A light bulb looks back to our before (“the guttering candle, and the dish of oil / to thread the eye of a needle, read / or cast shadows on the walls”) and its after (“when with a quiet tick / the luminous spell of our filament broke / you cast us off; and now you wish / a light perpetual and free”), advising us in our bright exile: remember the banished constellations, “the antiquated powers of the moon.”Continue reading “msb ~081 Out of range”
Louisa Thomsen Brits’ Path narrates place and personhood through poems that make ‘a short story about reciprocity’. This small book treads lightly through wide scapes of spirit and land; beginning with a quote from Robert Macfarlane: “paths connect. This is their first duty and their chief reason for being.” Perhaps all beings (human/non-human) are also paths: expressions of particularity and process; routes and roots to our essential connections.
I am footfall and track, trail and trace, thread of passage and possibility.
Trodden-through with a region-specific ‘word hoard’, Path is both intensely local to those paths Brit walks and universally translatable to our own natural geographies, histories, biographies.
Just as one project’s website launches — with Waterlight’s successful release into the world this week — another one marks a significant milestone. In six months, Finding Blake has clocked up impressive work, thanks to its driving force, filmmaker James Murray-White. As a mostly behind-the-scenes researcher and editor, I can sometimes overlook the scope of detailed work on the ground — until James sends in his latest project update for me to edit. He’s generated lots of footage of interviews, performance, craftsmanship and locations – even before we get to the recent unveiling of William Blake’s new gravestone at his London burial site.Continue reading “msb ~053 Finding Blake”
It’s a slightly nervous moment when you know that work you’ve just handed over is receiving its public launch, and you’re not there to see the looks on the audience’s faces, to hear their questions coming back! Today’s the day the Waterlight Project team showed off the website we’ve been working on for a couple of months now. I’ve been handling the impressive array of materials — articles, children’s films, poems, oral history transcripts, photos and blog posts — that the team have been generating about their local river and assembling this into an integrated whole, with room to breathe. And it’s a joy to take a step back and look at it all now as a ‘real thing’.Continue reading “msb ~051 Launching Waterlight”
There’s an overfamiliar-yet-fresh feel to the film Earthrise, documenting the moment humans first photographed Earth appearing behind the moon. Familiar because, raised on images and imaginations of manned space exploration as it happened, I’ve seen this photograph so many times: the small, watery rock teeming with invisible life. Fresh because the film lets us see back through the eyes of three elderly men who were there then, alone: emerging from profound blackness never experienced before, after hours scanning endless, dead grey dust no one had yet walked on – and feeling their eyeballs flood with the only colour to be had anywhere: first sight of distant home. It moved them then, fifty years ago this December, and you can see it move them now, looking back.Continue reading “msb ~048 Earthrise, again”
I wanted to pick up where I left off in Evocative Objects, which omitted what I’d ‘brought’ for that ‘Show & Tell’ workshop on objects with personal resonance in our changing climate. Maggi Hambling’s massive, 4-metre high steel seashell, Scallop, stands on Aldeburgh beach in Suffolk, resolutely dividing opinion among locals and visitors. I love it, and wrote about it in ClimateCultures’ A History of the Anthropocene in 50 Objects: “Being in its presence was to experience very direct communication with both environment and history, and an unsettling encounter with the future. Aldeburgh has been disappearing from the map for centuries … the sea moving in by stages.” Where Scallop now stands on shingle, were once homes and streets, lives and livelihoods.Continue reading “msb ~046 “I hear those voices that will not be drowned””
Work continues on Waterlight, the new local community environmental website about the river Mel in Cambridgeshire. My role is to bring the inspired work of the project team to life on the website — going live in October. One advantage of behind-the-scenes work is spending time with both the overview and the detailed look at what’s going on. In this case, poet Clare Crossman, filmmaker James Murray-White and historian Bruce Huett are exploring the particular stories of people and places along the river, taking school parties out to make their own films, and delving into intriguing past associations, such as composer Ralph Vaughan Williams collecting folk songs among local communities.Continue reading “msb ~022 Waterlight”
In an introduction to their collection of ‘environmental’ poetry, the Poetry Foundation claimed that while Romantic poets often wrote about “beautiful rural landscapes as a source of joy, [and so] made nature poetry a popular poetic genre … contemporary poets tend to write about nature more broadly than their predecessors, focusing more on the negative effects of human activity on the planet.” That struck me as a bit odd because although the scope for contemporary poets may well be wider and there is undoubtedly much to be negative about when we witness our environmental crises, a good many poets continue to find joy there, and without necessarily going all ‘Romantic’ on it.Continue reading “msb ~016 Naturalist”