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I am interested
in the problems of social and national identity, the relationship
between
the human and the environment, the individual and the community, the
present and the past. I tend most often to write poetry about nature,
language, tradition and myth, weather and landscape. Walking
on Water This poem has appeared several times, most recently in One Leaf, One Link (2008), the anthology of the One leaf, One Link project organised by the Perth and Kinross branch of Plus, a Scotland-based group led by people who have used mental health services.
Orpheus Plays 2: Callander Poetry Festival 2006 For
Iyad Hayatleh, a Palestinian poet, finally granted political Poetry
in the Garden starts
when Colin strikes the small Tibetan bowl. The warmed and singing bronze awakes A humming clarity, which sounds through noise of knife and fork, book sales, poets checking one another out, and gathers stillness from the rainy night. Later, Gaelic, Arabic and Greek will take the song from tongue to tongue goltraighe, geantraighe, suantraighe. It seems presumptuous to claim that poetry has power to move much in the grinding moneyed world, but Iyad, remember Orpheus playing before the Faerie King, on bagpipes, lyre or Breton harp, the notes of sorrow, notes of joy and notes of peace, while Hell falls silent. All the cruel and unusual pain stops for one moment, the lifeless courts and derelict halls resounding with the music, with the chance for respite, wisdom, hope. The
Gaelic terms describe the three traditional modes of music. This poem is one of the Eurydice Rising sequence, published in Poetry Scotland in 2008. It deals with the myth of Orpheus and Eurydice as it appears in the traditions of Greece, Brittany and Shetland. I have also written a long accompanying essay about how the story was treated and developed as it was transmitted across Europe |
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Elizabeth M Rimmer 2008 |
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