New blogs for old

The best blogs, it seems to me, know when enough is enough. We’ve been writing this particular blog for a couple of years now, and the original aim of it was to chart our progress as we moved from a croft on the mainland to a croft in the wilds of the Outer Hebrides. In that sense, it was intended predominantly for family and friends (most of whom at the time thought we were crazy to move).

I’ve never been comfortable with the concept of blog-as-personal-diary, and this one has often run the risk of becoming that. Neither am I ever very impressed by blogs that try to be too many things all at the same time, and this one still runs the risk of becoming that.

It’s also hard sometimes to keep two overlapping blogs going, and our Earthlines magazine blog (http://earthlinesmagazine.wordpress.com) now contains writing that we would otherwise probably post here (especially our new ‘Uig journal’ series).

So, with that as background, we intend to mothball the ‘House of the Ravens’ blog. Please do join us on the EarthLines blog, where you’ll also find guest posts.

I’ve also begun a new blog to re-focus on my mythtelling and storytelling work, which once upon a time was my day job but which has been in remission for the past six years while we’ve been working flat out on Two Ravens Press. The birth of EarthLines seems like a good reason to pick up on all that again. The new blog is called Re-enchanting the Earth: myth, story and the natural world.

Sharon

From sacred cows to sacred sows

One of our pigs is expecting piglets in a couple of weeks or so, and all of a sudden has gone from slender young gilt to archetypal barrel-stomached sow. And inevitably, again, my thoughts turn to all those mythologies that have consiered the sow to be sacred – often because of her fertility (a sow can give birth to up to 16 piglets at a time, and horrifyingly often).

The Welsh mother goddess Ceridwen (see The Mabinogion for more) who was associated with the moon, was symbolised as a white sow. And so, interestingly, was an early version of Demeter, goddess of fertility. In Egyptian mythology, the sky goddes Nut could take the form of a celestial sow. Baba Yaga is usually described as riding an airborne mortar which she steers with her pestle – but some Russian folktales describe her riding a sow.

Moving east, four sow deities are said to preside over Kathmandu Valley, Nepal. Vajravarahi, red in colour, presides over the west and is believed to protect livestock. Nilavarahi, blue in colour, guards the east. The south is watched by white Swetavarahi  at the southern gate while Dhumbarahi, who is grey, protects the north and defends the valley against cholera. They are considered to be animal-headed dakinis (female energetic beings who, in Hinduism for example, carry the secrets of inner transformation). In Tibetan Buddhism, Dorje Phagmo is the fierce dakini whose head is surmounted by the head of a sow whose screech shatters illusion.

But to us, Edna is quite simply a much-loved permanent occupant of this croft. Which always sounds strange to people who don’t keep livestock. The idea that you can be very fond of an animal that you keep for breeding – and whose offspring then become your food – seems somehow to be distasteful. Maybe we’re strange, but to us it isn’t that way. If we’re going to eat anything then we’d rather it was something that springs from a relationship with an animal built on care and affection, rather than something we picked up in a supermarket (plant or animal) that was part of a food-production machine that is so very much more than simply undesirable.

Meanwhile, Brighid the cow enjoys a day out in the sunshine. The white blobs to the left of the photograph on the loch are the 3 whooper swans who flew in this morning.

Sharon

Just a speck in your sky

Every year I am as foolish as the last. Yes, I keep watch for the first leaves on the rosa rugosa. Sharon and I keep a longing watch for the return of the oystercatchers to the headland and we know whether the whooper swans are early or late this year. It is all written down in a little book we keep in the kitchen. But every year in February or early March I’ll find myself digging or carrying or fencing on some day which is neither winter nor yet spring  – and a feeling will come over me that I don’t understand. That I barely recognise but know to be important. I have not willed or invited this feeling, I have certainly not deduced it and it does not result from any observation I have made. It is just there. Everything has changed. And while I continue to grunt and dig – today with a pair of little pigs nipping at my wellies – I root around inside my head for the name of this almost-familiar sensation. I look for its antecedents and for memories of previous times I felt it. Nothing. Eventually the little piggies tire of their quest for knowledge of rubber boots and go back to their nest. Eventually I tire of digging and rest an elbow on my spade. The tide of bustle goes out and exposes the tiny signal that had been hidden in the noise. High above me are two tiny specks, abeam, facing into the breeze. The first skylark song of the year.

David

New stories for old? – but where is the heart?

Once upon a time ‘narrative’ and ‘story’ weren’t the buzz words of modern-day intellectuals, but actually meant something. Now it seems you can’t read a blog or open a book of a certain kind – or even listen to the Radio 4 news – without the word ‘narrative’ splashed all over it. And if I hear one more group or person proclaim the need for a ‘new story’ for civilisation without having understood either the implications of the old one, or what stories are actually FOR and how they work, I’m going to spit.

I’ve been talking about this recently with Martin Shaw, who runs the Westcountry School of Myth and Story, is the author of the very wonderful book A Branch of the Lightning Tree: Ecstatic Myth and the Grace in Wildness, and writes an excellent blog to which I recommend anyone interested in myth and wildness should subscribe.

There is, in short, no point adopting a story, new or otherwise, which envisages a ‘return to the wild’ – either inside ourselves or outside – unless you actually get out there and be in the wild. There is a certain romantic overly-intellectualised tendency these days to sit back and wish for less ‘civilisation’ and more ‘wildness’ – but there is an equal tendency not to know wild if it hit you in the face because you’re too busy sitting at your computer trying to figure out what it means. Which is civilisation’s big joke, really. Just as many of the people who keep harping on about the need for a ‘new story’ don’t see that it isn’t the old stories that are the problem – it’s us, and what we make of them. The old stories – the ones that relate to the land, to the spirit of a place, the ones that teach (I’m less interested in a ‘meta-narrative’: the one springs from the others, for heaven’s sake) – are still alive and well. It’s just that these stories relate to the land, to being out in it. These stories only begin to make sense, and newer versions of them only begin to emerge, if you go out and listen to the land’s dreaming. They certainly don’t come from sitting in front of a computer or doing a one-hour workshop trying to think them up.

With that in mind, here is a link to a recent blog post by Martin, talking about this very issue in the context of a celebration of the local – of a true relationship with the land rather than with globalised information that comes from the head and not the heart: http://theschoolofmyth.blogspot.com/2012/02/mytho-natural.html. I quote:

‘Myth in the way I am thinking about it is a form of echo location coming from the earth itself … When this form of echo location is lost, we fall out of myth. We fall out of relationship. We start to get an atrophy of image, thinned-out allegories that are a fallen, Barthian, attempt to promote and control ideas of the state. The hallucination of empire emerges. The subtle ears that receive the earth’s pulse keep it lively, add some of their own animal-flavour to the transmission, allow a constant re-visioning to take place. By their spontaneity, oral tellings especially cannot help but assist that constant re-seeing of an eternal image. In doing so, it doesn’t become religion, it doesn’t try unduly hard to anchor its deepest meanings in historical time and space. There is great hope in this. So to follow a wild mythology involves a lot of listening, a stilling, to get connected to this ancient form of calling. It is a love story really. Some old lover is gently trying to call us home. When confronted with panicked ideas about ecological ‘narratives for now’ – I suggest that this awareness is paramount. We need bush soul.’

That about covers it. Rant over …

Sharon

A morning stroll with the dogs in the Outer Hebrides in winter

It begins in what people from more elevated backgrounds than your own might name a ‘boot room’, what estate agents term a ‘utility room’, but which you call Wegg’s Garage, after a real-live garage owned by Wegg, a famously eccentric former ghillie and B&B operator in South Uist. Your Wegg’s Garage is a kind of ‘dirty kitchen’ – the place where you feed the dogs; the repository for dripping bog-laden outdoor clothes and shit-covered wellies (you do, after all, live on a croft: shit is entirely de rigeur). Oh – and, like the original Wegg’s garage, it provides occasional storage for the odd fishing rod, waders and net in-season.

In Wegg’s Garage you listen to the howling wind and violent hailstones outside and begin to pull on a ridiculous amount of clothing. By the time you’ve finished, as well as your underwear, you have on approximately five layers: a thermal vest, a thin sweater, a thicker cardigan, a fleece waistcoat (well, let’s not exaggerate – the latter only occasionally) and a raincoat. You prefer Paramo because it doesn’t rattle like Goretex or turn to cardboard in salty rainy windy conditions, and it’s soft and light and flexible. It’s dark brown so you don’t stick out like some ridiculous beacon (or tourist) on the headland. The overtrousers (dark green) are Paramo too, though after a mere year of use they’re already beginning to come apart at the inner seams around the knee due to salty friction around the top of your wellies. You put on wellies rather than boots because there are bogs and streams where you’re going, and you want to be able to step in them without fear of a boot full of wet peat which, whatever you do to remove it, will inevitably set like concrete. You put a fleecy hat on to keep the hood of your jacket tight so it won’t blow off in the wind, and a pair of waterproof gloves.

When you open the door even the dogs think twice. But they’re croft dogs, and after a brief moment of hesitation they leap over the threshold and lead you through the morning routine: first you feed the cow, then you check on the hens, then you battle your way out of the front gate, which is a large galvanised farm gate with an extra bit on top to bring it up to a level with the deer fence, and so requires every bit of your strength to open, hold and then close it against the strong westerly wind.

The wind is full in your face as you fight your way down the track towards the headland. You stagger, you’re knocked back, but you’ve learned a few tricks about walking into wind over the years; the most important of them is to walk like an old country gentleman, with your hands clasped behind your back: it streamlines you. The dogs, inherently streamlined, think little of it. When the hail shower comes you turn and walk slowly backwards until it has passed; you know the track well enough by now – where the potholes are, where the hard core has given way to pure mud.

On the wide open headland you fight to stay upright. The dogs are running round in circles – the stronger the wind, the more fun they seem to have. A couple of seagulls, determined to make it to the shore, are hard-pressed to make any progress at all; something which looks likely to be the first golden plover of the year flaps past you at an astonishing speed, the wind at its tail.

You plod through mud, flailing around like a mad woman. Two steps forward, one back. The black plastic toggle on the end of the cord that keeps your hood pulled tight around your face whips into your eye and almost takes it out. Eventually you make it to your favourite spot – the gently raised ground right by the rocky shore from which you have a panoramic view of the surrounding landscape. To the east, Mealasbhal, Lewis’s highest mountain, has scatterings of white on its upper slopes. South, the mountains of Harris are half-hidden in the mist of the sea-spray; Scarp is black and ominous. Out west, the idea that there is a St Kilda or anything remotely resembling it in the depths of that Payne’s-Gray gloom is gloriously laughable. The sea is pounding onto the rocks, splitting open the geos, having a wonderful time. To the north, the slowly rising headland, the cairn that marks the highest point silhouetted against the sky. And back to the east, the place from which we came, full circle.

The dogs have done their rounds; that’s as far as you’ll get this morning. You turn back for home, wind at your back, trying not to run as it pushes you along – the ground is too slippery for that, after four months of rain. No sign yet of life out here, though the crocuses in the sheltered spots of your garden are blooming and the ever-present starlings are unperturbed by the weather. Out here, it’s different; out here, there’s nowhere to hide. Even the thuggish gang of stags that normally patrols the headland at this time of year is sheltering somewhere else right now, and your sheep are tucked in the lee of a hill back over to the east.

And so, onwards: home, through another hail shower, face stinging with cold and salt. By the time you get back to the gate you have removed at least one layer, the hat is stuffed in your pocket, the jacket is unzipped, and the cardigan swings open (you are, after all, gloriously menopausal). In a final moment of madness you shrug off your hood and your hair whips in Medusa strands around your face as you struggle for the second time to open and close the gate without it knocking you off your feet. Latch in place, dogs inside, you stagger round the corner to the back door.

It ends as it began, in Wegg’s Garage, towelling off peaty dogs and draping your soaking wet outdoor gear over the sheila-maid. It ends when your husband asks you, without a drop of irony, because he too knows, Was that nice? It ends when you laugh out loud and say Yes.

Breathe; you are alive.

Sharon

Carrying the Fire

All those of you with a predilection for fine festivals might like to come along to Carrying the Fire, which take place the weekend of April 20 at Wiston Lodge, just outside Biggar. It’s organised by the Dark Mountain Scotland group. I’ll be making a rare trip off the island (and abandoning David in the middle of lambing …) to speak about writing and storytelling that deepens the connections between humans and the rest of the natural world, on the Saturday afternoon. Title: ‘Re-storying the Earth.’ Partner-in-crime: Alastair McIntosh. I’m hoping to have copies of our very first issue of EarthLines to take along too, but so much depends on whether the delivery makes it here on time with the Easter break the previous weekend. If you’d like to come along, tickets for the full weekend can be purchased for £40 – details on the website.

Sharon

For my mother …

After many years of nagging gentle suggestions, my 73-year-old mother has finally learned how to use a computer and (sort of) the internet. She goes in to the Ullapool library every few days to spy on me see what lovely things I’ve been doing this week. Apparently the previous format of this blog was hard to read because the type was so small and her eyes are shot to hell not quite what they used to be. I can take a nag gentle hint. So here it is, Mum, especially for you: a bright new format with larger type for the blind as a bat visually challenged. Enjoy!

(I’m very much hoping that although she’s learned how to read this blog, she hasn’t yet learned to use the ‘comments’ function. Or I’m toast.)

Sharon

A completeness of cow 2

Brighid, our 9-month-old Kerry heifer, arrived on Imbolc Eve. And all of a sudden I can understand why cows are sacred in so many mythologies. Norse mythology has a sacred primeval cow: Audumbla. Zoroastrian mythology has a primeval ox which is either male or female depending on the source. In Hindu mythology there is Kamadhenu or Surabhi (meaning ‘the fragrant one’), the mother of all cows, the cow of plenty. All the gods are believed to reside in the body of Kamadhenu. Her four legs are the scriptural Vedas; her horns are the triune gods Brahma, Vishnu and Shiva; her eyes are the sun and moon gods, her shoulders the fire-god Agni and the wind-god Vayu and her legs are the Himalayas. In Egyptian mythology, Hathor was the cow-horned goddess of love and protector of women, and the Milky Way was considered to be a pool of cow’s milk. The cow was an occasional symbol of the Greek goddess Hera. Closer to home, it is said that Brighid (Celtic goddess or Celtic-Christian saint, depending on your predilection and the source of the story) was fed as a baby with milk from a sacred cow from the Otherworld, and she was considered to be a patron goddess of milk cows and dairy work. Mythology, folk tales and fairy tales are filled with stories of magical cows.

You don’t have to spend very long with a cow to understand why. Compared to our skittish primitive sheep and our two mad grumpy sows, Brighid the cow is a paragon of contemplative virtue. She’s slow, deliberate, calm, and when she stares at you with those beautiful big black eyes framed by the most incredible long eyelashes it’s just not possible to respond in any other way than to slow down to her pace of being.

I suspect that having a milk cow is going to be a very fine thing for both of us.

Sharon

The problem of fiction

There was an enormous hoo-ha in the literary press last year when Philip Roth, widely considered one of America’s greatest 20th-century novelists, announced in an interview that, at the grand old age of 78, he didn’t read fiction any more. When asked why by the inteviewer, he simply replied ‘I wised up’. And then, back in November, Guardian columnist Zoe Williams wondered whether it was irresponsible to read novels in times of crisis, and whether we shouldn’t all read serious nonfiction instead. Williams says:

‘It’s something that they say a lot in publishing, apparently, that once you turn 40, you start reading biographies. I do remember in my 20s, someone nearing 40 saying, “When a novel says, ‘So-and-so walked into the room,’ I have this voice in my head shouting ‘So? They’re not real! The room isn’t real!’” I thought, what an incredibly weird, sad, unexpected, unattractive side of ageing, like getting cellulite on your nose. Sure enough, though, I’ve found my appetite for fiction has fallen off a cliff.’

And indeed, this seems to be a common enough phenomenon; I’ve grappled with it myself. Though I think that for me part of the disillusionment with fiction is a function of the desperately dull novels that are published – or indeed written – today. Contemporary fiction mostly bores the pants off me. This is appallingly evident to me whenever I go back to a lifechanging novel that I read in my teens or even in my twenties or, very rarely, a little later. Because the older I get, the rarer it gets that I find a new writer who makes that kind of impact on me (the last of them was probably Cormac McCarthy, whose novels were in good part responsible for my wanting to pack up and move to the Outer Hebrides exactly two years ago. Peculiar as that might sound … it’s a long story!) I want to know where the DH Lawrences, the Doris Lessings, the Cormac McCarthies, the Janette Turner Hospitals, the Margaret Atwoods have gone. As a publisher I found it so depressing to receive more and more fiction manuscripts every day - wave after wave of unending manuscripts – that told me nothing new or even particularly interesting about the world, that for a long while we stopped taking fiction submissions altogether.

But where it gets really complicated is when you’re trying to write a novel and you decide you’ve lost faith in fiction. My second novel, The Bee Dancer, was begun what seems like an age ago now. Close to three years ago, to be precise. I started off with the best of intentions, knowing exactly what I had to say and why I was writing a novel to say it. Then, about half way in, we had a joint brainstorm, dismantled our lives (again) and moved here to the Outer Hebrides. A perfect move in all kinds of ways, and it has brought all the things we wanted from it and a few more unexpected joys besides. But there’s no way that the kind of writer I am (must have every pencil in my study thoroughly sharpened, every speck of dust on the floor vacuumed up, every object in the house in its place before I can even begin to contemplate sitting down to write) can combine the kind of chaos that came from a 12-month-long total upheaval process with writing a novel. It’s simply not possible. And so it was necessary to get the house renovated so that it was livable, and the croft vaguely functional, before I could even contemplate finding the time to sit down and finish the novel off.

And that’s where it starts to get even more complicated. Three years at certain stages in a life can be, if you’ll forgive me stating the obvious, a very long time. And so, when I took out my manuscript again three years down the line, I found that my entire world view had changed. What I’d already written needed to be rewritten; what I had yet to write needed to be reconceived. And in the meantime, I’d lost my taste for fiction and developed a major new exciting project (EarthLines magazine) that I wanted to work on very much more.

So began a three-month-long struggle to decide what I’m going to do – whether I even CAN do what I set out originally to do, only better now. And yet … there is clearly something in me that believes in what the novel had to say when I first conceived of it, and believes that I can make the case for it even more clearly now. That still believes it is possible for a novel to transform our view of the world, maybe even to show us a whole new way of being. That isn’t necessarily certain that I have the skill to do all of those things, but that nevertheless feels it important to try. And so, after three separate efforts to put the damn thing in the dustbin and get on with having a life, I have finally come to the conclusion that I can’t. What I can do, though, is stop imposing ridiculous deadlines on myself. When your own publishing house publishes your own work, that’s something that ought to be under your own control. And so I’ve taken the book (originally due to be out in October of this year) off the Two Ravens Press website altogether. It will be finished when it’s finished, and I’ll publish it when I know I’ve said all the things I needed to say, in all the right ways, to the best of my ability to do it. Whether it’s October this year, or next year, I can’t say for sure right now. All I can say for sure is that I can’t seem to write off fiction after all.

Sharon

The Mating Season

While the humans struggle each day to keep from regressing into some strange form of winter hibernation (those of us possessing a Y chromosome being rather more prone to such a thing than those of us lacking it …) other large animals on the croft are already planning ahead for spring. And we wait impatiently to see whose mating activities have been successful.

Dulse (left) and Jake (right)

This year is the first year of mating for our new Jacob sheep, and last autumn David took a trip to the mainland to purchase the imaginatively named Jake for that very purpose. Jake was a tup lamb (born early in 2011) rather than a tried and tested tup, and in such cases there’s always a bit of anxiety to know whether he’ll be able to perform or whether the sight of six beautiful young and suddenly available females will be a bit much for him. Jake certainly showed interest in all the right ways, but now we have to wait till April before we know just how successful that particular experiment was. Mr Tuppy, meanwhile, our well-tested Hebridean tup, didn’t seem to mess about, and past experience of his 100% hit-rate makes us hopeful that there’ll be plenty of little black blobs running around the fields in a few months time.

As we wait to see whether Doris and/or Edna the sows are pregnant, we obtained two weaners to grow on who will be ready to kill in March. And that’s the hard part of keeping animals, and one that we struggle with constantly. On the other hand, as we’ve blogged about here in some detail before, if you want to be as self-sufficient in food as is practical, the western wilds of the Outer Hebrides aren’t especially conducive to growing beans and lentils for vegetarian tastes, and we’d rather grow on nice happy weaners ourselves than become sentimentally squeamish and go instead to the butcher or supermarket to buy pork from pigs who’ve had much harder, and usually indoor, lives. So: these two little piggies (one for us and one for a neighbour) have been given a new house, complete with garden, to play in for the next 3 months or so, and we give them as much attention and stimulation as we can.

Two Little Pigs (and hanger-on)

And in a couple of weeks I hope to be blogging about Bridget the Kerry heifer, who is next on our list of crofting acquisitions.

Sharon

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