowing photographers from around the world to enter. Bursaries are also available for photographers on low incomes.

Now, for the Future
1 November 2019 - 30 November 2019
Open Eye Gallery (Google Maps)

Open Eye Gallery Website
Shutter Hub Website

Hiraeth

Photo: jessica sealey

By Aoife Inman:

It’s late but the evening light lingers at the peripheries of the ocean making the day stretch long into the night. Time seems to stretch here, the minutes distorted by the quiet swell of the ocean.

The air is full of mist; it pads out the twilight zone between the last dregs of evening and the soft beginnings of the morning. I’ve always thought this is an almost mythical piece of the day, when it’s neither light nor dark and the sky is damp and thick with salt, brushed in off the incoming tide. You can hold the mist between your teeth, wads of it pressed against the insides of your cheeks like cotton.

There aren’t many who bother to come down to the sea front at this hour, with the weather, as it is, temperamental and unforgiving. The wind bites and scratches at any scrap of skin left bare to the element and my thighs are lined with small red welts and scratches – the claws of the ocean have dug their way into me, right to the bone. Today, however, there are a few faces who peer palely over in my direction as I trail down the hill – van dwellers, keen surfers and fishermen, who are all, themselves, half brine and barely human, at least in the city sense of the word.

This was always the place I felt most at home, not here specifically but this ocean, this crack of coastline that juts out obstinately, defiant and secluded. It feels a million mile away from the industrial powerhouse cities I’ve made my home now.

Home. It’s a strange word whose weight has always felt uncomfortable in my mouth, hard and bitter. I was born on the road, moving between a collection of cardboard houses, each one like the last and yet lacking something. I resided in houses, habitats, a series of rooms, plaster, mortar and board – safe and comfortable but never permanent. To belong to just one place strikes me as an exhausting concept.

I thought when I had grown up that I’d settle somewhere; that I’d stop moving and plant some roots, or whatever the metaphor is, but I’ve realised that those moments, those years spent on the road, they get into your bones over time. Slowly, you barely feel it at first, but I can’t stay still now. I’ve tried, time and time again, found a place I love and settled there with a job and a plan and a circle of friends and then I feel that itch, again, against the soles of my feet. It’s like a disease, that itch, that want for change, it’s exhausting sometimes.

I walk along the cliff path, away from the cove, to the world’s edge where the grassy slope seems to fall away into the deafening blue. It’s a steep rocky path carved right into the grit and soil of the cliff, the sort that has been etched by many pairs of feet, worn over many years. When the tide eventually comes in it will cut off this path completely, a void of cold, blue Atlantic filling the space where my feet have trod. Nothing about the breadth or surface of this terrain is easily digestible. It’s a wholegrain, bran and fibre sort of landscape – some find it lonely, harsh, and unforgiving – I find myself falling in love with the rough corners of it every time I return.

When I was a child we were taught to spot currents on cliffs like this, our hands tracing the motions of the sea, trailing the lines of white foam that spread across the ocean like a film. I reach out my hand to lay it on the horizon, palm obscuring the bulb of the grey sun.

If you follow the cliff path round the curling edge of the peninsula you reach a town, a knot of tangled streets that overlap one another like old strings, every one gnarled with potholes and cobbles. I follow it now, zigzagging through kissing gates and through fields of thick grass. Everything is further apart here, houses and gardens stretch along the street, sand banks drag the beaches way out into the bay and the years seem to trickle by – I do not have to measure time so carefully here, there are months to spare.

The town is simple, a harbour filled with thin fishing boats and crab pots, a lifeboat house, a shop selling spades and 99 cones. It’s fixed in another time, another era where people worked with their hands, in the earth and the water.

This place is filled with mysticism, steeped in folklore, luck bound in rhymes and patterns of three. It’s everywhere you look, tucked in corners of woodland and thin waterfalls where faerie stacks topple. Down in the town the boats that jut out into the cove are named after mythical lands and magical creatures, suspicion has wormed its way amongst the men who tend the land and drag the sea.

“Look down there.” The mother leans into the clove of her son’s ear as she speaks. “Look down at that boat there, see the lions on its side?”

Sure enough, on its flanks are painted two yellow lions, their manes dipping and rising out of the green waters.

“They’re named after the legend of Lyonnesse…legend says there used to be a beautiful isle just set above Seven Stones reef that is halfway out to the Scillies. The city of lions and the land of Lyonesse, built with 140 churches atop it and a castle they say, all swallowed up in a single night by the ocean.”

The boy’s eyes widens as he listens, his hands gripping the handrails with his chubby palms.

His mother crouches down by his side, “look now do you see the top of the steeple there, just jutting out of the waves?”

He nods, eyes fixed on the grey sea.

The light is fading now, obscuring the edges of the day. Home, it’s a strange thing I think again, I wrap my tongue around it, a lump in the hollow of my mouth. It’s everywhere here and yet it feels distant. It’s in the lilt of the mother’s curling accent, the one I have lost over so many years spent away. It’s in each vowel, full bodied and warm, the crackle of pebbles under rubber boots in the evening tide, the low thud of water turning cliff to rubble.

I collect them in my palms as I count them, feel the weight of the love I hold for this place, and close my eyes as the day melts.

About the author:
Aoife Inman is a writer and historian based between Cornwall and Manchester. Her short stories have been published in Electric Reads’ Young Writers Anthology 2017 and New Binary Press’ 2018 Autonomy collection, as well as being long-listed for the 2016 Royal Academy Short Story Award.