The Gift of the Goddess Tree

— approx reading time: 3 minutes

Following What the Bee Sees we have the second of two stories from Jennifer Leach, as told in the back room of a Reading pub as part of 2017's Festival of the Dark and its micro-festival Dazzle. Jennifer led the vision and creation of the year-long Festival of the Dark,  helping us navigate the Celtic cycle of the year and explore the energies of the dark in its many forms. What if the world were other? Stretching imagination and shifting vision is a key to ‘waking up us all’ and forms the bedrock of Jennifer’s own work.
Yggdrasil, the Norse Tree of Life -from the 1847 English translation of the Prose Edda, by Oluf Olufsen Bagge
Image: Public domain
Source: Wikipedia (click image to link)

 

Last Thursday I went to visit my great 84-year old friend Anne Yarwood. For those of you who know RISC — the Reading International Solidarity Centre — she was the visionary who conceived it and brought it into being. After a cup of tea, we walked slowly out into her beautiful garden and sat in a small roofless shelter she calls The Lighthouse. We sat in amiable silence. And she then pointed to the vast forked tree under which we sat, and said, ‘I see her as the Earth Goddess. Those are her legs. Her head is under the soil.’ I smiled and nodded and we sat there imagining what life must be like for that tree deity there, under the Earth.

As we sat so, I began to undergo a strange transformation. It is hard to put into words exactly what happened. A transmogrification, a molten transformation, a morphing of being and consciousness. In some manner not understood, I was within the tree, with a discombobulating sense of slightness. Glancing over, I could see that it was so too for Anne. What we had become I do not know. Witchety grubs, tree fleas, I am still unsure. And this is what then happened. In the subtlest way possible, both our surroundings and ourselves began to change. In some way, we were carried down within the heartwood of the tree, moving from the Upperland into the Netherworld beneath the soil. It was a gradual process, with the light around us dimming first into gloaming, and then into darkness; the quality of the darkness intensifying until it began to emerge as an alternative way of seeing. Our power of vision slipped incrementally from the organ of the eyes to that of the nose; we began to perceive through smell. As we descended, the darkness crystallized into the pungent scent of loam. Dim pictures formed in our nasal passages. Pictures of roots binding one with the other, spreading infinitely as a vast heaven; fungus-studded caverns hollowing with the peaty brooks that licked the leaf-moulded netherworld. Shadowy movements of fellow creatures and organisms waving, shaking, scuttling, padding. An interchange of whistling, calling, creaking, clicking; the groaning of taproots scraping anchor in the depths, the low whistle of insect calling water, the trickling flick of water calling beetle. The bark of a badger, the drumbeating rhythm of a mole at work. As we tunnelled further and further more damply downwards, the scraping against soil shaft of our own bodies crackled and cracked, breaking back and across our vibratory receptors.

Time was measured in the crawling pace of our carapaces, days by vivid vibrations, nights by a gentle hum. All we were, Anne and I, were sensations. No thought. No memory. No perception. No projection. No wondering what existed beyond our very own skins. No wondering what existed within our very own skins. No wondering what might exist beyond the rhizome roof that marked the boundary of our world. No wondering even what might be the boundary of our world. We simply were. Anne and I. Some sort of witchety grubs in a darkness dappled world of root and leafmould sensation.

How the experience ended, again neither of us can be sure. We were sitting, in amiable silence, in the small roofless shelter Anne calls the Lighthouse. And she was pointing to the vast forked tree under which we sat, and was saying, ‘I see her as the Earth Goddess. Those are her legs. Her head is under the soil.’ I was smiling and nodding and we were sitting there imagining what life must be like for that tree deity, under the Earth.

Yet the sun was lower, the air cooler, with a hint of rain. We made our way slowly back towards the house. In companionable silence.

 


Find out more

You can explore the Festival of the Dark, the Celtic cycle of the year and more at Outrider Anthems.

Jennifer will be participating in La Liberté d’Expression art exhibition at the Old Fire Station Gallery in Henley, 19th – 25th April, where she will also be storytelling with arch-storyteller Dr Anne Latto.

You can visit the Reading International Solidarity Centre and its  excellent Global Cafe at 35-39 London St, Reading RG1 4PS

What the Bee Sees

— approx reading time: 6 minutes

Our latest offering sees the welcome return of artist Jennifer Leach. Throughout 2017, Jennifer led the vision and creation of Reading's Festival of the Dark and its micro-festival Dazzle, helping us navigate the Celtic cycle of the year and explore the energies of the dark in its many forms. What if the world were other? Stretching imagination and shifting vision is a key to ‘waking up us all’ and forms the bedrock of Jennifer’s own work; here, she shares the first of two Dazzle stories she told in the back room of a Reading pub…
Apis mellifera flying
Photograph: Muhammad Mahdi Karim © 2009
Source: Wikipedia (click image to link)

This story is about bees, and honey, and hexagons. I am personally convinced that the very special nature of the hexagon is a key to the tale, and so here I shall begin. A hexagon, as I’m sure many of you will know, is a remarkable figure, with six identical sides, each one of which contributes to one of six indistinguishable equilateral triangles, each with three interchangeable angles of 60o; and with all six triangles converging on the one central point at the hexagon’s heart. If the hexagon’s neighbours are of the same dimensions, they can fit snug alongside, above, below one another, ad infinitum; a community of hexagons can be built by a child, so simple is it. Indeed a magical shape, and quite possibly it is the mystical nature of it that led to a quite extraordinary discovery about bees.

The tale begins at Reading University which, as some of you may be aware, has one of the most advanced robotics research departments in the world. Furthermore, its agricultural department has a research unit that focuses on bees. Ten years ago, these two departments came together with a shared desire to colonise a bee’s vision, to see – first hand – what a bee sees. I was lucky enough to know one of the researchers, from whom I received directly the following account.

To understand the science, it is important to appreciate the enormously complex make up of an apiarian eye. Altogether a bee has five eyes: two are a little like headlights, illuminating the bee’s path quite broadly; the remaining three filter light to create a great sensitivity of vision. Each of these eyes is made up of thousands of small hexagonal units called ommatidia. To see as a bee sees is no mean feat. As you might imagine, it was a work of engineering genius to create a small bee-sized helmet with five robotic eyes that could be clipped onto the head of a bee. It took nine years to develop, and was first ready for testing late last year. You might like to picture this helmet as akin to sunglasses, fitting over the bee’s own eyes yet not disturbing its sight. On 11th November 2017, in the research gardens of the agricultural department of Reading University, It was fitted to a bee we will call Bee A. As opposed to Bee B and Bee C who come later in the story. Remotely connected to Bee A’s cap was a commensurate cap known as the Bee Cap, which a designated researcher in the laboratory wore; the two were remotely connected. What this combination of devices allowed, in short, was for the researchers to share the vision of a bee. Or, as it turned out, to share specifically the vision of Bee A.

So, after recovering from its groggy little operation, Bee A went buzzing off on its normal busy business, as only a bee can do. After dancing around a few yellow flowers in the garden, sucking up nectar, unintentionally pollinating the neighbouring flowers at the same time, it flew off towards the hive. The researchers noted that it tends to see blues and yellows, and can also see the ultra-violet light that our human eyes cannot pick up. So far so good, confirming already known facts about the bee and its eyesight.

Next, Bee A flew into one of the hexagonal cells within the hive and this was exciting. Researchers had never previously had the privilege of viewing the inside of a hive cell through a bee’s own eyes. The light inside these cells is glowing and golden, rich and mellow as honey. The little bee fits pretty snugly inside, deposits its nectar, and works for a while producing enzymes to begin the honeyfication process. The expectation was, obviously, that it would then exit the cell the same way it came in and repeat the entire process. What happened next, however, was revelatory. And here I must ask you please for total confidentiality; this research is revolutionary, as yet unpublished, and must go no further than this website.

Instead of flying out the way it had come in, Bee A flew out the back of the cell. Unexpected perhaps, but here was the seismic shock: as it exited, the robotics researcher experienced a mind-bending, body-altering episode that has left him hospitalised. Electronically connected as he was through his Bee Cap to Bee A’s robotic eyes, he suffered a fragmentation of vision, a severe jarring of his eyeballs; he reported that every atom in his body seemed to condense into his heart area, and for around one second he was as dense and leaden as a lodestar. As he described it, ‘I felt as if the entire Universe had imploded momentarily within my own body.’

Incredible and absurd as it seems, scientists believe that Bee A had entered a pin-sized Black Hole, and even more incredibly and absurdly, passed through it unscathed. Whilst medical staff attended the unfortunate researcher, his colleague grabbed the Bee Cap, reestablishing connection with Bee A.

What she saw almost blew her mind. She was out in dark space aglow with a violet light that can only be described as celestial. Stars did not stud the heavens, they peppered it, millions upon millions of violet swirling stars moving in a diaphanous mist. There are no words for it. Literally no words. It is not a sight that belongs to our universe. And Bee A’s behaviour in this universe was not as on Earth. Its body stretched and elongated so that it became serpentine, streaming along on wings that needed to do no work. It floated, as if on an ocean, carried on an invisible tide that drew it along with directed energy. As it travelled, it appeared to be gathering nectar in its regular fashion. And the researcher noticed that its vision too had altered. Each ommatidium began to spin clockwise, so that the bee’s sight became a kaleidoscope of purple spinning hexagons. After a few seconds, she pulled the Bee Cap from her head, was violently sick, and passed out. By the time she came to a few minutes later, Bee A was back in its cell, and had deposited its otherworldly gathering of nectar.

On completing this task, the bee then fell into what seemed to be a trance. It lay so for several minutes. The robotic cap indicated that the bee was experiencing REM sleep, just as a human would. And then – extraordinarily – whilst still in this state of sleep, it flew out of the front of the cell, and went about its usual busy business in what we shall call, for shorthand’s sake, ‘our world’. As if in a dream.

It goes without saying that the immediate desire by the researchers was to follow up the experiment by trying out the same procedure on what we shall call Bee B. And later Bees C, D, E and so on. Over a period of three weeks they did this, collating the mindblowing evidence that suggests each bee, when it exits the back of its own cell, passes through the same nodal shift as did Bee A but each appears to go into ITS OWN UNIVERSE. (The researchers have learnt, it hardly needs stating, to remove the Bee Cap for the duration of this shift point). No two universes have so far looked alike. Each has its own distinct colour, form of motion, velocity, some are complex, others simple, some light, others more muted. Within its universe, the scale of the bee varies from diminutive to overly significant, and each bee moves about in its own fashion. Some ‘swim’, others roll, one vast bee stood upon its back two legs and walked. Each is, in its own way, utterly wonderful.

In all universes, all bees have one commonality, that of gathering nectar which, after returning back through the nodal shift point to the golden glow of the hive cell, they deliver to the collective. And here is what is, perhaps, most unexpected of all. The researchers at the university have of course closely analysed the bees’ honey, and the evidence is indisputable – no matter which universe the individual bee has collected its nectar from, and no matter by what method, the honey produced back in the hive is exactly the same.

 


Find out more

You can explore the Festival of the Dark, the Celtic cycle of the year and more at Outrider Anthems.

Jennifer will be participating in La Liberté d’Expression art exhibition at the Old Fire Station Gallery in Henley, 19th – 25th April, where she will also be storytelling with arch-storyteller Dr Anne Latto.

Stalking the Impossible

— approx reading time: 10 minutes

It's been two month's since Nick Hunt's excellent addition to our series A History of the Anthropocene in 50 Objects. I sent him the customary secondhand book that these contributions attract. So my review of that particular book, Geoffrey Household's Rogue Male, is way overdue. It's a novel I discovered over a decade ago and have read or listened to many times since. It seems to attract this rereading, so I was obviously very happy to discover a copy in an Oxfam bookshop and have this excuse to enjoy it yet again, to share it and to set down some of my thoughts on such a classic.

Geoffrey Household’s Rogue Male, published in 1939 as Europe descended into war, is a peerless thriller and a brilliant piece of landscape writing. It’s also an exploration of a wounded human forced to resurface long-buried self-knowledge, and a novel of more-than-human relationships.

The plot is taut. A wealthy English landowner and big game hunter, who never reveals his name because his fame threatens reprisals on his friends if his private account – his ‘confession’ – is ever discovered, is hunting in Europe when he slips into an unnamed country and stalks its dictator to his closely guarded country retreat. Like the hunter, the nation and tyrant are never identified. Setting out to test whether his stalking skills are up to this ultimate prey, our narrator is a hair trigger’s breadth from succeeding when over-confidence and a slight change in breeze result in his capture, interrogation, torture and attempted murder by the dictator’s henchmen. From that moment on, he’s in flight for his life, moving painfully, cautiously across a continent that’s closing down on freedom, back to London and then a secret hideout in the Dorset countryside. His hideout is, like much about his past, a secret he keeps even from himself until he is almost at the threshold. Although he is in a state of denial about his actions and motives, as the title suggests, he’s a “solitary beast, exasperated by chronic pain or widowerhood … separation from its fellows appearing to increase both cunning and ferocity.”

Rogue Male cover, first edition (1939)
Artist: unidentified

‘That safe pit of darkness’

As he digs deeper into his memories – literally deeper, as he lies in the burrow he’s made for himself in the high banks of a long-forgotten lane that’s cut deep and overgrown between two mutually suspicious farms, and waits to see if his equally cunning and ferocious pursuer has discovered him – his journalling uncovers just how much he’s been deceiving himself. He experiences

“the blankness which descends upon me when I dare not know what I am thinking. I know that I was consumed by anger. I remember the venomous thoughts, yet at the time I was utterly unaware of them. I suppressed them as fast as they came up into my conscious mind. I would have nothing to do with them, nothing to do with grief or hatred or revenge … I had not admitted what I meant to kill.”

He represents himself in his pencil-and-exercise-book confession as a blameless, adventuring sportsman. But he recognises that his hope is to understand his own actions, whose “reasons were insistent but frequently obscure”; to “get some clarity. I create a second self, a man of the past by whom the man of the present may be measured.” This doubling, and the regarding of a reflected self it enables, is anticipated in the moment he first sees his broken face.

“I didn’t recognise myself. It was not the smashed eye which surprised me – that was merely closed, swollen and ugly. It was the other eye. Glaring back at me from the mirror, deep and enormous, it seemed to belong to someone intensely alive, so much more alive than I felt.”

He spends much of his account not recognising himself. And yet, if his relationship with his inner life seems as evasive as his cross-country false trails right up until the final confrontation with his pursuer and the “second enemy dogging my movements – my own unjust and impossible conscience”, his relationship with society at large seems self-assured, if cynical. He scorns the ideologies of ‘the masses’ or ‘the State’ that are taking hold abroad, of course, but also an anti-individualist conformism closer to home.

While he doesn’t escape the male, privileged attitudes of his time, class or country, he’s no misanthrope or xenophobe. He has a keen eye for the character of individuals he meets, a respect for their lives, and a dry and understated humour at his own expense. Nor is he a classic British imperialist in the style of other ‘rugged loners’ from pre-war thrillers. But his view of people and society is heavily skewed to his own – very male and individualistic – philosophy of nature.

As for his relationship with the animal kingdom, this is for the most part that of the hunter; his trek on the continent “quite a conventional course: to go out and kill something in rough country in order to forget my troubles.” But his relationship with the physicality of his environment – not just his native countryside, but wherever he exists, as hunter or hunted – is something far more elemental.

Barely conscious after his capture and questioning, his captors take him to a remote precipice, leaving him hanging by smashed fingertips so his ‘accidental’ death can be ‘accidentally’ detected. Further torn and mangled by the long fall down the cliffside, he’s saved only by falling into a marsh. As he comes back to life – it is a form of resurrection – he’s unable to differentiate body from bog.

“I had parted, obviously and irrevocably, with a lot of my living matter … it was revolting to imagine myself still alive and of the consistency of mud. There was a pulped substance all around me, in the midst of which I carried on my absurd consciousness. I had supposed that this bog was me; it tasted of blood.”

New skins, old connections

That same muddy mess, caked to him as a second skin, binds his wounds: its substance melding with his to keep insides in, outside out even while he cannot completely separate the two in his own mind.

There is nothing cozy about this self-identification with intimate surroundings. Rather than romantic notions of the hunter as organic extension and master of his terrain, it’s a more primal experience; the wounded prey at once part of and apart from an elements that can both kill and protect. Later, lay a false trail, invisible to the eyes of a police and populace who have been cleverly roused by his pursuer, the only cover is the sodden clay of a cabbage field in plain sight of the road he knows his pursuers will use.

“It was a disgusting day. The flats of England on a grey morning remind me of the classical hell – a featureless landscape where … the half-alive remember hills and sunshine …To lie on a clay soil in a gentle drizzle was exasperating. But safe! If the owner of that vile field had been planting, he’d have stuck his dibber into me before noticing that I wasn’t mud.”

As with earth, water plays a crucial role in his survival. At different points on his slow journey, stream, river, sea – even absent water in the case of a ship’s disused water tank – conceal him, offer the means to clothe himself, or provide his mode of transport through hostile country.

Trees and hedges also assist him. In the first hours after near-death, he struggles to raise himself high into a larch, single-mindedly abusing his tortured hands so as to leave the bark free of tell-tale mud from his boots, and waits out the day. While he recovers, a search party looks for his body below. “When I became conscious, the tree was swaying in the light wind and smelling of peace … I felt as if I were a parasite on the tree, grown to it.” Unable to make sense of what is around him, he can “only receive impressions. I was growing to my tree and aware of immense good nature.”

Later, cornered in his burrow by the hunter who offers sweetened lies about the freedom he will find again if he signs a confession of his assassination attempt, he tries to tunnel his way out of the death-trap he’s made for himself. The air supply restricted, his digging is constantly interrupted by imminent suffocation from his own spent breath and the foul air of his faeces, which he’s been forced to live with in the dank, claustrophobic cell. “Then I would begin to dream of the root or the stone or the water that was beating me, and I would get up again and go to work, half naked and foul with the red earth, a creature inhuman in mind and body.”

Until this point, he has shared his den with an older inhabitant of the decrepit holloway between farms: another cunning and ferocious beast, a feral black cat. This creature proves to be a great ally.

“I was so prepared to frighten any dogs which investigated me that they would never come back, but it appeared that something had already scared them for me; dogs gave the lane a wide berth. The cause was Asmodeus. I observed him first as two ears and two eyes apparently attached to a black branch. When I moved my head, the ears vanished, and when I stood up the rest of him had vanished. I put out some scraps of bully beef behind the branch, and an hour later they too had vanished.”

As the novel plays out, the man’s world has shrunk from his summer’s freedom to roam, a privileged and skilled loner; to a furtive hide-and-seek testing of those skills; then the hoped-for autumnal rural cover, where he can live off his wits until danger has passed; finally to a dank, filthy pit scraped into the cold red earth beneath a thorn hedge: an isolated and hollowed out existence in a holloway known only to his enemy and to no human friend. The cat seems a last link between him and something like a liveable world that a rogue male might choose rather than be forced to endure.

Rogue Male cover, limited edition hardback reissue
Artist: Stanley Donwood © 2013
archive.slowlydownward.com

The two beasts, wary at first, gradually become respectful and then sympathetic with each other.

“Asmodeus, as always, is my comfort. It is seldom that one can give to and receive from an animal close, silent, and continuous attention. We live in the same space, in the same way, and on the same food, except that Asmodeus has no use for oatmeal, nor I for field-mice. During the hours while he sits cleaning himself, and I motionless in my dirt, there is, I believe, some slight thought transference between us. I cannot ‘order’ or even ‘hope’ that he should perform a given act, but back and forth between us go thoughts of fear and disconnected dreams of action. I should call these dreams madness, did I not know they came from him and that his mind is, by our human standards, mad.”

How this confinement ends for the three hunters – would-be assassin, feral cat, fascist agent – is not something to let out of the bag here. 

Under cover

Rogue Male is a novel of slowly revealed relationships. Between individual and society. Human and more-than-human habitats and cohabitants. Surface and subterranean. Cunning and culture. The self and itself. Memory recovered and memory constructed. Between the man and the loss which turned him rogue and in pursuit of a vengeance he cannot admit to himself.

The Dorset holloway is not his first hiding place. From the leafy cover where he trains his rifle on Europe’s notorious mass murderer – just “for the fun of the stalk”, he insists – to the muddy bog where he lays his first misleading tracks, the tree where he hauls his broken body, the lakeside foliage from which he dashes to steal bathers’ clothes, his stowaway on a cross-channel ship, the black tunnels of the London Underground or the night cover of Wimbledon Common, to cabbage field and secret burrow, he excels at using his environment to cover, recover, survive. But finally, even with all his skills and instincts – and occasional flashes of imagined ‘simple thought-transference’ between his unstable mind and the unknowable one of Asmodeus – he cannot extend his physical senses out into the light spaces beyond his underground cell. Neither can he hide forever in the dark internal spaces of denial he’s carved out: mental sanctuary from a buried anguish the dictator’s regime brought down on him. He must burst out, into a future and a fate he cannot judge ahead of their reality.

Rogue Male illustration, Folio Society edition
Image: David Rooney © 2013
davidrooney.com

“Now luck, movement, wisdom, and folly have all stopped. Even time has stopped, for I have no space. That, I think is the reason why I have again taken refuge in this confession. I retain a sense of time, of the continuity of a stream of facts. I remind myself that I have extended and presumably will extend again in the time of the outer world. At present I exist only in my own time, as one does in a nightmare, forcing myself to a fanaticism of endurance … I will not kill; to hide I am ashamed. So I endure without object.”

 

Find out more

Rogue Male has been written about many times over the decades since its 1939 publication, and more than once by no less a figure than Robert Macfarlane. The fact that it’s has been a little intimidating to follow that skilled literary tracker’s footsteps is part of the reason for taking so long to even start on this review. Another is that I kept wanting to reread and relisten to the book itself; so I did, and always found something new. You can read his review of Rogue Male and of his attempts to locate the famous sunken hideout of Household’s hero; and if you have the 2014 Orion edition of the novel, you can read the extended version which forms Macfarlane’s introduction.

A limited edition hardback issue was produced alongside the Orion edition in 2014, with cover art by Stanley Dornwood as shown above.

Dornwood also collaborated with Robert Macfarlane and Dan Richards on a 2012 book, Holloway. A masterpiece, this slim book of words and images is another, fuller telling of the quest for the Dorset hideout and a meditation on the nature and history of England’s sunken lanes and tracks. I’ve not made much here of the landscape of ancient tracks and sunken lanes that criss-cross Household’s novel, although it is central to the novel’s character, because it is so well (un)covered in Macfarlane’s own words. Holloway book deserves its own review here; but in lieu of that, there’s an excellent Guardian photoessay on holloways, by none other than Robert Macfarlane himself.

And for another analysis of where this semi-fictional sunken lane might be located in fact, with a map, see Chris Newall’s The Rogue Male’s Hideout?

Rogue Male also exists in an Audible audiobook format; and another excellent reading, by Michael Jayston is regularly rebroadcast on BBC Radio 4 Extra. It’s worth keeping your good eye open for the next airing; this was my first encounter with the story, and I still think it’s the best way to experience it. Maybe through earphones, lying in the dark under stars between the hedges (or if you’re feeling particularly authentic, dug in beneath the roots and earth) of a secret holloway in south west England. Take a cat.

The book was adapted for film in the 1940s and 70s: Fritz Lang’s Man Hunt (1941) starring Walter Pidgeon, and Clive Donner’s Rogue Male (1976) with Peter O’Toole. Personally, I wouldn’t bother with either unless you’d a completist. Apparently, there’s a third adaptation on the cards, with Benedict Cumberbatch…

Rather than watch adaptations that are doomed to fail the original, you could explore another, more recent classic of a very different kind. Charles Foster’s Being a Beast is his account of what he knew was an always doomed-to-fail attempt to experience land, water and air as a non-human animal. “What’s an animal? It’s a rolling conversation with the land from which it comes and of which it consists. What’s a human? It’s a rolling conversation with the land from which it comes and of which it consists – but a more stilted, stuttering conversation than that of most wild animals.” You can read my mini-review of Being a Beast, which I contributed to the Happy Museum Project.

ClimateKeys – Moving Climate Conversations Centre Stage

— approx reading time: 11 minutes

Composer Lola Perrin returns to ClimateCultures with this round up of her own and many others' experiences of ClimateKeys - the major, global initiative she set up to bring together musicians, experts and audiences to engage in climate change conversations.

The latest ClimateKeys concert took place at the end of November in a candlelit art gallery under the arches in Waterloo as part of PowPowPower, a month-long series of arts events linked to climate change. Violin and cello duo, Fran & Flora, performed their virtuosic style of sonorous Eastern European folk music, at times bursting into truly beautiful acapella singing. Their set was followed with a talk by Nolan MacGregor whose premise was that the increasingly absurd system of commodity production is one of the chief factors in driving climate change. MacGregor then facilitated a conversation, with audience members sharing comments and ideas. Afterwards we were treated to a final piece of music before viewing the climate change art in the gallery and retiring to the bar where conversation about climate change, and the music, continued. 

Performers Fran & Flora with ClimateKeys guest speaker, Social Theorist Nolan MacGregor at PowPowPower

ClimateKeys is an initiative I founded that pairs concert musicians with climate change experts across the world to provide new opportunities for conversations. At the October gala launch in London ten pianists performed to a full house, with the music being interspersed with talks by Sir Jonathon Porritt, the Truth about Zane campaign and Hannah van den Brul. During October and November thirty-three concerts took place in nine countries. The speakers were scientists, policy experts, physicians, economists, radio journalists, legal experts, ecologists, psychologists and other specialists, all giving talks within the setting of a concert performance. Comments, photos, videos have been coming in to give a snapshot view of the concerts, for example;

“The audience members really wanted to talk and learn, and the discussion lasted longer than I thought it would … for me personally, this was incredibly rewarding.” (Political Science Professor Matt Hoffmann, who collaborated with pianist Erika Crino in Toronto.)

“Helping spark discussion and lay the foundation for civic engagement among my peers tonight made me feel like I was making a tangible difference in the world.” (Caroline, performer and audience member at a Syracuse University London ClimateKeys concert.)

“It’s important to think, talk and do something for future generations. The unusual blend of music and ecology is a good environment to make the audience think about climate change, everyday local problems (plastic bags, biodiesel, heating …). Thanks to ClimateKeys we have this wonderful collaboration of our Music and Technical Schools.” (Speaker Jovanka Vicentic, Ecology teacher, who collaborated with young pianists in Serbia.)

“One audience question was on how prepared we should be to compromise. If we choose to be vegan, does that mean we can continue to fly around the world?” (Extract from description of the conversation at Cynefin’s concert in London with guest speaker Julia Marques, climate change dramatist.)

“The general manager from the venue was very happy too and was also interested in more projects with us.” (Pianist Neslihan Schmidt, who performed with Dr Andrzej Ancygier in Berlin.)

Pianist composer Marija Ligeti Balint’s ClimateKeys concert in Pancevo, Serbia made the pages of local newspaper Pancevac, 17th November 2017 www.pancevac-online.rs

Excitingly, musicians responded in ways I hadn’t anticipated; creating inspired programmes around what climate change means to them and choosing works reflecting nature, the chaos of climate change and the constancy of the Holocene. Composer Alexander Schwarzkopf was inspired to complete and perform his work Liquid Piano, which “investigates evaporation, drought, flood, frost, birdsong and imaginary radio waves from outer space. Repetition is an important element of these compositions as it is integral to the processes of the natural and manmade world.”  Liquid Piano caught the imagination of local news media and triggered further climate change discussions.

New work is also emerging from the concerts. Florida ClimateKeys speaker, physician Dr John Strasswimmer, who collaborated with Duo Gastesi-Bezerra and artist Justin Guariglia, produced an imaginative video in response to both ClimateKeys and his research using spectroscopy.

Opportunities to imagine, to begin talking

The ClimateKeys concept grew out of my ninth suite, Significantus, for piano, a guest speaker (who gives a talk on positive response to climate change) and a conversation with the audience. Climate Outreach founder George Marshall kindly brainstormed with me and told me that “two thirds of people who are asked when they last had a conversation about climate change say they’ve never had a conversation about climate change.” This made me think that moving the conversation into the centre of whatever we do in life is vital, so I moved it into the centre of my concerts. I’ve been performing Significantus since September 2016 and have collaborated so far with nearly twenty speakers, reached around 600 audience members and possibly created over 1,500 conversations due to the ripple effect. Now that other musicians are using that same concert formula in ClimateKeys, many hundreds more climate conversations are taking place than I alone can achieve. 

ClimateKeys talks are given without projections or PowerPoint presentations, leaving the imagination free to roam. The audience may get a surge of images running through their minds, perhaps the lobster with a Pepsi logo tattoo, or the plastic islands in the seas, or the recent fire in California that burned an area larger than the size of New York City, or the millions of homeless Bangladeshis wading through floodwaters, or shrinking, low lying coastlines in the global South, or oil spills in Dakota, or Black Friday over-consumption, or Chinese smog, or children in the Democratic Republic of Congo mining minerals for our smartphones … the list goes on. Such overwhelm can create a catatonia, but the job of the guest speaker is to negotiate around our potential stupor and suggest positive directions in which to engage; for example, revising our rate of meat consumption, or re-designing our economy so that we live within nature and not at its expense, or putting renewable energy into place in developing nations to fight poverty without increasing warming emissions, or the role of digital innovation in environmental justice, or lobbying politicians around carbon pricing … The speaker synopses on the ClimateKeys website give an overview of the talks.    

“Fremd” (strange)
Exhibited at PowPowPower, London, November 2017
Artist: Frederik Marks © 2017
https://www.instagram.com/sh0tkiller

In every corner of the global effort is a myriad of features, responses, ideas, solutions, proposals, foundations, experts, schemes, charities, activist groups. Each day, if we choose to seek it out, and especially by searching on social media, we see more analysis, more reports, more research papers, more conferences, more expertise, more comment. Navigating around increasing flows of information on climate change, choosing what to focus on, trying not to miss the glaringly important, attempting to marry big solutions with individual choices: it is complicated.  

ClimateKeys concerts are opportunities to practice talking – or in some cases, to begin talking – about climate change. The first wave of concerts was timed to take place during COP23, to raise public engagement with Bonn. To some extent this was successful as several concerts got  local newspaper, TV and  radio features, including front page coverage in Trump’s local paper, Palm Beach Daily News (I understand that he  does read this one!). It was noticeable that there was no coverage by the BBC and UK press, despite numerous efforts. Two ClimateKeys speakers were COP23 delegates; Banja Luka’s Professor Goran Trbic and Berlin’s Dr Andrzej Ancygier.

Local coverage by the Palm Beach Daily News, 4th November 2017 www.palmbeachdailynews.com

Necessary, desirable and achievable

Ancygier is a policy analyst and a contributor to a new report, 2020 The Climate Turning Point, which took centre stage at COP23. I watched the livestream from the session, 2020: The necessary, desirable and achievable turning point to safeguard our climate. Chaired by Mary Robinson, former President of Ireland, heavyweight panelists Christiana Figueres (former UNFCCC Executive Secretary), Johan  Rockström (Director of the Stockholm Resilience Centre), Hans Joachim Schnellnhuber (founding director of the Potsdam Institute for Climate Impact Research), and Kevin Anderson (Chair of Energy and Climate Change at the Tyndall Centre), made presentations on how, if global CO2 emissions continue to rise beyond 2020, or even remain level, the temperature commitments set in Paris and the Sustainable Development Goals the world agreed to in 2015 become unattainable. The speakers agreed on outcomes although there was some disagreement on methodology. Good questions came from the audience and online viewers.

I recommend watching this session in its entirety (see link below). But to briefly summarise the ten-minute presentations: 
  • Figueres spoke of 2020 being a critical turning point in which we reach peak emissions and thereafter drive emissions into a steadily descending curve to avoid a much steeper rate of reductions later on. In this latter scenario, the curve will look more like a cliff edge and in such a speedy transition society would not be able to support citizens; numerous, sudden job losses would make for social upheaval and unrest. Although she actively engages with an increasing number of corporations, not enough businesses currently work from this perspective.  
  • Anderson argued for mitigation (emissions reduction) to become a COP focus through the top 10% of individual emitters in the world (climatologists are in this 10%) reducing their emissions to the level of the average European and thereby lowering global carbon emissions by 33% straight away. He believes COP itself should “lead by example” and reduce its own footprint. Anderson suggested that the requirement of a zero carbon energy system is a lower total energy consumption (or ‘smart 21st Century energy use’ as Zero Carbon Britain describes this), and so fundamental systemic change is needed in which we all must start playing our part now.
  • Rockström detailed clear technological steps to keeping within the 1.5°C limit, and argued for the removal of fossil fuel subsidies as an immediate priority.
  • Schnellnhuber suggested new private-public partnerships to fund the transition away from employment in dirty energy, proposing that money in tax havens be put to better use and liberated into new investments in clean energy. Schnellnhuber is an adviser to Chancellor Angela Merkel and so it’s revealing to think that this type of debate might be happening in the German government.

Repeated themes ran through the session; “it’s all about Time”, “don’t be late”, “we’ve known what it is we must do”, “we’re saying we must start doing this by 2020”, and “the procrastination must stop.” So, what will happen if, despite COP outcomes, the procrastination does not stop?

Taking on procrastination

Shortly after signing the Paris Agreement in 2015, in a gut-wrenching moment, British Prime Minister David Cameron slashed subsidies for solar panels. In the Budget right after this year’s COP and its focus on the year 2020, Chancellor of the Exchequer Philip Hammond announced tax incentives prolonging North Sea oil and gas investment. A month earlier, Brazil announced it was proposing a bill to give subsidies worth $300 billion to oil companies to drill off its shores. Given that the clear message from Bonn is that emissions need to peak two years from now and then go into a steady decline of 6% per year to stay under the carbon budget and have the chance of meeting the 1.5°C limit by mid-century, we don’t have time to sit around just in case, miraculously, in the next twenty-four months, the required amount of political will somehow shows up.  

When political processes fail, the next step is to turn to the law. Perhaps that next step has already arrived. More and more, we see litigation around the world: the UK government being sued for illegal pollution levels; the US government for stealing a stable climate from American teenagers; 47 countries for not protecting Portuguese schoolchildren from climate change. In a brand new case, Plan B (co-founded by a former government lawyer) is suing the UK government for climate inaction, in a move that has recently drawn support from leading doctors who published a letter in the British Medical Journal on 7th December 2017. Helpfully, Plan B has also made its website into a source of litigation information for the international community. And at the Cambridge Literary Festival in November, ClientEarth founder James Thornton spoke of how the Chinese government is currently training lawyers to sue the Chinese government (yes, you read that correctly!) if it doesn’t meet its own targets.   

The day after the M2020 presentation in Bonn, climatologist and founder of the innovative televised Global Weirding series Katharine Hayhoe was in conversation with George Marshall at University Church of St Mary in Oxford. Hayhoe was there to talk about her work communicating climate change to ‘dismissers’ (her preferred term for deniers) in the heartland of Republican Texas. I attended and was glad to bump into fellow ClimateCultures member, author Deborah Tomkins, as well as Cardiff ClimateKeys speaker, environmental psychologist Dr Stuart Capstick. Deborah and I had a conversation a few days later. We discovered we’d both been inspired by Hayhoe’s account of having been invited to present a one-hour talk to an oil company in Texas; after two and a half hours they still didn’t want to let her go, asking what they should do to become part of the solution rather than remain part of the problem.

This Texan tale, along with the need to stop the political procrastination and immediately remove fossil fuel subsidies described by the panel at COP23, and the role of litigation are four guides to lead my development of ClimateKeys into 2018.

Moving out of the concert hall

After such a strong start, courtesy of the many musicians and speakers who gave concerts in October and November, ClimateKeys is set to carry on initiating more such collaborations in 2018. However it was always the plan, once ClimateKeys was established, to add new types of concerts. Inviting musicians with portable instruments means that concerts can be performed anywhere, not just in music spaces. This has started to happen quite naturally, for example with musicians such as Fran & Flora performing ClimateKeys in an art gallery. So, why not follow Hayhoe’s lead and aim for a concert in the Shell Building in collaboration with their Chief Climate Change Advisor, perhaps with a performance by a string quartet? Or in Tesco’s head office with their packaging planners? Or at the British Museum in partnership with board members to discuss fossil fuel subsidies, their own link with the industry, and climate change? Perhaps such cultural events are opportunities for new leaders to emerge within companies, and this will inspire new collaborations with ClimateKeys.

ClimateKeys at Syracuse University London, 14th November 2017

It’s widely recognised how the activities of the high carbon world cause climate change and how the impacts are greater on the low carbon world. Tragically, recent statistics suggest that around four environmental defenders in indigenous regions are killed each week. When Pope Francis states in his Encyclical that we “have to save Creation”, he is surely including those courageous activists standing up to the causes of climate change and being killed in the process. All who are standing up, from the indigenous defenders, to the Pope, to treehouse dwellers in Germany preventing an expansion of lignite mining, to Mary Robinson and the M2020 panelists, to school children taking governments to court, to authors of climate change novels, to climatologists speaking to communities, all are in the same wide mass movement I increasingly see as a form of international service (that I, for one, wish was compulsory). ClimateKeys hopes to play a part in bringing more corporations to this service. They are urgently needed.

Find out more

You can catch up with the speaker synopses and other news from the performances so far, and with new developments, at the ClimateKeys site.

There is a video from the ClimateKeys concert in Istanbul on 14th November, where guest speaker Ömer Madra, former lecturer of humanitarian law and co-founder of Açık Radyo” (Open Radio), said “As an academic, a writer, a broadcaster and a grandfather, I humbly feel that it is my utmost duty to ‘take arms against a sea of troubles’ and fight with this ‘ultimate absurdity’ to the end. This is the demand which originates from the responsibility of the intellectual.” Pianist Birsen Ulucan said “The people who surround me in Istanbul, where I will perform ClimateKeys, are not actually aware of the consequences of climate change.” 

Check out PowPowPower for more on their recent climate change arts events.

You can read about the Truth about Zane campaign, which is calling for an Independent Panel Inquiry into the death of 7 year old Zane during the February 2014 floods in Surrey, UK, and to protect the public.

You can watch the video of the COP23 seminar, 2020: the necessary, desirable and achievable turning point to safeguard our climate, on the Uppsala Centre for Sustainable Development website – and read about and download the 2020: The Climate Turning Point report at the M2020 site.

You can read about Plan B and their actions to sue the UK government, as well as other legal actions and resources, at the Plan B site. There is an article, Leading doctors back legal action to force UK government to cut carbon emission, at the website of the British Medical Journal.

Katharine Hayhoe’s TV series is available on the Global Weirding YouTube channel, and you can watch a film of Katharine talking with George Marshall at the ClimateOutreach site – where, of course, there is loads more about COP23 and communicating climate change.

Visit the Palm Beach Daily News site for their coverage of ClimateKeys – as possibly read by Donald Trump. The article states that “the concert ties in with Earth Works: Mapping the Anthropocene, an exhibition featuring works that evolved from artist Justin Brice Guariglia’s flights over Greenland with NASA scientists studying the effect of melting glaciers on sea level rise” and that local ClimateKeys presenter Dr John Strasswimmer “is a dermatologist who is researching a tool that could be used to detect skin cancer using spectroscopy, a technology employed by NASA to measure the contents of the Earth’s atmosphere.”

The Guardian reports on Environmental defenders being killed in record numbers globally and you can watch a film, “Keep It in the Ground”: As COP23 Ends, Activists Protest at Europe’s Largest Open-Pit Coal Mine, at the Democracy Now website.

The full text of Pope Francis’ Encyclical, Laudato ‘Si, is available at the Vatican site.

Questioning Venue? Space for creative thinking...  

Where would you take ClimateKeys to engage a new audience? Be specific -- choose your venue. Would it be at a company, a council, a call centre, a cultural hub, or a countryside location? And who would be your local expert, and your preferred musician?

Share your thoughts - use the Contact Form, visit the ClimateCultures Facebook page or write a response on your own blog and send a link!

Doggerland Rising #2: Sinking Into the North Sea

— approx reading time: 9 minutes

In part 1 of Doggerland Rising, Justina Hart introduced her poem, which was commissioned following the 2016 Weatherfronts conference. Drawing on advice from experts at Durham University, she investigated the prehistory of Doggerland, the lowland plains inhabited by mesolithic people before sea level rise created the North Sea. In this concluding part, Justina completes the story of her research and reveals how the poem's characters emerged and what she has learned from the process.

Click on the map to read Doggerland Rising #1: Walking Across the North Sea.

Map showing hypothetical extent of Doggerland (c. 10,000 BC), which provided a land bridge between Great Britain and continental Europe
Source: Wikipedia (‘Doggerland’)
Artist: Max Naylor © 2008

Reading academic papers – a new vocabulary

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 part 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).

Druridge Bay, Northumberland
Photograph: Dr Louise Callard © 2017
https://www.dur.ac.uk/geography/staff/geogstaffhidden/?id=10523

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.

“Doggerland swamps”
Photograph: Justina Hart © 2017
http://justinahart.com

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 II: 

‘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.

Mesolithic red deer mask, discovered at Starr Carr, Yorkshire, 1951
Photograph: © The Trustees of the British Museum

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.

There is more about Justina’s writing – poems, short stories, non-fiction, novels – at her website. 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.

Questioning what lies beneath? Space for creative thinking... 

"When you walk across a field or through woods, or travel on the sea, do you think about what, and who, might have been there before you? When you pause to listen, what do you hear from those who are still there, beneath?" 

Share your thoughts - use the Contact Form, visit the ClimateCultures Facebook page or write a response on your own blog and send a link!