to hear the gods

Storm Isha has been named; the Met Office news press announced. She would rush through the country, sweeping it clear of the cold Artic air that had sat silent and heavy over the land, replacing it with the warm, moist air mass that was driving her forcibly across the Atlantic with tornado-strength windspeeds and the warnings of the destruction that would result. She brought with her the highest windspeeds the country had seen in twenty years. 

The wind through Glencoe’s highland pass reached 168 mph, the second-highest windspeed ever recorded in the UK. While the old Viking stronghold to the north in Kirkwall saw winds of 80 mph, Hoy’s brief winter wonderland melting beneath an atmosphere of salt and sea-spray. Videos from across Britain submitted to the BBC showed footage of collapsed roofs and flying furniture, debris from fallen trees and terrifying-looking approaches into airports besieged by crosswinds. 

My sister was trying to get home from Orkney after a week exploring its pre-historic sites: the megaliths that have metaphorically and spiritually stood watch over the island archipelago for thousands of years. Her flight south was disrupted and she was waylaid in Inverness. I thought about the lives of the Neolithic Orcadians who crossed that same turbulent stretch of sea that is the Pentland Firth, to and from the mainland, in boats of willow and hide. 

Life was short-lived with an expectancy that extended only into the mid-twenties, but still would have had its comforts and its pleasures: days in the sun collecting shellfish from the foreshore; gatherings and ceremony in the endless light of the northern summer; feasting and celebration at harvest time and long into the night of midwinter. Summer temperatures at the time the stones of Stenness were being lifted into place just east of the ceremonial complex at the Ness of Brodgar around 5000 years ago, were, on average, ten degrees warmer, the air significantly drier: something akin to the climate of the Mediterranean today; but by the Bronze Age the climate had shifted from warm and dry to cool and wet. 

No one can say what malignant gods they may have attributed to the eventual turning of the weather, to the failed crops and the winter storms that buried settlements like Scara Brae in the dunes. Today, we know. Today we call those gods ‘climate change’ and ‘global warming.’

Isha is a Hindu name, meaning ‘one who protects’; an odd name for a storm, you might say. But perhaps Isha calls for us to heed her warning, to take greater note of the taste of things to come that she and storms like her reveal to us. Isha was the ninth storm in less than five months and was closely followed by Jocelyn less than 36 hours later.

The march of relentless storms that now characterise the North Atlantic winter, we all know are the result of the warming in our oceans caused by anthropogenically driven climate change: the direct result of the C02 we have been pumping into the atmosphere since the beginning of the industrial revolution; from the C02 released in the melting of the permafrost and, indirectly, from the mass deforestation we are responsible for, taking away one of the planet’s ways to regulate its temperature. 

As a low-lying archipelago of many islands, Orkney is particularly vulnerable to sea level rise and the flooding caused by the increased frequency and intensity of storms that come with global warming. If the Greenland ice sheet completely melts – and it is already predicted that the Arctic Ocean could be ice free in summer by 2040 – the main island of Hoy will eventually become two separate islands, the stones of Stenness will be submerged and the famous Ring of Brodgar will become an isolated, low-lying island of its own.  

The industrial revolution has raised overall wealth and living standards, has driven advances in medical research and treatments, leading to life expectancies in the Global North that are fifty or sixty years longer than for the Neolithic people who erected the giant stones in Orkney. The stones are silent, but in their silence they still speak to us. They speak of loss, of absence, of a People that are long-gone but were just like us. The stones sat at the centre of their lives: there for all their births and deaths; their hopes and harvests; their fears in a world that was difficult to understand or explain. 

We may blame those early farmers for what came after them: for the turning away from the hunter-gatherer lifestyles that had dominated for millennia either side of the last great ice age; for the ideas associated with ancestry and territory; for the naming of lands not our own and for the obsession with surplus and growth and power; for the greed and the inequalities that define our age.  But how were they to know? How were they to hear their gods? 

As Isha approached, I went outside and stood in the garden to take in the night. The sky was nightmare dark, vast and cloudless. The winds had not yet reached their peak, but the branches of the silver birch at the back of our house were already swaying wildly against a backdrop of indifferent stars, witness to a world whose future is now being written. Will we be the generation that let things slide, allowed all to be swept into the sea with our own indifference? Or will we be a generation that took control, that said this matters, and not just to us but to all who will come after us?

I watched the swaying branches for a short time and then I headed for bed. Climbing the stairs as the wind moaned around the eaves and tried to lift the roof, I paused at the landing window to take a last look at the brittle, plate-glass clarity of the sky. The stars still glittered coldly and I thought of the stones in Orkney, the slate-grey sea, the waves pounding ever higher at Kirkwall’s harbour wall, and in the wind I heard, or imagined, the laughter and the murmur of story from a mid-winter feast five-thousand years ago. I felt strangely comforted by it: grateful for the stones those people left behind, grateful for the stories they tell. We, at least, have a way to hear our gods. 

For further reference, please see:

National Oceanography Centre – UK Storms

elm is me and I am elm.

“There is little light in northern Scotland in mid-winter, and as we entered a new lockdown, everything seemed to get that little bit darker. Like most people, the freedom of the daily walk once again took on new significance as our worlds shrank back […] looking online for new places we could explore locally, I happened on Den Wood. The only Woodland Trust managed site in the North East of Scotland…”

FromWinter in Den WoodElsewhere: a Journal of Place.

Three years on and Den Wood has become a semi-regular haunt. I like to visit throughout the year to see it in the changing seasons, feel the woodland in all its different atmospheres. I returned there again earlier this month – before storm Isha, before that brief covering of snow was swept clear by Isha’s warm Atlantic airmass.

Winter always feels special in the wood – still and redolent with potential; a place on the edge of happening. I felt slightly disoriented, set slightly off balance. A familiar wood had become strange to me again, its well-trodden pathways submerged in a layer of snow – a trail of ill-defined footprints twisting through the closely-packed, naked trees. The moon was out, a thumbprint in the pale ink of the sky, the sun dragging the last of the daylight through the tops of the branches.

I came eventually to a crown of wych elm that had first drawn me to the wood three years previous. Once commonly found growing at the sites of tumuli and barrows, elms have a long association with the underworld. In Celtic mythology elves lived amongst the trees, guarding the barrows and protecting the dead that lay within them, overseeing the passage between life and death. With the advent of Christianity, travelling priests would give sermon beneath their branches. Its wood was used to make coffins.

The word wych is not associated with witches, though both witch and wych can be used interchangeably. It is the old English for pliant or supple. Being resistant to rot, the same qualities that made it a suitable wood for coffin-making also made it a good choice for boat hulls and bridge foundations. In Gaelic the tree is known as leven, which can still be seen in some Scottish place names. Loch Leven in Perth and Kinross, where Mary Queen of Scots was imprisoned in its island castle, takes its name as a place where elm bark was used to make dyes for wool. Its inner bark was also boiled down to make a liquor, seen as a good medicinal cure for sore throats and colds. Despite the lack of any witch association, their long, broom-like branches extending up to thirty meters skyward definitely have a witchy air about them.

Survivors of disease, maker of coffins, of wool dye, of dogmas now long forgotten, their presence impressed upon me the nearness of something I find difficult to express: not a sacredness, as such, but an empathy, maybe – an empathy that seems to emerge out of their branches and extend out into the world. It leads me to think about that traditional false separation between the human and non-human, about the way all of life is threaded through, together – woven, as Tim Ingold writes, in a ‘domain of entanglement’.1 

Where do the trees end and I begin? Where is the boundary between tree, roots, soil, air, my breathing and thinking and being? It is not just a hippy idea of ‘oneness’, this, a flaky new age folksy feeling that yes, we are all connected, but an intellectual, phenomenological and objective reality. Everything really is whole within the multitudinous, messy complexity of everything: this domain of entangled life and death we wrap ourselves in. The elms are me. I am the elms.

Is this some radical new thought? Not at all. We all know that everything is interdependent, and yet why don’t we live by it? Why don’t we live as though elm is me and I am elm? There is less than 3% of truly ancient woodland left in Britain. The rest has been replaced by agriculture, commercial forestry, urban development and transport networks. We need all these things, but we also need the trees. We need to find a way to get ourselves entangled again, play a little twister.

Cities around the world are beginning to take up this idea, perhaps not as I’ve put it, but in a way that attempts to meld human and nonhuman ecologies; the most famous of them being Singapore where the Gardens by the Bay project has blended the old distinctions between the city and the wild. In Glasgow too, there are efforts to intertwine nature and culture and economy for a greener city, with the Glasgow Doughnut concept. 

The idea of the Glasgow Doughnut is a play on the doughnut economy idea developed by Kate Raworth, where human wellbeing and health is seen as being fundamentally connected to the health and wellbeing of the planet. The doughnut consists of two concentric rings: an inner ring that represents a social foundation where the needs of society are met within an outer ring that represents a known and measured ecological ceiling. Between these two rings is a zone that is both ecologically safe and socially just. Glasgow has followed the lead of cities like Amsterdam, the first to begin to practically take up Raworth’s concept in its recovery from the pandemic, and has commissioned a report recommending initiatives to help the city move toward a more entwined future that inhabits this space. If more and more cities take up this principal, we will live in a more socially just and environmentally sustainable world. 

The more I have visited Den Wood, the more this idea has seeped into me – from the elms perhaps, from their winter canopy of witchy broom and their summer shade. Not only the White Letter Hair Streak butterfly relies on them. We do too. Those and all the other tree and plant species with all the ecologies their roots, branches and canopies contain. We need to make space for them. We need to make them part of our everyday lives, not just tucked away in parks and gardens, but part of the infrastructures we live by. We need to live with and through and not apart from. Elm is me and I am elm. 

The sun dipped toward the lower branches and I trudged back through the snow between thickets of gorse and over fallen trunks. The wood would rot and become part of the woodland understory, supporting insects, beetles and worms, liverworts, mosses and lichens, enriching the top layers of the soil and allowing new growth. The moon rose higher ahead and the shadows deepened. I imagined myself part of the wood, asleep in the understory; come time, an elm growing where once I had lain. 

  1. See Tim Ingold, ‘Part II: The Meshwork’ in Being Alive: Essays on Movement, Knowledge and Description (Abingdon, Oxon: Routledge, 2011), pp. 63-94.

Hinterland – The Climate Special

‘I try to imagine being stuffed into the cages shoulder-to-shoulder with a crowd of men in a duplicate cage above, the rock face racing by inches beyond the open frame as we descend into the mine, leaving the world of light and fresh air behind for a seven-hour shift over half a kilometre underground.’

‘From the Ground, Light’, Hinterland Issue 14, pp. 90-109, p.96.

As COP 28 comes to a close I’m proud to be among the contributors of Hinterland 14 – a climate writing special with wonderful cover art by Nature and Wildlife photographer Tashi R. Ghale, guest edited by Iona Macduff and featuring an interview with author of Marginlands Arita Kumar-Rao.

From the editors:

“Climate change has become a constant presence in our lives, and increasingly inflects our writing. Yet, actively writing about climate change is not easy. The contributors of this Climate Writing special issue have risen to the challenge, whether it’s writing about forest fires in New Mexico, frogs in Australia, rivers in Manchester, or the effects of human activity and the Anthropocene.”

My own contribution ‘From the Ground, Light’ explores the mining heritage of my hometown through the re-landscaped mining grounds of Sutton Manor Colliery and the experiences of a former miner. It reflects on our complex relationships with the landscape and the heritage of our industrial past, but also on the impacts of climate change, our ongoing reliance on fossil fuels, and our failure to transition to green energy.

Hinterland Instagram post on my piece, HERE.

Also featuring work from Alison Baxter, Joe Fenn, Tamsin Grainger, David Howe, Rita Issa, Clara Kubler, Wendy Johnson, Iona Macduff, Meg Mooney, Millie Prosser and Joe Shute, with photography by Tashie R. Ghale

Order Hinterland 14 here.

A Day for Nature

I was delighted to be a part of the Paperboats e-zine 2 launch which featured in the University of Stirling’s symposium ‘A Day for Nature’, organised by poet and Teaching Fellow Dr Chris Powici to celebrate, and advocate for, the natural world.

The event featured a panel of speakers including conservationists and Nature Writers Polly Puller and Tom Bowser of the Argaty Red Kites project, broadcaster and author Rebecca Smith, historian Dr Catherine Mills, and vice president of the university student Earth and Environment Society Ivet Stancheva. Each of the panelists gave fascinating talks about changes in the landscape over time from their different perspectives with a Q+A.

The Paperboats E-Zine is edited by Chris Powici and Kathleen Jamie and features work by writers from across Scotland and beyond concerned about our mounting ecological crises. The paperboats name and its inclusive, non-disruptive activism, has been inspired by Jamie’s poem written as Scottish Makar in response to the commitments of COP26, where, in the final verse, the poet speaks as the river Clyde.

“I heard the beautiful promises…
and, sure, I’m a river,
but I can take a side.
From this day, I’d rather keep afloat,
like wee folded paper boats,
the hopes of the young folk
chanting at my bank,
fear in their spring-bright eyes
so hear this:
          fail them, and I will rise.”

You can read the full poem here.

Despite the promises made, our politicians are failing us, and Paperboats aims to send a message on Thursday 23rd November 2023 by gathering outside the Scottish Parliament to deliver 1000 Paperboats, 1000 Climate Hopes, to demand that MSPs of all parties come together to deliver on their promises and a just transition to green energy.

The event will feature poetry from Kathleen Jamie and music from Karine Polwart.

To read the Paperboats E-Zine, go to Paperboats Writings.

A Time of Balance

‘I set off an hour before sunrise. It is still dark: very dark, and I can see very little beyond the dim circle of light from my head torch. The thick scent of pine fills the air as I start up the trail. The presence of trees, melting into the darkness either side of me, are felt rather than seen; the still, almost-full harvest moon having disappeared into the cover of pine branches. A nervous glance behind reveals the comfort of a slowly brightening sky, suffused with faint orange and aquamarine banding toward the rim of an unseen eastern horizon. Amidst gaps in the canopy above, bright and brittle stars vanish and reappear. The tree cover opens a little and the moon’s glow pulls me upward.’

As the Autumn equinox approaches, here in the Northern Hemisphere, I am drawn back to our local hill and this moment from a couple of years ago when I climbed to one of its summits to witness the equinox sunrise. The short essay I wrote about it was published on The Clearing: Little Toller’s online journal of Nature, Landscape and Place. You can read the full piece here, or by clicking on the image above.

Traditionally marking the second harvest, a time to gather in the bounty of late summer signalled by the full moon, the Autumn equinox can also be a time of balance, of reset: a chance to take stock before the long slide into winter. Wishing you all a moment of balance as we begin our journey toward the darkness of the winter months.