Dawn Chorus 2024: Before the clocks change

It was like old times today. I’d my alarm set for 04:30 so that I could be out for first light. 10 years after I completed my mid-life PhD – and almost 12 years after my last field work session – I still remember the feeling of coming up to the change of clocks when I was gasping for another hour in bed. This morning, it felt like perversity that I wouldn’t wait another two mornings when dawn would be an hour later, with the clocks’ spring forward. But it wasn’t just some kind of perverse pleasure that had me eager to get out this morning. I’ve been meaning to get out for several days, but the weather’s been shit and I’ve had a cold, so it felt sensible to wait. Then when I checked the forecast last night and saw that there was barely any difference between Friday and Saturday mornings, that cinched it. The early hour would mean there were fewer people about and that would be made even more likely by it being a Friday rather than a Saturday morning. Besides, if I didn’t have any success today, I could get out again at a later hour (by our schedule rather than the birds’) after the weekend.

So I woke this morning to frost and a waning gibbous moon hanging over the end of the street. I had to defrost the car, which gave the cat the chance to dash back inside after his nightly sojourn. Blackbirds were already in full voice, and they were still regaling me when I reached Lagan Meadows. The moon was still there, but a merest wash of light was seeping up into the eastern horizon.

Pre-dawn looking towards Mickey Taylor’s Lock

It’s funny, I often think to myself how much my phone has revolutionised my note-taking in the years since the PhD. I didn’t have a phone with internet access – they were only just becoming widespread. I think my phone was a Nokia in those days. Certainly I didn’t constantly take photos on it, the way I do on my iPhone now – as much to act as a jog to my memory as for keeps. I was entirely reliant on my equipment and my notebook. Now I just hold up my phone to take a voice memo of my songsters instead. But I still take notes. Plenty of them. The whole lot go together like some kind of synaesthesia. It just helps me go back there when I come to write about it “properly”.

I was grateful for the frost, in that it made the muddy paths easier to walk on. Despite the cold, there was a good turnout for the dawn chorus. Those two things gave me a sense of relief. Sometimes with all the anxiety about climate change I worry that I’ll never experience a decent frost again (and yes, I am aware of the consequences of the collapse the Mid Atlantic Meridonial, but hey, my anxiety isn’t always rational). I have loved the feeling of a frozen mucky path’s hard ridges since childhood – I think it must have been the relief of not having to keep dragging my wellied feet out of the sucking mud all the time as I rambled across the fields. This morning’s frost wasn’t all that deep – according to my phone the temperature was 1oC when I started out – just a little crisping. But it was welcome. As were the voices. Blackbird. Robin, Song thrush. Dunnock. Even a pre-sunrise blackcap, my first this year. I didn’t hear a chiffchaff till well after sunrise. No willow warblers yet. And of course there were great tits, exhorting me onwards. And a blue tit was singing a version of its song that was new to me. I was too entranced listening to it to try and capture it on the phone. That’s the nice thing about not trying to record birdsong. Sometimes it’s good to just listen. To not try and hoard it.

The waning gibbous moon still visible at Lagan Meadows

When I got to the river, the level was almost at the lip of the banks, and the water was flowing really fast. I couldn’t get across the channel onto Morelands Meadow with the floods. At one point a male mallard swept past, spinning like a piece of foam on the brown surge . Twenty miles an hour?? The bird’s eyes looked to be dancing in his head with excitement. Nothing like a bit of white water rafting first thing in the morning, I guess.

The way to Moreland’s Meadow: inaccessible

I turned back the way I had come and crossed the open field back behind Mickey Taylor’s lock to get back into the woods and head for home. I still hadn’t heard my target species (which I’ll be writing about in the Guardian – the piece should be out in a couple of weeks). I’d encountered them about 10 days ago, in a particular patch, but this species is not the earliest riser so I was still to come across them this morning. However, by now the sun had risen. They had to announce themselves soon.

Sunrise

And then, in the undergrowth, one did. A single note. Other species were still singing. I wasn’t 100% sure. I waited. That single note is often a substitute for song in this species. And then, that familiar song. There was a little exchange with a rival male, and then one of them flew directly into a bowl of sunlight. I didn’t even have to lift my binoculars.

The bowl of sunlight

The first plane roared overhead. 06:51. I hung about and witnessed a magical encounter. If I can get all I want to write into my next Country Diary, it’ll be a miracle. But the whole morning felt a little bit miraculous after all the rain. I might just hoard it all.

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Variations on a theme

Now then. I wasn’t expecting my latest Country Diary to be out till Monday, so when Beloved shouted from the living room “You’re in it today!”, it was a very pleasant surprise. We get the hard copy every Saturday, so it was lovely to see my recent take on the waders/shorebirds of Tyrella in Saturday’s sepia column next on the letters page.

Then I checked my Guardian app and that’s when I realised that the paper version and the online version are a little differently finessed themselves. The paper one has my original opening. The online version is a little compressed. But hey, great to have both.

Hence, the uploads of the photos of the paper version. Just because.

Clearly this must be a plot to ensure that I buy the hard copy every time I have a piece published.

Thanks as always to Paul Fleckney, the Country Diary’s editor. It’s great to get a Saturday slot, no matter what the Bauplan.

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Correspondences, 23 Feb 2024

I was invited to MC this gorgeous event on Friday evening at the Crescent Arts Centre, by its instigator and mediator, Natasha Cuddington. It was a lovely event, and a pure pleasure to introduce it.

Art emerges out of the background of a life, in a way that is similar to how a signal emerges from noise. All of us are shaped by chance encounters that mediate and channel our voices into different expressions of sound and meaning. The full title of the event Correspondences: Collaboration, Noise & Innovative Poetries gives a flavour of the mix and its integration. The performances evolved from the background noise of the artists’ lives through the chiming of correspondences that transformed the original soundings into signal works of art that shimmered with new valence.

Matt Kirkham read from his latest collection  Thirty-Seven Theorems of Incompleteness (Templar, 2019), as well as new work. He was followed a collaborative poetry performance by Zara Meadows and Alanna Offield. Their work referenced pop cultural moments, particularly those associated with social media, in a perceptive and irreverent fashion. That was followed by the performance of a recent collaboration by Eilish Martin and Natasha Cuddington, entitled “Didn’t get round to Nick Cave’s Carnage”. As well as being inspired by Nick Cave’s album, this collaboration was also suggested to Natasha by book “Hearing”, a listening-in between Lyn Hejinian and Leslie Scalapino, that explores “ongoing existence in a phenomenal world”. Finally, we had the pleasure of “Correspondences”, which is a soundscape and piano composition by Shannon Kuta Kelly, that performs Eilish’s and Natasha’s collaboration both vocally and musically.

The work and its performance had evolved beautifully out of the background noise of the artists’ lives through the chiming of correspondences between them. As audience, we had the pleasure of absorbing how the original soundings had been transformed into signal works of art that shimmered with new valence.

Many thanks to Natasha, Eilish, Shannon, Alanna, Zara & Matt. Also to the Crescent, and particularly the technical staff who ensured everything ran smoothly; and of course to the audience whose attention and appreciation helped bring the performance of the work into its full expression.

Shannon Kuta Kelly rehearsing “Correspondences”, which is a soundscape and piano composition (with accompanying visual).

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Are Cats Successful???

Does the question even have to be asked? Avoca blanket anyone??

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Drumkeen, Co Fermanagh

A trip down memory lane for my latest Country Diary today.

Drumkeen Fairy Fort

I have a number of people to thank. First and foremost is John Maguire of Clonee, who went above and beyond in terms of helping me get access to sites, and pointing me in the right direction for the larger context. Particular thanks also to Owen Rush for the chance to visit Drumkeen’s fairy fort, as well as to Jim Muldoon, and Ann Marie McVeigh, for visits to the fairy forts of Letterboy and Monavreece/Moneyvriece.

I’d also like to thank John B. Cunningham for a wonderful and stimulating conversation about the history of Fermanagh in general, as well as the Ederney area in particular. John was also kind enough to send me a number of documents which filled me in on a lot of background that, ultimately could not be fitted into a piece of such brevity. However, I am looking forward to the getting the chance to use that information in the future. At the very least I am delighted that I now know a lot more about the history of the area I grew up in.

As always, many thanks to Paul Fleckney, editor of The Guardian’s Country Diary.

And, finally, because of all those long-ago walks that he insisted on, without which this piece would never have been written, I also have to acknowledge the dog who was my constant companion when I was young. Thank you, Frisky. You were a good boy.

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Lá Fhéile Bríde

I was in Fermanagh yesterday evening, in the townland of Rotten Mountain. I went there for the eve of St Brigid’s Day (Imbolc), to céilí with some old friends, neighbours and acquaintances at Danny and Fidelma’s house. I’ve been there before, when Danny was kind enough to fill me in on a lot of local history and some significant local places that I’m hoping to write about in the future. Himself and Fidelma have a wonderful room set aside as a little museum of local history, but which is also used for céilí-ing (traditional socialising). Anyway, I got word that I’d be welcome to come along and join in for the gathering to make Brigid’s crosses. I couldn’t resist the opportunity.

Making Bridget’s Crosses in Rotten Mountain

It’s been a long time since I last made a Brigid’s cross – I have one that I made about 30 years ago in Derry. I can’t exactly remember what the circumstances of its making were, but I have carried that long-faded little cross about with me through various abodes and incarnations of my life.

My first Brigid’s Cross c. 1994

I’m not about to de-throne that little cross any time soon, but thanks to last night and all the people that were there, I now have several successors lined up. When I arrived in Rotten Mountain, I was immediately made welcome – you’d think I’d only been away for a week or two, instead of, essentially, decades. I was regaled with tales about my father, who was the local GP in that area for years and years, but everyone was focussed on the business of the evening. The central table was piled with rushes. There were fertiliser bags of them stacked about. But if I’d had any notion that I could sit back and enjoy the spectacle and skill of the makers – not a chance. I was there to make my own cross. So I did.

JH’s mastery …

After a couple of, shall we say, sloppy attempts, JH took me under his wing and gave me the benefit of his expertise. I learned to line up the rush horizontally, and in front of the intersect that I held in my left hand, while reaching round with my right to fold the horizontal over. Then rotate – while avoiding putting your neighbour’s eye out with the waving end of a rush – and repeat. I was hampered by the lack of strength of my left hand grip – I overheard Danny instructing a grandson - a primary school child – to hold it tight to stop everything falling apart. I had the same problem. The central quadrangle – mine was far too mobile to be called a square – kept sliding and angling out of my grip. JH’s were as regular and symmetrical as if they had been machine-made. The layered lines of their centre piece were works of art. Mine – not so much. But as everyone kept making them, and the completed crosses were stacked on a surface, or sequestered into a bag – for distribution to friends and family – I began to realise that perfection wasn’t the point. Continuing the tradition was, the weaving and interweaving of time and generation. To make something that had grown out of the past but was shaped by one’s own self.

Exhibit A: a study in miniature (M.Montague)

The evening was rounded off in the traditional way with tea and sandwiches, cakes and buns, and a lot of poetry and song. I had such a good time. I headed home under a huge waning gibbous moon with four fresh Brigid’s crosses. Thanks a million to Mena, and to Danny & Fidelma, and everyone there.

Exhibit B: later work, on a larger scale (M. Montague).
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Correspondences: Collaboration, Noise & Innovative Poetries

Just wanted to give a shout-out for this cross-pollinating poetry event, which I’m really looking forward to on:

Friday 23 February 2024

Time 7:00 PM – 9:00 PM

at the Crescent Arts Centre in Belfast.

Nothing like a bit of Nick Cage – or not! – to start the weekend.

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Requiem – auf Deutsch

My poem Requiem had the honour of being selected for publication by the late Eavan Boland during her editorship of Poetry Ireland Review. It was published in the last volume of Poetry Ireland Review (129) of 2019. It was subsequently chosen for publication in the groundbreaking collection Queering the Green (Lifeboat Press 2021) by editor Paul Maddern.

Now Requiem has been published in German! It has been translated by Gabriele Kreuzner and is given prominence in Demenz das Magazin, a publication for people with dementia, and their carers and advocates. The hard copy of the magazine arrived on my mat over the weekend (accompanied, it has to be said, by much, presumably post-Brexit, paperwork).

This translation and publication has a special place in my heart. My late father, who is the subject of Requiem, suffered from vascular dementia. My late mother also had dementia, most likely Alzheimer’s disease (there was no post mortem, so any plaques were unidentified, but she fitted the profile). So it is particularly affirming that my poem has spoken across geography and language. Dementia is such a horrible condition that robs us of our loved ones before they die, and robs them of their former selves. But there is a little comfort in the thought that my parents may be resonating in the minds of others and not just in my own. And that my Dad continues to walk Rosnowlagh Strand as stubbornly as he did that long ago September afternoon

Many thanks to Cherry Smyth for suggesting the translation to Oliver Schulz, to Oliver himself for steering it, and to Gabriele for her faithful rendition. I am truly moved by this honour.

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Happy New Year

#ACNISupported #NationalLottery

I was so busy before Christmas that I didn’t get the chance to announce some happy news. I was successful in my application for a “Support for the Individual Artist” award from the Arts Council of Northern Ireland. I’m going to use this grant to support my reflections on the natural world in the form of series of essays. I am so grateful to the ACNI for this award and am buoyed up at the thought of exploring the natural world in a new form.

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A Tale of Three Churches

My latest Country Diary for The Guardian is about stories embodied by three churches, in one of my favourite parts of the world. And about birds, of course.

Trawbreaga Bay, Co Donegal

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