As Barry Mill gears up for another weekend of Easter Egg hunting, it seems like eggs-actly the right time to look at the origins of Easter and why we associate it with eggs!
One of our most enduring customs here in Scotland is the ‘rolling of the eggs’, usually carried out with great excitement on Easter Sunday. While writing my current book (Grist! The Life, Lore and Landscape of the Scottish Watermill, to be published later this year by Little Toller Books) some great memories of my own childhood at my Gran’s cottage in Carnoustie came flooding back:
‘ I remember my great aunt spending the days before Easter Week dying hard boiled eggs and carefully packing them back into their boxes to be brought out with great excitement on Easter Sunday Morning. Without doubt, those beautifully coloured eggs were as magical as the chocolate variety. She had a tiny cupboard with drawers where she kept little vials of food colouring. She also used beetroot, tea and onion skins, boiling the eggs for ages in a big iron pot. Once the eggs had been carefully handed over, we went out into the (very flat) garden to roll them. It’s actually better if you can find a hill! The aim was to crack the shell of someone else’s egg, and once all the shells were successfully bashed, you were free to tuck in. I always remember the egg white being as tough as rubber, but very delicious!’
(From Grist! The Life, Lore and Landscape of the Scottish Watermill, 2019).
My Gran always reminded us that rolling our eggs represented the rolling of the stone away from Christ’s tomb, but during my research, I came across the following custom, associated with Beltane, which is remarkably similar. Beltane was, of course, one of the great Celtic Fire Festivals and would have occurred a little later, around May 1st. It symbolised the return of the light to the earth, and children were often given eggs to bake in the hillside bonfires. No doubt, as children do, they would have had great sport rolling them down the slopes.
Eggs are ancient symbols of new life and rebirth, which chimes well with the Christian celebration of the resurrection of Jesus, but Easter actually takes its name from the pagan goddess Ostara.
Jacob Grimm ( of fairy tale fame), writing about Easter in the 19th century, pointed out that the Old High German adverb ôstar “expresses movement towards the rising sun”, as did the Old Norse term austr, and potentially also Anglo-Saxon ēastor.
Whatever your Easter holds, have fun, and hopefully you’ll join us at Barry Mill for one of our eggstraordinary egg hunts!
I haven’t posted here for a while. Re-reading these articles reminds me fondly of my creative residency at Barry Mill, a time of knowledge gained, research collected, tales told. It was a special time, one when my second novel Bone Deep slowly took shape in the shadowy corners of the old mill.
Time has moved on. Bone Deep, published by Polygon, can be acquired in the usual formats from all the usual outlets, and will soon be available to readers in India, Germany and the US! It will be joined on the shelves next July by another psychological thriller, The Unmaking of Ellie Rook, also from Polygon. To keep up to date with developments and events, browse my website https://sandrairelandauthor.com .
But back to the mill! I’m currently researching and writing a non-fiction book about the landscape and folklore of the Scottish watermill, which will be published by Little Toller Books this year. This has been made possible by the generous support of Creative Scotland.I’m uncovering lots of interesting little snippets, which I’d like to share with you on the Barry Mill Blog, so- all you lovers of forgotten folklore, hidden histories and landscapes with just-out-of-sight stories- this is for you!
My recent visit to Iceland Noir (put it in your diary for 2020!) made me think a lot about light. Sunrise was typically around 9.30 am in Reykajvik, with nightfall about 4pm. Cloud cover means that daylight is in very short supply. Icelanders seem to embrace it, with fairy lights and candles everywhere. All the waterways in Reykjavik seem to twinkle with ethereal dancing reflections.
How easily we can flick a switch and banish the shadows. All manner of digital screens distract us from the dark.But what of our forebears? Any study of the living arrangements of those folk, so like us, is thought-provoking and often difficult to imagine. How about this observation of Scotland in the 17th century?
‘We laid in a poor thatched house, the wall of it being one course of stone, another sods of earth, it had a door of wicker rods, and the spiders’ webs hung over our heads as thick as might be.’
Christopher Lowther, 1629
(from T.C.Smout’s A History of the Scottish People, Fontana, 1998)
I don’t like the dark; I don’t see very well in it and the absence of light makes me nervous, so I don’t know how I’d cope with being left in utter blackness once the sun goes down. No wonder stories around the fire took on such huge significance and meaning. In Bone Deep, one the of main characters, Mac, speaks of the ‘civilised circle of light’, beyond which the dark forces of nature are lying in wait. Imagine the utter terror of children as they’re bedded down for the night, folktales still fresh in their imaginations. Maybe they were made of sterner stuff!
How did people possibly see to mend their nets or card their wool? How about a lamp fuelled by fish livers?
Also from Smout’s ‘History’, Osgood Mackenzie, the creator of the gardens at Inverewe, remembers the Highland upbringing of his parents and grandparents. Everything was done by candlelight, paraffin being unheard of in the pre-war years. Tin lamps, which burned fish-liver oil, were sometimes purchased from travelling ‘tinkers’, but bog-fir splints, or torches, full of resin were the mainstay for those struggling with daily chores. It was the children’s job to collect and stack them in a corner of the cottage, ready to be lit when additional light was needed.
No poetry this week, but I’ll begin with a few timely lyrics from Chris Rea:
Look deep into the April face /A change is clearly taking place/ Looking for the summer.The eyes take on a certain gaze/ And leave behind the springtime days/ Go looking for the summer.
April is a big month for Barry Mill, as the Easter Duck Races herald the start of another busy summer of welcoming visitors to the property. For me, it’s also an opportunity to look back and reflect on the progress of my writing residency at the Mill.
This time last year, I was anxiously waiting to hear if my application for Creative Scotland funding had been approved. Knowing the field is intensely competitive, it was a nail-biting few weeks, even though I’d done my homework, and the National Trust for Scotland was on board with my proposal. The Creative Scotland selection process is rigorous, with your application discussed at length by a panel of experts in your field. Even though my debut novel, Beneath the Skin, had been accepted for publication at this point, I still wasn’t convinced I would be taken seriously.
Finally, I received the email I’d been haunting my inbox for: ‘We are delighted to inform you…’ As soon as that word ‘delighted’ popped up, I began to breathe again. I think it was a full twenty minutes before I could read the rest of the letter!
So what has this funding meant for me?
First of all, it’s bought me time. As many of you will know, I worked for many years as a cleaner in my local Co-op, in order to fund myself through an undergraduate degree, and then the Mlitt in Writing Practice and Study at Dundee University. As many writers will know, the effort of being creative while working in mainstream employment can be stressful and draining. So, clocking into the Co-op at 6 a.m. every morning (which is my most creative period) was always going to be a problem. Creative Scotland agreed to fund a twelve-month residency at NTS Barry Mill, which meant that I would have the great luxury of time to write my second novel (which takes as its setting an old watermill!).
And what has it meant for the mill?
The residency has included provision for a series of workshops, in which I have been able to observe how people react to and interact with the mill. One of the most popular events was The Weir-d Walk, when I led a gang of willing ‘victims’ through the mill den to the weir. We encountered a lot of folklore on the way, but I’ll tell you more about that next week!
Working in partnership with the National Trust for Scotland has opened up another strand of enquiry for me. How can we engage people with their heritage through the arts? As the provider of food, the mill has always been at the heart of the community. Can it now move forward with a new identity, as the custodian of local culture? It is the perfect venue for storytelling, exhibitions and readings.
I also set out to research and document some of the many ballads, stories and poems associated with Mill life, and this has been an absolute joy. Regular followers of this blog will have shared some of my ‘finds’, and if you haven’t already, do scroll through the posts! Still, I feel that I’ve only uncovered the tip of a very large iceberg. This is the exciting part of Creative Scotland’s generosity – I have met so many interesting and helpful artists and creative professionals this year, and have gathered so much material. I am really looking forward to some collaborative projects in the future, and a chance to shape my thoughts about mill life and lore into some kind of non-fiction miscellany. Mill Life and Lore? There’s a book title already!
And the all-important second novel?
The Bone Harp, my second book, was completed in January, and has been met with great approval by my agent, Jenny Brown, and my publisher, Polygon. An announcement is imminent- watch this space!
Fearfu’ soughs the boortree bank,
The rifted wood roars wild and drearie,
Loud the iron yett does clank,
And the cry o’ howlets makes me eerie.
Some evocative lyrics there from the traditional Scots ballad ‘Are ye sleepin’, Maggie?’ (Hear the Dougie Maclean version here) For me this is the perfect storm (forgive the pun) of language, rhythm and mood. The old Scots words add eloquence and mystery: boortree; the bower-tree or elm; yett, a gate and, the subject of this week’s post, the howlet or owl.
Country folk have always taken great pains not to get on the wrong side of this magical bird. Last week, I shared with you the story of an irate miller who marched his young son back to the howlet’s nest to replace some stolen eggs.
The term howlet, houlet, hoolit or houlet appears in Scots literature from the earliest times. The Scots Language Centre cites ‘The Buke of the Howlat’, written by Sir Richard Holland in the middle of the fifteenth century, as one of the earlier poems referencing the owl. Click hereto learn more. The houlet, unhappy with his appearance is given a feather by all the other birds so that he is “Flour of all fowlis throw fedderis so fair”, but he gets “So pompos, impertinat and reprovable” that the birds strip him again. An entry in the Register of the Privy Council (1663) reveals the word being used as an insult: “Calling her ill-faced houlett, lyk that catt, thy sister”. In his Historie of Scotland (1596) James Dalrymple compares ‘traytouris’, or traitors, to ‘howlets’. A more humorous mention comes from this description in the Edinburgh Evening Dispatch (1891) of ‘a douce lad wi’ a daylicht face, they say, an’ nane o’ the hoolit aboot him”.
The name itself suggests a howl, evoking that eldritch cry we’re all familiar with. Imagine a time before electric light, a dark night and those eerie white wings floating above a moonlit mill. Little wonder that the bird features prominently in the myths and legends of most cultures. Owls were revered as symbols of wisdom, and dreaded as harbingers of doom. Definitely a creature to stay on the right side of!
The following lines by Sir Walter Scott reveal the sort of superstitious dread associated with the bird.
Birds of omen dark and foul, Night-crow, raven, bat, and owl, Leave the sick man to his dream — All night long he heard your scream.
The Gaelic word for owl is coilleach-oidhche, meaning ‘night-cockerel’. Despite this rather masculine label, the bird was associated with the Cailleach, the Crone aspect of the Celtic Goddess. The Cailleach was often represented by a blue-faced hag-figure, who stalked the land in winter, freezing the ground with her staff. In previous posts, we’ve seen how country folk honoured the Cailleach by burning the Yule Log. In a similar way, farm folk would make a corn dolly from the final sheaf of the harvest. The last farmer in the neighbourhood to finish his harvest was responsible for the safekeeping of the corn dolly, which was believed to harbour the Goddess spirit. Giving hospitality to the Crone in this way throughout the dark months would ensure the return of the light in Spring.
There is a very fine line between the light and the dark. Yule logs, corn dollies, hags and howlets were important touchstones in the lives of our rural ancestors. Next time you see a white shape soaring over Barry Mill on your evening walk, maybe wish it a good night and move swiftly on!
I haven’t yet found a poem with an owl and a cornmill, but The Owl by Tennyson is very close! I’ll leave you with a few lines:
When cats run home and light is come,
And dew is cold upon the ground,
And the far-off stream is dumb,
And the whirring sail goes round,
And the whirring sail goes round;
Alone and warming his five wits,
The white owl in the belfry sits.
Since my residency began in May, it’s been my privilege to meet some fascinating people, such as poet Petra Vergunst and artist Sheila Macfarlane. The experience has deepened my understanding of community and landscape, and helped shape my own creative practice. This week we have another name to add to that ever-growing list!
I’m extremely grateful to Mr Alex Green, of Foresterhill Mill, Oldmeldrum, for arranging a meeting with his father, Alex Green,senior, a mine of information on milling, rural life and traditional music, and a brilliant storyteller to boot! Expect to hear more from these two gentlemen in the coming weeks, but for now, let’s take a look at mill life through the eyes of Alex senior.
Alex Green is an Aberdeenshire man, and one of Scotland’s foremost tin whistle players. His father milled at Foresterhill Mill, Oldmeldrum, and then at Mill of Minnes, Udny. I think it’s fair to say that his childhood memories of growing up in a mill begin on a somewhat painful note. At the age of five, Alex lost two fingers in the mill machinery and was in hospital for three weeks. This prevented him taking music lessons, but determined to keep up with his musical family, he taught himself to play the tin whistle, and I suspect the missing digits became something of a legend!
Having just finished my second novel, in which my fictional miller is a bit of a devilish character, I was keen to learn how real-life millers fitted into the social structure between the wars. As the most educated man in town (with the exception of the school master, and the minister), the miller was the go-to person for sorting out village affairs. Along with the blacksmith, he was certainly the most influential person in daily life. With oats serving as the currency of the day (oats were legal tender), the miller could be considered a banker of sorts, and the mill a bonded warehouse. He also enjoyed a special connection with his landlord, the Laird, a relationship he was keen to keep sweet!
Alex gives a brilliant account of the ‘forelock-tugging’ that went on in those depression years. Nothing was too good for the Laird, to the extent that Alex’s father would refuse to place the Laird’s meal in a common jute sack, but instead would raid his wife’s linen press for white pillowcases. The Laird’s oatmeal was always delivered in clean white cotton!
The children of the mill, the smithy and the farm were the lucky ones. Alex remembers being sent to school in clean clothes, and wondering why so many of the other children would appear day after day in the same ragged things. It was only later that he realised they owned only one set of clothes. Having a second shirt and being able to change, was the hallmark of a ‘comfortable’ lifestyle. The mill family, with enough land for a cow, pigs and hens, was self-sufficient. They had dairy products, vegetables, corn and fruit, as well as trout and wildfowl.
Whisky and beer were too expensive, but the miller would make a spirit from fermented sowens, the‘mealy sids’, or husks. Sowens was generally made into a sort of porridge or brose, but the thin, fermented sowens was very potent and kept in the mill for a little tipple!
The employment term for labourers and farm servants traditionally began on Martinmas,November 28th. Fairs were held in most towns a few weeks prior to this, and the advent of the railways meant it became easier for people to travel outwith their own neighbourhood in search of work. The farmer or his grieve (farm manager) would approach a likely-looking man and inquire if he was ‘tae fee the day?’ If the reply was yes, a wage would be agreed, the farmer would proffer a shilling or two, referred to as ‘arles’, to bind the bargain. The men would then adjourn to a nearby public house, where the farmer would stand the man a dram. Such agreements, though purely verbal, were legally binding.
In practice, however, farm servants were invariably cheated out of monies due. Supplying them with ‘perks’ or foodstuffs in kind was one thing, but neither farmers nor millers were keen to part with cash! This goes some way to explaining our curious ‘writing on the walls’ here at Barry.
Most farm servants were illiterate and couldn’t read a contract, even if one was offered. They certainly wouldn’t have kept diaries, so names and dates were simply written down in the workplace on a convenient surface. An instant employment record, and a reminder of names, start dates and so on, when it came to wages. Millwrights and other visiting workmen would do the same thing, so there could be no argument over the bill, or whether the job had been completed. Significant events (such as the installation of the elevator at Barry) were also jotted down. The dates of severe flooding, bad storms and deep snow can all be found in other mills.
Alex and I never did get round to chatting about music, ballads and folklore, but I’m sure we will. I’ll leave you with some lovely little anecdotes.
The first one concerns Blind Dan, a previous incumbent of the Mill of Minnes. He may have been blind, but he managed to mill as competently as anyone else by having everything in a certain place. Woe betide anyone who moved any of his tools etc! The downside was that the rats knew he was blind and stopped hiding. Visitors were astonished to see them all sitting up on the sacks in broad daylight as large as life!
We did touch briefly on mill superstition. Alex’s brother returned home on one occasion with some eggs he’d taken from an owl’s nest. This was such bad luck, he was immediately marched back to the nest in the dead of night and forced to replace them! The owl is a big player in the world of Scottish folklore, so we might well return to the howlett next week!
For all you kelpie lovers out there…as mentioned previously, each stretch of water was believed to be inhabited by a kelpie, whose mission was to guard the mill from all misfortune. According to Alex, that particular gem is absolutely true!
Last time, we took a look at some of our more extreme Scottish Yule/Hogmanay customs, and our desire to banish the dark and the cold with blazing logs, bright candles and huge bonfires. New Year Rituals are all about fending off the unknown and the uncontrollable.
This week, it’s the turn of the dark and the cold to take centre stage!
“It’s far too mild for this time of year. It just doesn’t feel like Christmas/ January.” I bet you’ve heard that complaint a lot recently! We seem to have a deep need to experience the sort of atmospheric conditions we associate with the season. Should January be dreary to match our melancholy post-festive mood? It’s all a bit of a chicken-and-egg scenario, but this close link between our psyche and the natural world has long been exploited by writers to add texture and meaning to their work.
‘Pathetic fallacy’ is a rather old-fashioned term for lending human attributes to inanimate objects (The ‘cruel’ sea, for example). This has been developed in modern literature to include the use of abstract phenomena to reflect human mood and emotion. Storms, rain, moonless nights, floods- whatever natural event you can think of can be used as a mirror for human angst. This is a powerful device and synonymous with Romantic and Gothic literature. The following poem by Emily Brontë (the recent BBC drama To Walk Invisible is a must-see) demonstrates the deeply intuitive interaction (and power-struggle, perhaps) which takes place between human and nature. The chill that runs through it is palpable.
The night is darkening round me,
The wild winds coldly blow;
But a tyrant spell has bound me
And I cannot, cannot go.
The giant trees are bending
Their bare boughs weighed with snow.
And the storm is fast descending,
And yet I cannot go.
Clouds beyond clouds above me,
Wastes beyond wastes below;
But nothing drear can move me;
I will not, cannot go.
Emily Brontë (1818-1848)
Emily was the middle sister of the three most famous sisters in the history of English Literature. (Her oldest sister was called Charlotte; Anne was the youngest; and she had a brother called Branwell). All of them died tragically young.
My own task during my creative residency here at the mill has been to observe this setting in all of its seasons. I have written extensively about the summertime, when the mill is open to the public. I have facilitated many workshops where the community has been invited to react with the mill and its landscape. We have lots of images of children enjoying the environs, writing fairy stories and having picnics,
But in the bleak mid winter all that stops. What is the mill like when the lights are off and the doors are bolted? When the only human interaction is between the imagination and the dark?
I’ve included a short extract from The Bone Harp, my second novel (first draft just completed) which takes as its setting a fictionalised version of Barry Mill. This has been made possible by the combined generosity and support of Creative Scotland and the National Trust for Scotland.
In this passage, protagonist Lucie, having fallen in love with someone she shouldn’t have fallen in love with, has reluctantly ended the relationship…
I don’t like it down here when dusk starts to fall. I don’t trust this landscape where the trees crackle with secrets, and the water smells wild, and the midges and the bugs and the birds take on a new urgency. I get up from the bench. Walk, and keep on walking. The path is littered with snails which crunch beneath my feet, making me wince with every step. As the rain starts again I tell myself to go indoors, crack open the Pinot Grigio and watch something crap on the telly. Something that doesn’t include beginnings or endings. A sparrow swoops too close, the vibration of its feathers a frantic chord that tears at my nerves and I break into a half-jog. The urge to keep moving is overwhelming, as if my own hurt, my disappointment, is woven into the fabric of the place and I’m caught up in its cobwebs. Skirting past the mill, I find myself heading up towards the road, negotiating the rough track in my unsuitable sandals, not knowing, not caring where I’m going. I’m hunched up, hugging myself, and the rain is slick and cold on the exposed parts of me. I close my eyes as I walk, tilting my face to the rain.
(An extract from The Bone Harp by Sandra Ireland)
Hopefully you will have the opportunity to find out more about Lucie in 2017. Meanwhile you can read my debut novel Beneath the Skin , which is equally dark and creepy!
This week I was privileged to spot a very rare bird.
Carel Fabritius’ ‘The Goldfinch’(1675) alighted in Scotland in November and will fly back home to the Royal Picture Gallery Mauritshuis, in The Hague, this month. So for a short time only, this iconic painting can be viewed at the Scottish National Gallery in Edinburgh.
The painting has never before been shown in Scotland, and has been exhibited in the UK on only a handful of occasions.
Fabritius’ depiction of a pet goldfinch chained to a perch is subtle yet exquisite. Finches have been highly prized throughout history for their melodious song. In Holland, goldfinches were popular pets, kept in captivity attached to a chain, and trained to perform tricks. The goldfinch is depicted at the centre of many iconic Madonna and Child paintings, sometimes ‘chained’ to the baby Jesus with string or something similar. Like the robin, the distinctive splash of red on its feathers is attributed to it giving succour to Christ on the Cross.In the goldfinch’s case, the bird is said to have drawn a thorn from his brow.
In Fabritius’ painting, the goldfinch’s understated loss of liberty is made all the more poignant by the fact that the artist lost his life to a freak gunpowder explosion in Delft in 1675, just months after he completed this work. Immediately, the painting takes on an almost premonitory quality. Donna Tartt, using it as the key to her Pulitzer Prize-winning novel, The Goldfinch ( Abacus, 2014), must have felt this too. Her protagonist, Theo, is caught up in an explosion with tragic consequences that will have a bearing on the rest of his life. The painting inspired me to read this excellent novel, and it was a real struggle to put it down in order to write this!
I’m intrigued by the connection between art and place. To view this painting and then rediscover it within the pages of Tartt’s novel adds an extra frisson to both creations.
As always, there is an unexpected link to my Barry Mill residency here. In my second novel, The Bone Harp, my central character Lucie, is repelled by birds. The insistent beating of their wings represents for her a particularly chilling sort of music. Goldfinches are frequent visitors to the mill grounds, and I have tried to include many such tangible links to setting within my own work.The first draft of the novel is almost finished, so hopefully one day soon you will get the opportunity to find out more! I will leave you with a short passage from my work-in-progress:
It’s barley, I can see that now. That last time, when the sky was low with rain and mist, only the green edge of it was visible, but now acres and acres lie before me. A vast tawny fur, shifting in the breeze, and beyond that the sea. It’s tipping over into full golden ripeness. Not long now. I let my fingers trail through the wiry whiskered ears of corn and it needles my skin. The tall fibrous stalks are straight as soldiers, and there’s sharp edge to the path, where the plough scored the earth just six months ago. Only six months ago I’d arrived here, intent on breaking new ground.
Goldfinches dart in and out of the hawthorn. Their wings go thrip thrip thrip against the leaves, a noise like someone plucking strings. It unnerves me. I should go back, but I’m mesmerised by the rise and fall of the barley- it’s like the whole field is breathing. I want to plough into it, feel it surround me, and I’m so unnerved by the notion that I take a step back,and fall heavily…
From The Bone Harp (unpublished) by Sandra Ireland
I’ve already written extensively about the ‘graffiti’ which appears in the mill, and discussed how the need to ‘leave one’s mark’ has become a lasting legacy for those of us who are concerned with preserving the stories of the past. This inscription above can be found on the top of one of the pillars in the meal floor (basement). As you can see, Stewart Kidd, Miller, returned, unlike many of his peers.
Armistice Day, November 11th, seems a fitting time to remember some of the people who lived and worked at Barry Mill, and became caught up in the turmoil of the Great War.
Stewart was one of six sons born to William and Fanny Kidd, who married November 28 1873, William, born in Blairgowrie, was a farm servant, but joined the railway as a pointsman, later promoted signalman. Fanny was born in Kirkmichael. Stewart’s younger brother Edward followed him into milling and both worked at Barry Mill for a time. One can only imagine the heartache of Mrs Kidd as she bid farewell to all six of her enlisted sons.
Stewart and Edward joined the 13th Battalion, The Scottish Horse Yeomanry, The Black Watch (Scottish Highlanders). Their unit was involved in fierce fighting in Salonika, and later in France. We believe that none of the brothers were killed in action, which is something of a miracle, given the enormous and tragic loss of life during the conflict.
With every leave-taking, there comes a homecoming, at least for the lucky ones. Our two Barry Mill brothers would have come home to a very different country. They may have found their personal circumstances greatly altered too. Families bereft at the absence of the younger generation would have coped in the best way they could. Relatives may have died, sweethearts moved on. We know that Stewart married Jessie Dempster on his return, three months before the Armistice. Their son, William was born in 1920, but sadly died in his first year.
The changing face of life on the land after the war is a theme poignantly explored in Lewis Grassic Gibbon’s Sunset Song. We paid tribute to his work in a special event at the mill in 2014, and hope to hold something similar next year.The book was recently voted Scotland’s favourite novel, and it seems appropriate to end with a few words about Long Rob of the Mill, who, on the eve of war, argued fiercely against joining up:
‘For Long Rob had never come back to the Mill. It had fair been a wonder him joining the soldiers and going off to War the way he did – after swearing black was blue that he’d never fight, that the one was as bad as the other, Scotch or German….He’d been one of the soldiers they’d rushed to France in such hurry when it seemed the German childes were fair over us, and he’d never come back to Kinraddie again, just notice of his death came through and syne a bit in the paper about it. You could hardly believe your eyes when you read it…Well that was the Mill, all its trade was gone’
In my previous post, I was discussing the sort of energetic footprint we leave behind, when we live/work/visit a specific setting. Animals slip so quietly through the world, betrayed only by the faintest of markers: scent, sound, tracks in the earth and so on. Happily for writers, humans are not so subtle!
As adults, our perception of place is invariably skewed by experience, memory and expectation. A setting cannot exist in isolation from its human inhabitants.
We are noisy, clumsy, territorial and aggressive and it’s easy to imagine a residual trail of such behavioural memories staining the fabric of a place. Or perhaps buildings, in the true Gothic sense, mirror our own thoughts, feelings and fears, reflecting them back at us, rather than recording them.
However we choose to interpret the dynamic between setting and character, the relationship is integral to any complex psychological drama.
I find poetry helps me to understand my own impressions of place. There’s something about the immediacy of the form that allows me to distil my own feelings into the right words. In attempting to convey a sense of continuation, and the overlapping of layers of time, I came up with the following poem: