I only came on this video of me reading my poem Hillestad Child (from my first collection, Black Wolf on a White Plain) by accident. It was recorded when I was honoured with being part of Belfast’s first Poetry Jukebox, which was launched as part of Belfast’s International Arts Programme in autumn last year. So here it is. Better late than never.
I am delighted that my poem ‘Itch’ is included in this new anthology of 250 Irish writers to celebrate 250 years of Dublin bookshop Hodges Figgis. I was honoured to read as part of the launch of the anthology at The John Hewitt Hillsborough Literary Festival last Sunday, with Ruth Carr, Medbh McGuckian, Deirdre Brennan and Kate Newmann. Thanks to Alan Hayes, editor.
I was delighted to be commissioned by The Guardian to write a short piece on the Sperrins for a feature on wild places. Although I no longer live there, the Sperrins will always be close to my heart, so it was great to have the chance to sing their praises.
Check out the piece at:
I will be reading at the following events:
- The launch of Love Lough Beg for World Wetlands Day, Friday 2 February, at 2:00pm in the Crescent Arts Centre, Belfast. Thanks to Maria McManus for her kind invitation. This event will be followed by The Swan Walk on Saturday 3 October up at Lough Beg itself. Come for that opening at The Old Thatch Inn at 11am.
Mark Zuckerberg’s tweaking of his algorithms has come too late for me. I’ve quit Facebook as of 8 Jan 2018. Well, it’s more correct to say that I’ve deactivated my account. Why? Well, to answer the question in the proximate rather than the ultimate sense, because I didn’t know the difference between deleting and deactivating. But it turns out that theoretically I can reactivate. It’s dead easy apparently. And if I really want to permanently escape, I have to go back in there so I can get out properly – ie, delete. You know what? That sounds like a ruse I’ve fallen for far too many times in my life. So it’s not me dangling, it’s them. It’s you, Mark. Cos I’m away.
I was a late convert to FB. Very late. Embarking on a pretty scary freelance career, it felt like part of the package that I had to engage in social media. I was doing it for work. So, that’s okay, right? Well, turns out it’s not so easy to keep FB confined to work. Suddenly your personal life and your professional life are bleeding into each other. You find yourself eavesdropping, reading stuff, that keeps you horrified, riveted, and wondering where in the world you’re ever found time to do any actual work. Don’t get me wrong. I enjoyed a lot about FB. But ultimately, being on FB turned out to be exhausting. I felt bombarded by having to make decisions. And don’t get me started on the adverts and the fake news, or all the other stuff that’s been swilling about.
Anyway. I’ve quit. It feels a little strange. I don’t have to charge my phone quite as often. I feel more … calm. Less harried. And it turned out that FB really wasn’t that great at promoting my work. I don’t know if I attracted more than one or two people to my courses as a result of being on FB. Considering the amount of time I spent on it, that seems like a pretty poor return.
So the ultimate answer to the question, is that I quit FB to get my life back, my sense of self back, my sense of control back. And I do have this website, so it’s not like I’m spurning online self-promotion altogether.
Any advice on Twitter, anyone?
(UPDATE! On 20 March 2018, I went back in to delete permanently. 14 days to go and counting!)
Look what was lying on my mat when I got in from teaching in Dungannon today! Galway’s Skylight 47 with my poem Sehnsucht secreted inside. My first time to hold this publication in my mitts and what a gorgeous layout and style of publication. Great to be in company so many esteemed writers and many thanks to the editors, Bernie Crawford, Nicki Griffin, Marie Cadden and Ruth Quinlan.
I am delighted and honoured that the Arts Council of Northern Ireland has given me a grant from the General Art Award Scheme (National Lottery funded) under the Support for the Individual Artist Programme. This will contribute towards the costs of completing a draft of my first novel. Ironically, I received word of the award, just as my prose writing group were meeting. These folks (you know who you are!) have been such an important support and inspiration to me as I have been writing this novel, that it felt only right that they were among the first to know and to share the good news with.
I would also especially like to thank Damian Smyth, Head of Literature and Drama, for the consideration given to my application, and ACNI’s generosity and support, especially in these straitened and uncertain times. It will make a real difference to me and to my novel.
The spectacular exhibition of the Dinosaurs of China at Wollaton Hall has been on my to-do list for months. I read about it first in The Guardian, way back in July and it seemed particularly serendipitous that the fossils made accessible by this exhibition came to my attention in the very month that my poem ‘The Opposite Birds’ was published. This poem also features in a Lunar Poetry Podcast (go to minute 40:25 to hear me introducing and reading the poem).
That was swiftly followed by the Guardian publishing an article on a baby enantiornithine, so in the way of these things, it felt as if everything made seeing this exhibition a priority. But so many things got in the way that, in fact, it wasn’t until last Wednesday 18 October, I found my way to Nottingham, where I met with Dr Adam Smith (the benefits of a combined poetry and science background!), of the Natural History Museum that is located in Wollaton Hall. Dr Smith has been pivotal in bringing these fossils not only to the UK, but to Europe for the first time. He was extremely generous with his time and his detailed insights into the exhibits.
And what a coup they are. I have now seen an enantiornithine, from the genus Proptopteryx:
This little fossil is Proptopteryx feningensis, from the early Cretaceous, about 125 million years ago (mya). It’s somewhere between the size of a sparrow and a starling. The feather impressions are clearly visible around the head and neck. However, the lighting makes the tail feather impressions less clear in my photo than they are in the real thing, so below is the same fossil from the exhibition booklet with its accompanying diagram:
The identification of the alula in the diagram is significant because the alula (thumb/bastard wing) indicates that enantiornithes had achieved very fine control of flight. In modern birds, the alula is essential for manoeuvrability, and managing air flow around the wing to prevent stalling when slowing down or landing.
The star of the show for me, however, was Microraptor gui, (Cretaceous, about 120 mya). I can’t believe (neither could Adam!) that the Chinese lent this spectacular fossil, the holotype, the standard reference for the species. I have seen this fossil in photographs in books about bird evolution such as Dyke and Kaiser’s Living Dinosaurs or Feduccia’s Riddle of the Feathered Dragons, but I never dreamed I’d actually see the real thing myself. But there it was, about the size of a chicken, with the feather impressions of its four wings (on fore- and hind-limbs), for me to lay my own eyes on.
(It turns out the Chinese didn’t actually lend the whole thing. They held onto the teeth which are currently being examined by researchers).
The creature is so long (about 3/4 of its length is tail) that I couldn’t fit the whole thing into a decent photo (it turns out I’m not the world’s best photographer and confronted with the remains of these animals, I go into some kind of trance). So the first two photos are taken from the booklet, with close-ups taken by a gobsmacked yours truly.
The dark feather impressions emanate from both fore- (above) and hind-limbs, as well as from the tail (below):
I can’t resist including the catalogue no. of this specimen …
… that’s right, the IVPP!!! (Yes, I’m still a nerd!).
I was there to see the fossils with a view to eventually writing poetry about them (ie, not gushing too much about them here). But a couple of others were very striking. One was moving. Mei long, which would fit into the palm of my hand, is the sleeping dragon, a fledgling-sized Troondontid (although the specimen is thought to have been a young adult), curled up with its muzzle tucked under its forelimb, in typical sleeping posture of a bird. Which of course demonstrates a behavioural link between therapod dinosaurs and birds:
(This is a model – 3D print – of the original fossil)
There were other stunners, like Sinosauropteryx prima, which was the first feathered dinosaur ever described (1996), the one that showed that feathers can no longer be considered a sole characteristic of birds; that granted massive confirmation of the analysis by Thomas Huxley when he took issue with the C19 superstar anatomist, Richard Owen, over the latter’s description of Archaeopteryx and Compsognathus; and that kicked off the mid-1990s revolution in avian phylogeny that is still ongoing:
Caudipteryx dongi, with its spillage of gastroliths from its gizzard – like so many modern birds (alongside more feather impressions):
And my last one (for now!), Confuciusornis sanctus, that is one of the commonest fossils of the Jehol biota (Yixian Formation). It is not directly related to modern birds, but like them, it had a toothless beak, the oldest known bird to do so. Wonderful preservation of long tail feathers in approximately 50% of specimens have led scientists to conclude that the species was sexually dimorphic. The specimen on show in Nottingham was of course, a presumed male. (Well they always do get more attention!).
I left entirely exhausted by the dazzling variety and form. And somehow, perversely reassured that the fauna of the Cretaceous, so long gone, have something to teach us.
Thanks again to Adam, and to Martin, a volunteer at the exhibition, for all their time and attention. The additional insights and knowledge they gave me were brilliant.
I was in the Court of Appeal yesterday to support Chris Murphy and Doris Noe who took up the David and Goliath challenge, as part of the SAVEHEANEYCOUNTRY campaign, to NI’s Department of Infrastructure to ‘red’-route the A6 upgrade (there is an alternative brown site route alternative but that has not been chosen) adjacent to Lough Beg.
There was no fairy tale ending. We lost. It has left me feeling bruised and sad. But the outcome is not a surprise. The whooper swans will be returning from Iceland in a few weeks to an utterly changed landscape.
This morning, I found myself remembering this poem by Mary Oliver, its last lines replaying in my head. It’s mostly about lilies, but as a flower of wetlands, that is perhaps appropriate; and about van Gogh, who as the poem puts it, ‘wanted to save’; and arguably, through art, did save a part of himself.
Anyway, I will let the poem speak for itself. This is ‘Lilies’ by Mary Oliver, from her collection ‘House of Light’ (Beacon 1990).
I have been thinking
like the lilies
that blow in the fields.
They rise and fall
in the wedge of the wind,
and have no shelter
from the tongues of cattle,
and have no closets or cupboards,
and have no legs.
Still I would like to be
as that old idea.
But if I were a lily
I think I would wait all day
for the green face
of the hummingbird
to touch me.
What I mean is,
could I forget myself
even in those feathery fields?
When van Gogh
preached to the poor
of course he wanted to save someone –
most of all himself.
He wasn’t a lily,
and wandering through the bright fields
only gave him more ideas
it would take his life to solve.
I think I will always be lonely
in this world, where the cattle
graze like a black and white river –
where the ravishing lilies
melt, without protest, on their tongues –
where the hummingbird, whenever there is a fuss,
just rises and floats away.
I was delighted and honoured to read at the William Carleton Festival (it seems at bit of a misnomer to call it a summer school in mid-Sept; but the calendar change seems to have worked well in terms of attendance and interest) in Corick House, near Augher, in the beautiful Clogher Valley in Co Tyrone. I was made very welcome, despite the faintly intimidating invitation in the light of my late uncle John Montague having been a patron, frequent attender and reader over so many years.
Indeed, the Carleton has a lot of family history for me. I remember my late parents attending when I was young – it was always an opportunity for my father and his younger brother to get together. Later I attended in my own right, and later again I read there in 2007, a year John himself could not be there. The twists and turns of my own life diverted me from poetry from some years, so it is only lately that the Carleton, and other literary festivals, have come back into my annual rhythm again.
With all that background, and in the year following the death of my prestigious uncle, it was a great honour to be invited to read, which I did on the opening day of the festival. I was delighted to meet so many familiar faces again, including the poet Noel Monahan, and Kay Muhr and Brian Lambkin, as well as fellow Ederney native, Philomena O’Neill (née Cassidy), with her husband Cathal. I was particularly pleased that Philomena was there to hear ‘Homelands of Glendarragh’, as I was sure she’d get every nuance of the litany of townland names that thread through that particular poem.
The poems I read were:
- Cabot Trail (Black Wolf on a White Plain, Summer Palace, 2001)
- Anatomy of a Horse (Tribe, Dedalus, 2008)
- The Taking of Christ (Washing Windows? Arlen Press, 2017)
- The Opposite Birds (Poetry Ireland Review, 122, 2017)
- Homelands of Glendarragh (The Townlands of the Glendarragh Valley, Ederney Festival Committe 2010)
- 3 Letterboy Road (The Interpreter’s House, 63, 2016)
- Sehnsucht (forthcoming in Skylight 47, 9, 2017)
- Apparition (Poetry Ireland Review, 120. 2016)
- The Silent Pianist (Black Wolf on a White Plain, Summer Palace, 2001)
- Feral (The Spark, 30, 2017)
The audience was particularly receptive and warm and I am grateful for their attentiveness and appreciation. I mentioned that I was sorry that the painting of Lustre by George Stubbs, whose work inspired ‘Anatomy of the Horse’, was no longer hanging at reception in Corick House (I had inquired but the staff on duty did not know what had come of it). The final poem, ‘Feral’, was in memory of my late uncle, John, who partly inspired me to write it.
I am indebted to Pat Montague for his fulsome introduction and insight into my work. We also had a good conversation about our common ancestry.
I would also like to thank Alison Humphreys of the Carlisle Bookshop in Omagh who very kindly took my books to sell (with some success!).
I would like to again express my thanks to the William Carleton Festival Committee for their kind invitation to read. I am delighted that the Carleton has survived into its second quartile as Aughnacloy historian Malcolm Duffey put it. I would also like thank Jack Johnston, President, and Michael Fisher, Chair and current Director, of the William Carleton Society, for their hospitality, and to Eileen McKenna who arranged the invitation. It was a lovely experience and I hope to return in the future.