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Posts Tagged ‘landscape’

First Signs

FIRST SIGNS

The last few days autumn has come with sweeping winds and towering skies. Cold rains between radiant brightness. The birches are yellowing, the hawthorns reddening, the elders turn gold and purple, the swallows have all slipped away. Because it was my habit, a long time ago, to be in the North at the start of autumn, I have felt the pull of the clear cold, the descent of the year, bracken and heather, valley melancholy.

With this sudden,
Southern cold
I would be, again,
In Portree

On a bright morning
Watching the light
Push the small boats
Tethered to the tide

And the gulls
In the upper town calling
From the hills of roofs,
Naming them all :
The clouds and storms
Of coming winter

And with the smell of baking
And the smell of woodsmoke
And the roar of Time,
Shored up by thick walls
And a gathering of smiles.

—-

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DAWN PAINTS TURNER

Eloquence of moments,
Tuned, fascinated.

Time when time
Turns visible.

Unfold the dawn:
A wooded hilltop
Crowned with
Swaying light.

A tentative colour
Of cloud,
An increase.

A commitment
To form,
A dance.

A fugue
Of entities,
A cascade
Of certainty.

Quiet
In the windless valley,
Soundless,
But for birdsong.

Spacious and vast
This becoming
Is.

Gaze
On the face
Of delight.

—-

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The last week or so I have found time and space to push on with a few art-book projects I have been wanting to complete. One is a printed paper copy of “The House of Trees”. It is quite a long poem, but even so a little short for a stand-alone book – at least one that feels like a real book rather than a parish church guidebook! So I have been working out how to interleaf the text pages with image pages. Originally I was thinking of one image page facing each new section of the poem, but practically, because of the varying lengths of the sections, this did not work so well. So I have decided to greatly increase the number of images so that each spread has one image page facing the text page. This has the advantage of consistency, and also of increasing the number of pages to about eighty or ninety – quite a nice thickness! Luckily, I had taken quite a few photographs on the Isle of Skye, upon which the poem is based. On of the most interesting things on Skye was the number of high quality artist’s galleries. I was particularly attracted by several woodcut artists. Woodcut and print are a match made in heaven, so I tried to see if I could get that jewel-like light and dark richness by working with my images.

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I have used quite simple techniques (complexity is beyond my computer skills), mainly playing around with contrast and gradients. The end result depends quite a lot on the original colour photos, but I have managed to get some rich, deep tones that remind me of wood engravings, and others that more resemble aquatint etchings. Here are a few that I like. Most of the images I am happy to present as near abstracts, suggestions of landscapes, textures and grains of wood and stone. As they are complementing, rather than illustrating, the text, I want them to set an atmosphere as much as anything else.

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You may remember some of the photographs that I used to accompany “The House Of Trees” as I was writing it and posting it here earlier in the year. I have used some of the same images but made many of them more graphic.

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I expect I will try printing some of these out for myself on etching -type archive paper, to see haow they fare as objects in their own right.

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I hope the juxtaposition of panoramic spaces with close up textural detail will keep the interest of the eye as it moves from page to page.

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Somehow the tonal reversals suit the nostalgic, Otherworldly flavour, where mirroring and transformations are a common motif. Also somehow fits in with the eye of memory and metaphysical meditations also….

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Skylark

Skylark –

Earth’s own heart

Singing.

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Meadowsweet, meadowsweet,
The sky is white
With heat.

White bindweed, pink bindweed,
The distant road
Mirrored,
Shimmers.

Pale grass, pale grasses,
Seed pods golden,
Empty,
Nodding.

In shade of yew,
In shade of cedar,
Small flies are bobbing
Up and down,

Like fishes in cool water,
Like fishes in cool water.

—-

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SETTLED

So it is settled:
Cupped, hammocked
In golden hay fields,

The sun
Of this northern land
Free, for a week or two,
To proudly swell
In still, blue skies.

To warm brick and path
Long past sunset.
To pull trees starwards
In deep green shade,
Sheened with dust.

Nestled, the violet mallow
In golden grasses.
Nestled, the purple knapweed
Along the pasture edge.

The hedgerow elm,
Two years dead,
Swathed lush in ivy,
Crowned, adorned
In arcs of wild rose.

Life rushes in
Dressing old wounds:
White yarrow, pink yarrow.
Sudden sweet drift-
Overwhelmed by honeysuckle.
The fingers, white fingers
Of bindweed count the days.
Swallows sigh happy
Swinging high in evening.

It is a time of tasting,
Of breathing.

There is music,
There is silence,
I can find no difference.

There is one second,
There is the next,
Tell me, if you can,
Which is more perfect?

—-

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Ash, my tall and graceful one!
My sky-sweeping, rooted one!
Pillar of the upland airs,
Feather-leaved and blowsy one!
May you live forever
On the green meadow,
The cliff-side wood.

May you not decline
With the eastern wind
That blows unwitting death.
It is not hateful, nor malicious,
That small spored thing.
It is itself, longing to live,
Breathing when given space to breathe.
Happy to flourish free.

But all eat the other.
Each food delightful,
A means to be maintained,
And who can dare say
This one form has more need,
More right, than that other?

These hills, sighing open,
Green-pillared with ash and maple.
Sky-open, crow and jackdaw,
Hare and hawk,
Were once oak deep
’til cropped for pit and forge.
We ourselves so keen to scrape
And burrow, scratch and gather up.
Those stone walls now, too,
Broke and deserted, wooded once more.

Our curse in time, our measurement,
Our expectation.
Climbing into the hill country, (warm air,
Cool breeze), time clicks backwards
In increments,
By hours, by days, by weeks,
By months, by years.

Midsummer here
And the hawthorn still heavy,
Chestnut red and proud.
And the stone, the building,
The road, they slip back
To a century, two centuries, ago.
Time slowed in the hills,
Time holding on.
Like the ash, time growing tall
And bending – green time, leaved, roofed.
Time cherished, built up.

Our habitual curse:
A narrow view on time,
A time of coming and going,
A fragment of patterns
Made larger than horizons by life.
A horizon invisible, but for you,
Towering ash, standing
So fair and tall.

Today is enough.
Today is forever.
Weep not for what will be,
What will never be.

The green shadow cools
Down by the Derwent,
A haven for the silk sheen of ducks,
Their quiet chuckling graze in grass.
The goatsbeard turning to sleep at noon.

——


This collected around a journey up north into the Peak District of Derbyshire, the beginning of the Pennine uplands that run up the centre of England to the Borders of Scotland. The highest lands are sparse fields, stone walled, crow-haunted, with windbreaks of sycamore and beech. In the high valleys, steep and narrow, magnificent ash trees grow tall and broad. Here ash and maple (sycamore, great maple) take over from oak as the main woodland species.

Chalara fraxinea is the rather delightful name of the ash dieback fungus, first appearing in the forests of Poland quite a few years back. Since then it has made its way westwards devastating ninety-nine percent of Europe’s native ash trees. Now it has finally reached Britain. There is a slight hope that natural genetic diversity will allow five percent of trees to be resistant. It is very difficult to know what to do in the face of such changes. Life is a delicate, though robust, balance. The rise of one species and the decline of another is due to so many factors, and is part of the way things work here. We may favour the presence of one species over another, but our human view is always prejudiced by our habits and preferences. In the longer view of time, ninety-nine percent of all species that have ever existed here are extinct, and yet it all goes on. Who can say what life-form has more validity than another?

All we can offer is our appreciation for what is around us. Wishing all well. That may be all we can do. It may be the best we can ever do. It may be our sole purpose. To care for. To wish well. To cherish. Each day as it is.

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MIDSUMMER DAYS
1
Heading, slowly north from under the cloud. As the road stretches, the sun breaks through. Heat seeps down and reflects up from the ground.

Wild rose and elder
The bones deep in my belly
Warm and relax.
Lazy summer clouds.

2
By nine
The hills are hidden
Light rain by the lake
Swifts dancing low

By ten
The day dips
A long twilight,
Undecided whether
It will leave or stay.
Ducks glide over the waters.

A moment only
The lime trees by the stream
Seem to radiate light
Before a sudden,
Most certain darkness.

The earth, at last,
Chooses the sleep of night.
The sky, though,
Still open eyed,
Too awake for stars.

—-

Solstice morning.
Lost amongst sweeping cloud
The sudden breeze makes rain
Under every tree.

Rested upon ripples
By degrees peace infiltrates.
Ducks line the lake shore.

—–

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SUMMER RAIN

Summer rain.
It can almost be forgiven:
Warm, green air.

—-

Storm grey weight
Flowing grasses
Rabbit’s ears twitching.

Darker by degrees
Still air cooling
The first drops
Shiver.

—-

Still life
Hidden sparrows
Slow rain

—-

Slow rain
Hits every leaf
Syncopated greeting.

—-

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THERE SHOULD BE CUCKOOS

There should be cuckoos.
The warm silver clouds
Low with rain
Sheeting the high hills,
Green and weighed down
With yesterday’s light.

There should be cuckoos.
Floating, echoing hidden
Like a gong, like a memory
Turning over the still heart
Melting tight paths of thought,
Manifest distance.

There should be cuckoos.
Inhabiting every wooded fold
Deep in the world
Now settled, fruiting,
Slowly inturning, indwelling
Heading high to solstice
And then the long
Slow burn to harvest.

There should be cuckoos.
Now the hay is turned and gathered
Now creamy elder scents the air,
Worlds in worlds, layered, established.
Angels barefoot down the lanes,
Honeysuckle fingers, messages forgot.

There should be cuckoos
Measuring this loosening, this hollow,
Replacing thought and song
Answering all, settling all,
Letting go, adrift and floating.
Low clouds, rain heavy,
Warm air’s slow somersault
The swaying grasses, the rippling grasses.
From the green world’s roof,
From its rafters,
There should be cuckoos.

—–

(Ornithologically suspect, as cuckoos here in England usually call most in April, but it was the thought of cuckoos on a warm, cloud-filled day in June, that inspired this flow of words.)

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