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Website of poet Elizabeth Rimmer


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  • Oddly Familiar

    study wall with pictures

    Where I’ll mostly be from now on.

    The buzzword for this week is ‘unprecedented times’. And yes, we’ve never had a lockdown before. And we haven’t had a totally new virus, as far as we know, since medicine became a science. And it’s all a bit weird. There are people out in the streets – not too many today – giving each other a very wide berth, and we’re smiling and grateful. Our village has teddy bears in the windows so that small children on their daily exercise can go on a bear hunt. Over the river, the windows are full of rainbows, painted by the children who aren’t in school. The pharmacy has barrier strips up to stop us breathing over the staff on the other side of the counter, and sticky barrier strips on the floor to tell us how far apart to stand. If you believe social media there is a lot of baking, gardening, sewing and DIY going on, and we’re all learning new kinds of software so we can talk to families and friends.

    I have never known churches to be closed, or an Easter without prospect of the Triduum (three days of special services on Holy Thursday, Good Friday and the Easter Vigil). But there are folk memories of the Penal Times when Catholics weren’t allowed to worship (or be educated, or own property for that matter), and Masses were held in secret, when a priest could take the risk of being in the country. I was at Primary school in Liverpool when the canonisation process of the 40 English Martyrs was begun, and several of them had local connections. Their story became part of school life – classes and Houses were named after them, and the children of Polish immigrants added their awareness of how practising your faith in a time of persecution went.

    It isn’t the same now. We are doing this voluntarily, as an act of solidarity with the people in our society who are most vulnerable to illness, and in support of NHS workers who are going to be under enormous strain looking after them. Plus you can follow the Mass on social media, which turns out to be a very prayerful experience. And the comfort of being able to celebrate funerals and last rites is still considered essential, though not baptisms and weddings. (Another characteristic of our upbringing was that we were all taught how to baptise a person, it’s perfectly legitimate in an emergency, which I mention in case anyone in lockdown finds themselves worrying about it). But the feeling is oddly familiar.

    I recognise ‘lockdown’ too. When I was much younger we lived in Sri Lanka for a while, in a village purpose built for engineers working on the Mahaweli Dam and their families. We had two children under two, the village was still under construction and I couldn’t drive, so we couldn’t go anywhere except on an occasional bus into Kandy. The monsoon failed, the reservoirs were running dry, which meant that the hydroelectric power was cut for hours at a time – and when the power was off, so was the water. And then there was a cholera epidemic. ‘We thought we’d better get round to chlorinating the water,’ said our parish priest. ‘Would you like a cup of tea?’

    I feel like I just made all that up. How could all that happen to one person? But it did, and we survived, and some of it was very interesting. But we were glad to come home!

    Baby in a carrycot, toddler and me on a travelator at Heathrow
    Baby in a carrycot, toddler and me on a travelator at Heathrow

    It’s very odd to be accessing my history just now. Although I know in my head that these things happened, I mostly don’t. But what I’m taking away from it is that these times are not quite without precedent. There is experience we can channel, memories we can share, skills we can pass on.


  • Virtual Launch: There Will Be Dancing by Kemal Houghton

    cover image

    In the unusual circumstances posed by the corona virus, formal launches of Poetry have been cancelled – at least for now. So I would like to welcome you to the virtual launch of publications by Red Squirrel Press.

    Electric Minstrel

    Plugged-in and tunes selected,
    the electric minstrel fills the air
    with a beat they will know
    and a voice that must coax.
    Some may glance her way
    in the lull of conversations,
    but she is the salt of the diners;
    the liquid of the glass.
    Her mother was a jukebox,
    her father played the fiddle.
    Long ago there was someone
    playing a lute while people, as always,
    shouted over the racket.

    Her job is to entertain,
    distract and take away the silence.
    She is in every town, every encampment,
    wherever people have knotted together.
    She drives through the rain, as she always has,
    down mud-spattered lanes
    with carts or whatever could be carried
    on groaning backs. And this road is no place
    for the squeamish. Many have fallen; Buddy Holly,
    Johnny Kidd, Eddie Cochran are just a few.

    Yet she will battle above the rows,
    the women who teeter towards a fight
    and the drunken laughter. She
    will get their attention.
    Now someone is singing in the corner,
    bodies unwittingly move to the beat.
    They have learned to accept her voice
    and there will be dancing.

    Every Drop

    I am the drip that wears the stone,
    darkly I fill the upland wastes,
    then trickle the hillside where I
    crash and fall. I am the roar
    at the valley’s heart where I sing
    my song as I dash to be free.

    I am the green upon the lawn,
    the juice that feeds the forest pine,
    each little sip the sparrow takes,
    each cup of tea, each cask of wine.

    Trapped underground, I have distilled
    the years where I’ve been the maker
    of caverns and spires. Caught out by
    the cold at the roof of the world
    or at the Earth’s poles where I turn
    so solid I can crush the rocks.

    Your great ships may cruise me, careless
    you’ve abused me as you clutter
    the oceans with pain. But I am
    the one drop inside your collar
    who’ll shudder a chill down your spine.

    Tougher than Belfast steel, I am
    heavier than the air you breathe;
    I am the force that can sweep you
    away. I will rise and fill up
    these fields, drown your crops and livestock;
    this planet has always been mine.

    From the stiffness in the plant’s stem,
    the liquid in the blood, I float
    all the things you do and I am
    always
    the better part of you.

    Offa’s Dyke Path: In Mist

    The pace of life slows to a step
    along each rugged or muddied
    path. We slide in the wetness, feel
    the fall of the earth beneath us.

    All sense of place is muddled here
    in the fog of the hills. Valleys
    are lost, even the route ahead
    is consumed by the fallen cloud.

    Company is sparse. Huddled shapes
    mist past: walkers, wild ponies, but
    mostly sheep. Few words are spoken,
    just the duplicitous skylark
    singing us away from her nest.

    Through faith we follow the way down,
    markers mostly point the right way,
    though some need interpretation.
    Guidebooks and GPS all help.

    We enter each new town the way
    people have done throughout the years;
    strange pilgrims in search of shelter.

    Headshot of Kemal Houghton

    Kemal Houghton lives on the Wirral.  He is Chair of the Chester Poets, a co-presenter at First Thursday in Heswall and of Poetry Roundup on the internet station Vintage Radio. He is on the planning group for the Wirral Poetry Festival and has run numerous workshops for both the festival and other community groups.  He has a diverse body of work which has appeared in Chester Poets’ Anthologies since 1981, Poetry Scotland, Poetry Cornwall, The Jabberwocky Green Book, and on-line on Three Drops of the Cauldron.  A retired social worker, Kemal now chairs the charity and not for profit organisation, Wirral Independent Living & Learning who provide support to people with learning disabilities.  In his ‘spare time’ he enjoys hill walking and completed the 189 miles from Chepstow to Prestatyn along the Offa’s Dyke Path in 2018.

    This is Kemal’s first pamphlet on Red Squirrel Press and sets out with A Sense of Purpose to explore, not just people and places, but attitudes to and our relationship with the world we live in.  Amongst the many ideas collected over the years, be assured ─ There Will Be Dancing.

    “There is a reassuring solidity in these poems, which encompass themes of time passing, evanescence and journeying on foot. Yet conversely there is also a disconcerting sense of the poet observing life from a very distant vantage point. A worthy first collection.”                                                                                                               Gill McEvoy

    You can buy copies of this book from the Red Squirrel Press website, or signed copies from Kemal’s site when it goes live. And later this year, we hope to have live launches, with the usual wine and (potentially) squirrel cookies!


  • A Sense of Newness

    a white hellebore flower

    I haven’t written a territory post for months, and frankly, I don’t think this is it either, but a few pretty pictures might lighten the mood a little. There is increased birdsong every day, and wrens, dunnocks, robins and bluetits are everywhere. My husband leaned out of the car window yesterday as we passed two bluetits apparently locked in mortal combat on the road and shouted at them to pack it in. They disappeared over the horizon like a couple of teenagers caught in the act!

    Gardening has started, but really everything seems to have been sucked into the vortex of the pandemic. I’m not going to say much about it here – I’m sure everyone is following all the news as it comes in.

    But I am seeing a vast change in perspective, not because anyone has fundamentally changed their nature in the last fortnight, but because it is suddenly important to say different things in our conversations with each other.

    We are used to a culture where we focus on the individual (and so often on the individual solely as a consumer), on employment, with some very varied perspectives from a romanticised view of it as ‘working at what you love’, ‘living the dream’, ‘achieving your goals’, or pragmatically, as if being economically active was the only way to be relevant socially, and nationhood. Many of us have been worried about the return of fascism, or state-based oppression, but we might pause to realise that some employers can be much more ruthlessly demanding in terms of our loyalty and personal sacrifices than many states (and some states run in deference to those same employers). Society was becoming atomised, with people being subordinated to abstractions and faceless corporations, and sold personal choices that are only valid if they’re paid for.

    If we were asked, none of us actually believed this for a minute. But the only legitimate discourses on the main stream media seemed to embody it more and more, as images supersede dialogue and interactions become more structured around the technical demands of the media we’re using. But now we are in a whole new world. With all of us ‘social distancing’, we not only realise the need for human contacts, for networks of help and support outside our own households, we realise the need to speak about them, to build and strengthen them. We are willing to speak up and to say that our front-line providers of food, healthcare, social services and public work are not just paid functionaries but valuable citizens. We recognise the flaws in being asked to trust the market to regulate supply and demand, and we are talking about how to give and share and create nurturing and supportive communities. We are not only experiencing our appreciation for arts and cultural activity, we are reading together, visting on-line musems together, learning to play musical instruments or speak new languages, and praising and supporting each other to do it.

    Goodness knows how long this will last as we come out of this – I’m expecting a big rush of politicians and financiers saying we need to ‘get back to normal’ as fast as we can. I think we need to tell them that we’re in a new normal now, where friends, neighbours, arts and culture, a thriving ecology, social inclusion and compassion dominate our conversations, and community life, and we aren’t going back any time soon.

    miniature daffodils

  • Writing in the Eye of a Storm

    Cover image of haggards

    The birds have come back to the garden,
    second brood starlings and sparrows
    lined up along hedges, combing the lawn’s thatch
    for spilt grass seeds, emerging ants. Blue tits
    cling to whippy branches, dunnocks pry into cracks
    in the bark, goldfinches pick apart seed heads
    of nettle and marigold. A willow warbler slips
    furtive between the stiff dulling birch leaves
    and blackbirds plunder the ripening currants.
    The last swifts scythe the hot air, quilted
    with sulk and threat of storm. The cormorant’s
    black crossbow looms above, heavy with hunger
    and this year’s wren sings on a high branch
    claiming in summer his winter territory.
    El Niño has exhaled a great hot sigh.
    The ice is melting, sliding off Greenland’s cliffs
    into seas blooming with plankton. There are storms
    and flash floods, blight and failure of crops.
    There is drought in Africa and famine and war.
    But the wren is on his high perch singing.
    The druid’s bird, the bard’s bird, shaman’s bird,
    Brigid’s chicken, the mouse’s brother,
    sits on his high perch and cries out, so loud
    a voice in his small breast ‘Now! Now! Now!’

    Y’all know that I wrote Haggards for just this kind of crisis, no? All that about healing and social and environmental collapse and the need for compassion and insight? This isn’t just an opportunist plug, by the way – no, this is the kind of post I never thought I’d ever write. Let me tell you how I came to write this book.

    Forty-five years ago, we had an energy crisis, with miners’ strikes, power workers srikes, rolling power cuts, a three day week, fears that oil would run out, preparations for rationing and military rule, I kid you not. I was in a vulnerable and unstable state at the time, my mental health collapsed and for about six months I was in a state of morbid obsession about the end of civilisation, which was poorly treated with a short course of heavy duty tranquilisers and a philosophy of ignore it and it will go away.

    Since then we’ve had the winter of discontent, Thatcherism, miners’ strikes, wars, famines, the Black Monday financial crisis of the nineties, 9/11, the crash of 2008, global warming and Brexit. When I’m stressed, I go straight back to the cycle of obsessive thoughts, nightmares and despair, but here’s the thing. The way people are feeling now is the way I have lived all my adult life, so let me tell you what I’ve learned.

    • worry does help, if it makes you get informed. Unfocussed anxiety just makes things worse
    • we have to make peace with the fact that we are all going to die sometime, whatever we do, so the problem is not how to not die, but how to live best
    • this applies twice to the people we love. We can’t save them or prevent bad things from happening to them, but we can help, comfort, and mostly not leave them to thole bad times alone
    • it helps to distinguish between what you can control, and what you can’t. How does a crisis actually affect you? and your beloved people? You might find you already have more resources to meet this crisis than you thought.
    • It’s good to know what you actually need to get through this Don’t let anyone trivialise your need for books, chocolate and bubble bath!
    • No-one needs a bunker and an A-Team stash of machine guns and explosives. I could do the survivalist mentality fine, right up to this! We don’t get through tough times by defending ourselves from each other, but by supporting each other
    • people often behave badly in a crisis, but also, they often behave really well
    • there is no point not feeling what you’re feeling. Don’t try to be strong for the others. We need to grieve, worry, rage and lament together. It’s how we’ll create lasting solutions. Yes, we can’t hug so much at the moment, but it’s fascinating to see people concoct new social rituals to comfort each other. I never thought I’d see the curtsey come back in my lifetime!
    • People are really ingenious. There will be solutions we never could have imagined
    • it helps to connect with your core values. If the world is going to hell in a handbasket, what actually matters? What can you actually do? At a real low point I came across a quote from the life of St Cuthbert – a novice came up to him while he was sweeping a floor and asked him what he would do if he knew the world was about to end, and St Cuthbert answered ‘Keep on sweeping this floor’. I’m writing. I’ll stop writing to help if my family gets sick or I need to take to the streets, but mostly the thing I can do best is to write
    • an end comes. It’s already clear we won’t all see it, but if we’ve loved our lost ones all we can, they won’t be gone from us. They will be part of us as we make things better.

    Clearly, I am not a wise woman, I am a flake, a headless chicken, barely holding things together. But this is how I do it. I thought that by writing Haggards I might put it all to bed, and come out the other side – but here we are. If anyone finds anything here helpful, I’ll be glad.


  • Your Own Place

    looking across the fields to a line of trees, and a hill behind

    Having a place means that you know what a place means… what it means in a storied sense of myth, character and presence but also in an ecological sense… Integrating native consciousness with mythic consciousness.

    Gary Snyder

    I picked this quotation up on Twitter this week and I’ve been trying to track down exactly where it appears. Not as easy as you would think, because although it is one of his most cited quotations, very few of those citations include the text. Looking it up is like going round and round on Tumblr, where everybody is just reposting everything with no discernible point of origin. It looks as if it belongs in The Practice of the Wild, but that is as far as I’ve got so far!

    Irish poet Moya Cannon, whom I heard reading last night, talked about a poet’s ‘unmet mentors’ and Gary Snyder is definitely one of mine. If you’ve been reading this blog since I started, you’ll know about my Walking the Territory practice, and you’ll know that this is the road out of the village where in live, and the haggard I wrote about in the last book is a little further up the road, to the left. My ‘place’ has informed a lot of my poetry in the past, and it’s going to inform a little bit of the next book too, because having ‘one’s own place’, no matter how temporarily is an important part of what it means to understand yourself as ‘a person’. I wrote a bit about this here.

    But it’s also important to have a ‘family’ – a sense of connections with ‘your own’ group of people, who may or may not be blood-relatives, who may or may not be professional colleagues, friends, neighbours, co-religionists, countrymen or fellow-hobbyists, and I’ve realised that this, too, demands that you know ‘what a family means’ – both ecologically – who are they, how are you connected, how does your family relate to each other and to the outside world, and in the ‘storied sense of myth, presence and character’. Part of being in a family is knowing not just your genealogy, like a hobbit, but also understanding your history, and the culture you carry forward. How crucial this is was brought home to me this morning, when I opened Moya Cannon’s book, and read this poem One of the Most Foolish Questions.

    Who we are is where we are, but also who we love, who we remember, whose songs we carry, whose myths we tell. I once had the frightening (but very short-lived) experience of losing all that, and for maybe twenty seconds I might as well have been a dead woman walking. It was too short-lived to be able to describe, but I do remember how it felt to come back from it, and feel my whole self washing into me like a tide into a dry harbour. Our individuality is a curious and wonderful thing, but it is only experienced in our connectedness.


  • Declaration

    I was at the opening event of Celtic Connections Yesterday, to hear a commissioned piece inspired by the Declaration of Arbroath and played by the Grit Orchestra which seems to include almost every musician in every genre in Scotland. Words by Liz Lochhead were included: ‘A declaration is a clear and open statement about who we are, and what we stand for. And what we do not stand for.’ It was quite a striking statement, but I was more moved by Greg Lawson’s words later: ‘Don’t just tolerate difference and diversity – welcome it, explore it’ and ‘Freedom that comes at the expense of other people’s freedom is not freedom at all. It requires inclusivity, tolerance, kindness, forgiveness, empathy – and then freedom becomes about your identity, and it is global.’

    This was about as political as it got, and if it was fair to say that independence supporters were, on average, likely to be more comfortable with it than the embittered unionists who complain so much, it was a useful corrective to the kind of people who want ‘freedom’ to mean ‘I’ll do as I like and you can just take a hike if it doesn’t suit you’. It is also a spin on what I understand as ‘identity’. It isn’t just who you are, or feel yourself to be; it’s who you recognise as being like you, who your peers are, who you feel you have obligations to, or common interests with. It isn’t something monolithic or pure and self-contained, your sense of identity shows and shapes your connections and relationships with the rest of the world. In my case, as regular readers will know, this extends to all the ‘more than human’ beings, down to the wind and rocks and rivers.

    I feel that we are increasingly being exhorted to see ourselves as individuals, sold a package of liberties and choices that are supposed to be uniquely our own, exhorted to see our destiny as entirely our own creation, regardless of truth, physical reality or community. And the only outcome of this atomised conjunction of insecure and aspirational individuals, is a social media characterised by anxiety, anger and shame, and a politics of naked greed, narcissism, aggression and fantasy.

    Which is where I come to the purpose of this blogpost. In view of the isolationist decision of Britain to leave the EU, and in the light of the Scottish preference for a national identity defined by inclusion, openness and connection with our neighbours, I have decided I don’t want the .uk suffix to my domain name. As of the 31st of January, this website will fly under the .com label. There will be a redirect for a good long while, so that anyone using the old address will still find me, and plenty of warning.

    I would also like to give you the first intimation of the publication of the new book. Thanks to the kindness and generosity of Sheila Wakefield (without whose faith in me I can’t imagine having come so far), Burnedthumb is due to be published in February of 2021, by Red Squirrel Press. It is a reflection on the many kinds of knowledge and connection which go to make up our awareness of ourselves as ‘persons’, and the the kinds of conversations we have with external reality that make it possible. And the Burnedthumb poem, which you will probably have seen on the front page of my site, will take its place there. It deals with listening and diversity and patience – and the accidental gift of being able to do it – and it is my personal ‘declaration’.


  • Last Blog of the Decade

    The haggard  - overgrown with hogweed and willowherb, alder and wild rose - in winter

    I am not going to do a ‘state of the nation’ piece, because the state of the whole world, frankly, is ‘hell mend ye’, and I am so grateful to the millions of people I know who are saying loudly and forcefully, ‘we will not allow this to go on’. You are, literally, holding me together.

    I realise that we are heading into a new decade, and it occurred to me that this is the last full decade I can reasonably look forward to, because it will bring me comfortably past the allotted span. Not that I can be too dogmatic about it – my mother is still alive at 95, and my great-great-great-grandmother, one Hanora Foley of Waterford, lived until she was 113, through Penal Times, the Famine, the first world war and the Irish wars of Independence. I can’t verify this on-line, by the way, I saw this in a press cutting in the Waterford Library. I don’t think I want to beat her record!

    It has been a roller-coaster of a decade, though I think we have finished in a better place than when we started. In 2009 I was beginning to be published, and I met someone who read my poetry and told me I was ready to submit a collection, which I did. Now I have three collections out with Red Squirrel Press, edited 8 full collections, 2 pamphlets and 2 anthologies, given workshops based on my herb poems and I’m about to write a column for the InterlitQ blog. My family have grown up, married (2) and divorced (1), and have added three grandchildren to our number. My husband retired, everyone got ill in complicated ways and mostly got better (not all at once, except for one memorable week when there were three of us in A&E in different hospitals at the same time). One of us moved 8 times, 1 of us moved three times and one of us moved twice, while we kept thinking about moving and not doing it. And there was politics. So much politics and so much of it awful.

    That’s enough of that! It seems to me that there is an inverse relationship between poetry and politics, in that the worse the politics, the better the poetry. Here are my highlights – in no particular order:

    • The Republic of Motherhood Liz Berry
    • Balefire Jim Carruth
    • Witch Rebecca Tamás
    • Deaf Republic Ilya Kaminsky
    • How Time Is In Fields Jean Atkin
    • Tales of the Dartry Mountains Charlie Gracie
    • Nobody Alice Oswald
    • The Stags Leap Sharon Olds
    • Sweeney Astray Seamus Heaney
    • The Nearby Bushes Kei Miller

    You will see that they are not all books that came out this year – some of them are books I was very late to discover, and I bought more that I haven’t got round to yet. There are also books, pamphlets or even individual poems that impressed me at the time, and which have got away since. I can imagine myself waking up at night and going, ‘I forgot x!’ and having to add it surreptitiously to the list. But this is my top ten, anyway, and it should be enough to go on. If there’s anything here you haven’t yet read, go to it! You will be in for a treat!

    So here we are on the brink of a 2020, a whole decade with no mistakes in it yet. I hope it brings us health, wisdom, peace and friendship enough to build a hope stronger than the wiles of politicians. Happy New Year!

    a skein of geese

  • Christmas Greetings

    Happy Christmas, everyone!

  • Because the Land Are We – A Review of Balefire by Jim Carruth

    cover of Balefire by Jim Carruth

    Polygon 2019 isbn 978 1 84697 500 4 81 pp. £8.99

    If you look up the word ‘balefire’ – once you get past the role-playing games inspired by the Wheel of Time series of fantasy novels – you will find that in Scotland, it is a purification fire. Houses were cleaned in spring and the dust and debris burned to clean and disinfect the houses. Sometimes there were two fires, and the cattle were driven between them to purify them from disease. Then you would light a new fire – the ‘bonfire’ to give a clean fresh start.

    This collection is most definitely a bale fire. Cattle diseases come up a lot, forming footnotes to the poems in the first section, entitled A Change in the Weather. The poems throw a grim light on what is burning up the farming communities of Renfrewshire – the grim unrelenting work, the risk from weather and disease, the isolation, which often compounds abusive behaviour and cruelty. Most telling is the alienation between the farmer and the wider community, as in A Killing, where a newspaper demonises a farmer for killing a dog, but does not mention the lambs the dog has slaughtered, or Transferable Skills where a redundant farm worker, with years of knowledge and experience behind him, finds himself judged to be without the transferable skills of the title, and or in School Milk where all connection between the produce of the farm and the packaged product given to the pupils has been lost, and Jim Carruth neatly draws a parallel between the intensive rearing of cattle and the institutionalised education of children.

    A major strand of the book is the profound and intimate love and care of the farmer for the land and his cows, demonstrated perhaps most strongly in Leabaidh na Ba Baine (the bed of the white cow) which tells of the legend of the giant Fingal shaping a valley for his cow to sleep in, this love is not without consequences for family life. In Birth Jim Carruth describes with tender detailed care the process of helping a cow give birth, but closes with the comment

    I find wonder every time in this moment,
    Just the one parent and child. I who was born
    While my father finished milking his cows.

    There are dysfunctional families portrayed here, failures, suicides, domestic abuse, as well as the timely reminder that all farmers are not male, in The Farmer Doesn’t Want a Wife. There is despair and the collection is haunted by death, but perhaps surprisingly, it is not a dark despairing collection. The middle section of twenty poems called Home recalls the Odyssey, with echoes of Circe, Elpenor, the murdered serving girls, the faithful dog and more, carefully and cleverly done, but thoroughly grounded in the Renfrewshire hills and fields. And the final section, Forgotten Furrows and Field Songs builds on this, reminding us that though traditional farming life may be declining, it leaves us a powerful cultural legacy of songs and literature, and we are enriched by it.

    Come the spring in that field,
    Beyond his boarded-up house,
    Every small word had sprouted
    With such scent and promise,

    It brought songbirds flocking,
    Eager to seek each fertile fragment,
    Working the lines day and night,
    Piecing together his forgotten tune,

    Until the morning they sang as one
    That lost farmer’s final crop.
    His harvest was their chorus.
    They feasted on his song.

    Legacy


  • Turning into Winter

    skein of geese against a blue sky

    Winter here is a time of opening out, rather than closing in. When the leaves begin to fall, great gaps open in our horizons and we can see further out across the fields and towards the hills out eastward and the castle to the west. Evenings and mornings, skeins of geese fly over the house, west in the mornings towards Flanders Moss, southeast at night, down the river to Batterflats and Skinflats. The light is dimming by half-past three, and it is dark by five. There are fieldfares – one crashed into our bedroom window last week – and redwings, quarrelling with migrant blackbirds for the last of the rowan berries and I heard three robins singing against each other in the early twilight across the river, and long-tailed tits peeping to each other in the hedges. The fields have been ploughed, and some of them have already been sown. The deer sometimes come back to the riverbank now the building work has finished. There have been frosts, heavy rain, and some very strong winds.

    Gardening is all but finished for the winter. Only the marigolds are still pushing out the last few rain-battered flowers, and the first winter jasmine has appeared.

    winter jasmine in flower against a wall

    I am about to package up the seeds I saved – marigolds, evening primrose, teasel, nigella, and the tiny seeds of nicandra physalodes (the shoo-fly plant), which are hidden in its exotic papery seedcase, which you can see here, stained with inky blue. I have put it in a vase with honesty teasel and nigella seedheads because it will keep that dramatic colour through the winter.

    nicandra, showing flowers and seed-cases

    My attention has turned to indoor activities, cooking, learning to make sourdough bread, thinking about Christmas (already? I know!) and planning sewing projects for the dark nights, and new poetry and herbal blogposts for the new year. But there is still plenty of autumn colour,

    Birch tree, lots of golden leaves

    and plenty of berries for the migrating birds. These are cotoneaster berries, which might even attract waxwings if the weather is cold enough. Far from shutting up shop, the territory of rain is opening its doors to winter.

    cotoneater berries


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