Writer Justina Hart concludes her account of writing Doggerland Rising, researching the prehistory of the mesolithic peoples of these lowland plains before sea level rise created the North Sea, and reveals what she has learned from the process.
2,340 words: estimated reading time 9.5 minutes
This post follows on from Doggerland Rising #1: Walking Across the North Sea.
Following the day at Durham University spent meeting with palaeo-scientists to discuss all things Doggerland, they emailed me numerous papers to fill in the gaps in my knowledge. With six weeks to go till the commission deadline, I focused on reading and journaling to help the ideas bubble up.
Studying an area where knowledge is expanding rapidly I found to be exciting and addictive. Although the Doggerland concept had emerged in the early twentieth century, it didn’t take off until the late 1990s when Professor Bryony Coles at the University of Exeter examined and wrote about the archaeology of Doggerland; and until researchers at Birmingham University (Vince Gaffney among them) in the 2000s used data from oil and gas drilling maps to chart the submerged landscape of the Southern North Sea.
I started a Doggerland journal in my writing program, Scrivener, jotting down salient points and ideas every day. Early on in reading the academic papers, one thing that struck me was the intriguing sounds of many of the scientific words and terms used to describe investigation into the North Sea. Here are a few:
aggradation, bathymetric, borehole data, eustatic, isopach, progradation
The mysterious half-understood (to me) quality of these words sparked my first draft for part I of my six-part poem. Scientific exploration provides an entry point both into the writing and into the Doggerland landscape:
Wade in with palaeogeographers, archaeologists, palaeogeologists, cartographers who swim into the past for a living, who disturb and reconfigure depths.
Later on, I realised that these palaeo-scientist characters were part of the poem’s scaffolding that could be removed. The start of the finished section I of the poem now addresses the reader directly as scientist-investigator and everyman. He dips a hand into the North Sea and comes face-to-face with one of his Mesolithic ancestors:
A man hallooing as if to himself paddles through shallow waters. He looks ahead, squinting; he can almost see you, you him.
Letting go of research and sinking into the sea
Having immersed myself in the research, the next step was to let go of it — taking whatever I’d absorbed with me — and allow myself to sink into a place from which the poems might flow. That was the idea anyway. It felt risky: the research was a safety raft without which I could end up all at sea.
Giving myself the gift of this time to sink or swim was — as a jobbing writer/editor where paid tasks must take priority — the privilege of having a commission. What joy to be given licence to write and research poetry in prime client time. I unplugged from the internet for consecutive mornings and, in silence, held the idea of the sequence lightly in my mind, listening for what might surface.
I used others’ writing, music, photographs, and my own visits to natural landscapes to tickle the poetic synapses. Early on I found a jazz song that I took as a soundtrack for my project, Mi Negra Ave María, by Roberto Fonseca. Soaring and anthemic, it includes the lyrics:
And Atlantis can once again
Rise from the ocean
And the musical, beautiful sound will resound
And shake in every tree …
I read poetry with watery and icy themes (the polar wilderness gave a useful sense of remoteness and strangeness).
I wanted to make a research trip to Druridge Bay on the Northumberland coast as recommended by the Durham scientists, but it was too far afield. Instead, with help from my partner as driver, I went on a long madcap jaunt from Staffordshire down the M1 and M25 to one of my old stomping grounds on the Kent estuaries to photograph mudflats. I also took pictures of trees in bogs in Osmaston, Derbyshire. These landscapes became the stage set for the inundated Dogger Island.
Here is a note from my journal:
5 November 2016 — research trip to northern Kent: Visited the Medway, got excited on seeing marshes, then just beyond the sea at Allhallows and took pictures as the sun was going down. Landscape very flat and I was bitter around the ears, although it would have been 2-3 degrees warmer then [i.e. in the Mesolithic].
After a time, interesting things started cropping up in my journal. Here’s a piece of stream-of-consciousness writing:
The voices [in the poem] are strong. They are alive. They are speaking to us but also to themselves as though there’s this thin film of water called time between us … They talk to themselves and the meaning trickles to us across this film. They can kind of see us through this film too, and not.
The first character emerges — let’s call him Shaman
One day as I was writing my journal a character emerged urging ‘Follow me, follow me, follow me’. So I did, trusting his voice more as time went on. At first he acted as a guide, taking me back in time to the Mesolithic; later he made his way into the poem. It felt exciting channelling a Mesolithic character, as if I was bringing someone back from the dead whose bones lay under the North Sea. He seemed to relish the chance to live again.
This man, aged twenty-five or thirty, becomes the character we meet in section I, and who we follow through the poem. If he or someone like him did exist, perhaps he was a Mesolithic shaman because of his time-travelling and piloting abilities. Archaeologists know that such roles existed in tribal groups because they have unearthed objects such as deer skulls used as masks in spiritual ceremonies; they’ve also found standing stones or menhirs beneath the waves.
This is the kind of thing my nameless shamanic character whispered to me. It made its way into the poem in section two:
‘Look in the water. Look in the pool I’m looking at. The pool that is brackish, filled with saltwater, the river’s still. Giant oaks are asleep in it. I leave something there for you, a clue about me. I take off my necklace and cast it in, it’s like casting a spell – that one day we will come this way again.’
Drafting the whole sequence was like walking a tightrope over the North Sea. I had never written such a long poem in different voices before and did not know that I could complete each section until I had its first draft down.
So I navigated my imaginative North Sea — and the poem — by degrees: first I was a quarter of the way across, then a half, then three-quarters … Since each section had to come from deep down, as if from my own internal sea, each time it was a case of listening, having faith, holding my breath until at last I was rewarded with each poem’s content, form and language. All the sections had to tie together and tell a story as well, of course.
After writing the first four poems (out of the total six), I attended a small poetry festival in London, Second Light’s The Song of the Earth. I found the workshops by poets such as Jemma Borg and Hannah Lowe very helpful for renewing my inspiration, and the festival provided a much-needed break from my own company. I came back and wrote the last two sections.
Sharing the poem — feedback and editing
Had the poem succeeded? It felt to me that the commission had moved my poetry on, but the proof’s in the pudding. I sent the finished draft to fellow West Midlands poet, Sarah James, who generously read it, suggested tweaks and commented, “It all reads beautifully and feels very crafted and finished”. I was over the moon. The poet Myra Schneider kindly read and fed back in detail before I submitted the final version. “It’s a real achievement — a step forward,” she said. I am indebted to these poets and other readers.
Myra pointed out that the poem needed some linguistic fine-tuning to get it ‘as close to Anglo-Saxon as possible’, as this would be more in keeping with the prehistoric setting. So before filing, I spent a few hours scouring the poem for Renaissance and post-Renaissance words and concepts. I scrapped ‘lurid’ (mid-seventeenth century), replacing it with ‘violent pinks, blues, greens’. ‘Sulking’ (late eighteenth century) became ‘turned sour’, ‘unnavigable’ (early sixteenth century) became ‘where evil spirits hide’, and ‘foraminifera’ (mid-nineteenth century) was changed to ‘tiny sea animals’. A whole passage like:
Here I come: pushed from the delta’s mouth into blue – blue is my element and green – the sea’s body slows me, to breathe …
was transformed with simpler, more concrete language into:
Here I come: pushed from the river’s veins into blue – blue is my dwelling place – the sea’s body slows me, to breathe …
Myra also spotted an anachronistic use of the country names, ‘Germany, Holland, France’, in a refrain in part IV of the poem, which is voiced by the tribe’s ancestors. This started life as:
Yet once we were kings who strolled through paradise to Germany, Holland, France.
Few readers might have noticed — and the rhythm worked well — but having put so much work in, it was important to get all the details right. I turned to Dr Jim Innes for help. ‘How might our Mesolithic ancestors have referred to these lands?’ I asked.
‘They would have had names for these areas I suppose, but we can’t know. I would perhaps have said something like ‘the eastern high ground beyond the plain’ and the same for Britain, only ‘western’. That doesn’t tell the reader exactly where though, so maybe … ‘the uplands beyond the eastern plain’ or similar.’
Here’s the final refrain:
Yet once we were kings who strolled through plains rich as paradise to the uplands beyond.
I sent the finished draft to the Durham scientists for fact-checking and so they could see what I’d made of the research. All good except Jim spotted I’d used the phrase ‘heading inland’ in section VI, when people would have had to cross water to get to Britain. Jim also checked the date in which I’d set the poem:
‘The dates look fine. Our main radiocarbon date from Dogger peat at -27 metres depth is 8140 radiocarbon years ago, which comes out when calibrated as 9300-9000 calendar years ago. Other dates suggest that the Dogger island was finally fully submerged by about 8000 calendar years ago, or a little before.’
Personal insights — leaving the Mesolithic
The Weatherfronts commission was the first time that I’d ever been paid to write poetry. Symbolically this was deeply important to me as I was being remunerated for writing something I love, and this made a real difference to my craft. Previously, I always fitted my fiction and poetry around the freelance writing and editing I do for commercial clients; now, for the first time, creativity could take centre stage.
Not surprisingly, focusing on my poetic craft during the best, most productive hours of the day meant that my poetry improved. I began to value my work as a poet more and started seeing it as on an equal footing with my client writing. I was able to set and rise to a more difficult poetic challenge than I’d otherwise have attempted. I had not felt such joy in any paid work I’ve done in years, and loved the luxury of the reading and generative time.
Collaborating with the Durham palaeo-scientists was another revelation and joy. The only careers advice I recall receiving at university was ‘Don’t go into academia’, and yet the researchers seemed to thoroughly enjoy their working lives. Thanks to Weatherfronts, I now know that I’d welcome the chance to do other collaborative projects with researchers and universities in the future.
The collaboration completely changed the nature of my Doggerland poem. If I had attempted to write it without talking in-depth to the scientists, I believe that it would have looked very different. Gradual if dramatic climate change (coastal erosion, low-lying island nations at risk of submergence) and migration are more akin to what our Mesolithic ancestors were experiencing, and more akin to what we’re experiencing in the twenty-first century. The scientists helped me and the poem to take this focus.
By the end of the project, I began to envy our Middle Stone Age ancestors for the simpler rhythm of their lives, their multi-skilled resourcefulness, and even (medical advances aside), their quality of life. Pulling out of ancient time and leaping forward to the present day came as a wrench.
Find out more
You can read the full lyrics to Roberto Fonseca’s Mi Negra Ave MarÍa and play the track.
Explore the poets who gave Justina feedback: Sarah James and Myra Schneider. and Dr Jim Innes‘ research into human palaeoecology, particularly in relation to Mesolithic communities and their impact upon the environment.
And you can find out about Second Light Live workshops and publications.
Doggerland Rising and all the poems, short stories and non-fiction that were commissioned from both the 2014 and 2016 Weatherfronts competitions are included in the free ebook available from Cambria Books.
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