Tag Archives: nature photography

A Crown of Rowan’s for St. Brigid’s Day

Today, I praise the rowan tree. This is her season, as ice breaks to the season of water and birds.

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Rowans with Elf Stone, Eyjafjörðursveit, Ísland

She’s a tree, yes, but look how she wants to lie on the ground. None of the towering heights for her.P1350817

Rowan, Skriðuklaustur, Ísland

And when the light comes, ah, then she is a torch.

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 Good Friday Rowan, Valpjofstaður, Ísland

The Rowan is sacred to Brigid, Saint of Holy Ireland, and to Bride (or Brigid), who came before her (and was no saint), and to Mary, Mother of Christ, and to Thor, god of lightning and thunder. The gender crossover is no big thing. Don’t give it a second’s thought. There was a time on earth when all things that signified the earth’s power most strongly were considered hermaphroditic, neither male nor female, and, after all, don’t humans, who come in several genders, tend to unite and make unions that are neither but are one?

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Male and Female Fruit From a Hermaphroditic Pacific Mountain Ash

Wells, British Columbia

Unlike those sly sumacs and gingkos, a rowan has neither male nor female trees.She knows where she is. Look at her, earth tree, reaching up for the spring moon, with her feet planted firmly on the ground.

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Skjaldarvik, Ísland

Wherever a rowan is found, it signifies the presence of her deities, who might have many names but are also one.

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Thor, Brigid, Bride

For all of you who are of an empirical bent, don’t worry. Gods are just names for powers of the earth. The powers are present, even without the names, although perhaps not yet empirically defined. It’s just a kind of short hand. For those of you who follow the stories of the gods and goddesses, you know what I don’t have to say.

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 Rowan in the Birthplace of the Gods, Ásbyrgi, Ísland

Much of (nearly treeless) Iceland was one treed like this: a few rowans, and a lot of willows and birches. Then people got cold. 

There’s more to the story of the rowan than is written down in history books, but not more than meets the eye. A lot of it has to do with environmental sustainability. A lot of it has to do with her name: in English, rowan, for red; in German, Eberasche, or red ash, or, more precisely, “red spear”. More on the spears in a sec. First, here she is, surprising us and all.

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 Pacific Mountain Ash, Quesnel Forks, British Columbia

Mountain Ash, Rowan, Eberesche, Bird Berry, Thrush Berry, Sorbier, well, you get the idea: a rose all dressed up.

She is glorious in summer, but look at her in her winter time, just last week…

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Rowan has a profound story. Don’t look for it on Google, though. This is one you have to learn from the birds.

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 Yes, Today the Cedar Waxwings Have Come Back Home to the Rowans! Yay!

The story of rowans is a story of sacrifice, androgyny, magic, Christianity, nationalism, survival, life and hope — always hope. It is also one of the oldest stories of all. It begins with a Himalayan god of the air, Thor. He’s known today as a Nordic god, from Iceland, Sweden, Norway, Denmark and Germany at the north of the world, but he started out far to the east and south, and migrated with his believers across the continent. Thor has a hammer, that’s sometimes an axe, and, as you can see below, blood spatter, a phallic spear, and a weird right hand, and, yes, he’s been repainted with good old-fashioned wheelbarrow paint. Hällristningar_Lilla_Flyhov-1

Thor at Lilla Flyhov, Sweden (c. 1000 – 1500 BC) Source

That blood spatter? Well, look:

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Rowan Berries in the Snow

They don’t call these bird berries for nothing!

That weird right hand? Here:

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Rowan Berry Cluster After the Feast

And that axe? Well, Thor, remember, is a thunder god, from a time when thunder and lightning were the same thing. This is where he lives:

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Dragon Tales in the Sky

People used to be able to read this language. It was a kind of writing not in words.

Thor used the axe to split that sky apart, so that out of its unity came lightning (on the one hand) and thunder (on the other). That is the moment in which consciousness is born. Into this air, that is all one (and out of which thunder and lightning come)…

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… a spear …

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Rowans Were Traditionally Used to Make Spear Shafts

… is thrust. It’s a curious kind of spear…

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You wouldn’t want to thrust something like that at a wild boar or something. I mean, how pointless (literally). Sure, if you’re thinking of weapons being physical things, with pointy sharp bits, ya, but weapons are also extensions of the mind, and for Thor, and people who believe in him, this is mind, given body in the world…

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You might want to have that magic and balance on your side when you go out to stick a wild pig that’s intent on sticking you (especially if you have the other kind of spear from the other, straighter, kind of ash (spear) tree. The darned things grow in thickets, ready made. You just need an axe to cut one from the ground and you have a weapon that extends your range and does your will at a safe distance from your body. A rowan spear, though? It’s both the thrust and the moment of reception, which is to say that it is a kind of symbolism or visioning, which practitioners call magic. Look how the boar’s blood and the spear are both present at once, and how the weight of the blood lowers the spear.

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The tree is the embodiment of action. The mountain ash doesn’t make a great spear, but it certainly is a great way of focussing mind and body on the act of spearing.

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There is, however, another angle to this story (as there always is in the world of indigenous thought and the language that speaks it best, poetry.) The red blood is the blood of a victim, the blood of a virgin, menstrual blood, and both life and death in one. Thor of Lilla Flyhov said it perhaps as simply as it needs to be said: the spear and a phallus are one. It thrusts upward, pierces the belly of the sky, and rains bloodwild10

 

 

Wells, British Columbia

Sacrifice and birth, male and female, action and reaction, in one representation: this is Thor’s presence, the concept of creating action out of stillness and seeing in stillness the potential for action. It is consciousness, for sure, but it’s also the body. Look again at that weird right hand. rowan

It’s a placenta.rowant The tree has many of them. It bursts out into them all over. P1620927The rowan is drenched in the blood of life and death. It is Bride and Groom, or Thor, in one. He cleaves unity to bring it together in a different form. This is the ladder one climbs to the stars.P1620928I hope those of you reading this post for science aren’t scratching your heads at all this poetry and wondering when the science is coming. It’s coming. It’s just that this poetry thing, well, that was science once. I don’t mean bad science, full of childish explanations of the root of physical processes, the ones that science has done such an amazing job of parsing, or cutting part, after Thor. I mean, poetry’s way of finding correlations and moments of doubling, uniting seeming opposites or creating them out of thin air, applied to the world, is a powerful tool for understanding it and for manipulating it — not through manipulating its physical stuff, as contemporary applied science does, but through manipulating the minds of the people acting and living within it, and changing the earth through that energy. I know so many scientists with such deep concern for the earth, all looking for a way to bring their message across and effect meaningful change. Poetry, written out of the earth and with the language of the earth and human bodies, has always been able to do that. The other kind of poetry, the one written with words on a page, can do it among people highly trained to cast their selves within books and to bring back, so to speak, the fish of thought, but it’s not completely the same thing, and might just be the reaction to a passing technology. The thing about these sky gods, though, like Thor, is that they are embodiments of a central knot within hunting, butchering, and its ritual form, sacrifice: the act of killing in order to bring life. Thor’s not the only one. Christ stands in this tradition. The god Mithras, who also came from the East, and whose cult very nearly won Rome over in place of Christianity, was one. With his dagger, he slayed the sacred bull and created the universe. We are sprung from the drops of the bull’s blood.

P1620826And, like Thor, he had an axe (and a dagger, which is kind of a short spear, but does the trick.)

Mithrasrelief-NeuenheimMithras Killing and Creating

Relief from Heidelberg-Neuenheim, Germany, 2nd Century AD Sourcerowan8These placentas, though. That’s where Bride comes in, the Goddess. If the spear is androgynous, and holds in time both the fertilizing thrust of a phallus and the blood quickening in a placenta, then this is as much the goddess’s tree as the god’s. It has that power of transporting one from one state to another, like the Roman god Janus, who was a doorway, that went both ways equally and transported you from one state to another every time you passed through him (and who, dear scientists, wasn’t a god in a simplistic sense but a way of remembering that cognitive power, and focussing it, for what could come from its development), and, more than Janus, of being both states, male and female, killer and victim, at once. rowan1It is also, as you can see, drawn to the sky, and bowed down to the earth as a consequence of this grasping, which always ends in feminine fruitfulness. That is a good lesson. Another is how this tree’s lightning bolt shape …P1620839…ends in a flowing (quite the different thing), which is a hand, that has the capability of grasping. P1620843

 What does it grasp? The easy answer would be that the early church, needing to gain converts from celtic practitioners (the Celts, too, came from the East), simply replaced Bride (or Brigid) the goddess with Brigid, the Saint of Kildare.

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Brigid, Saint of Kildare Source

St. Non’s Chapel, St. Davids, Wales 

The better answer would be that the Christian shepherd’s staff, and the rowan were recognized as one …

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The crook is there, with Christ’s blood, at the intersection of Earth and Heaven, life and death, and Christ cleaves them with his presence and the axe of his love, so to speak. This is no distance at all. The movement to Christianity wasn’t a conversion but an enlightenment, like the scientific Enlightenment of the 17th and 18th centuries, a kind of purification, extension, or manifestation of what was already known.

 

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For this reason as well, rowans were considered an effective charm against witches — not against practitioners of the old arts, but against practitioners who hadn’t moved over to the new understandings of them, finding flower and fruit in the Christian story.

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Rowan, Hólar, Ísland

I’ve shown you all these images of Iceland for a reason here, beyond my love of rowans and the beauty of the place. In Iceland, where the trees were all eaten and grazed away, independence from centuries of exploitation and misery under a regime of Danish traders came about through poetry, and the replanting of lost birches and rowans in Iceland. The attempt was to make the country a poem again, to rebuild, so to speak, the first moment of settlement, and reclaim that creative potential and independence. It worked, or at least it helped. Today, Reykjavik is still rich with these nationalist trees …

ice6 … that are kind of in the way, but no-one wants to cut down such magic.ice5

They might try, but they just can’t go through with it. The trees have that much of a hold.

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Reykjavik

The churchyards are rich with rowans, too. They signify not only the transfer of energy from pagan to Christian understandings of Thor’s axe and Christ’s Word …

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Mårten Eskil Winge’s Thor (1872) Source

Note that cross that Thor is wielding there, the clever lad.

… but the balance struck between them …

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Icelandic Stallion Grazing on an Elf Hill Under a Nationalist Agricultural School Churchyard Rowan (Laugar, Ísland)

In Iceland, you throw nothing away, because it is all alive in time. That is the balance, too. 

The result is a way of being in balance in the world we live in and the world to come.

 

 

p1550060The Rowans of the Reykjavik Graveyard

Graveyards aren’t for the dead. They’re for the living. They focus the mind and so change the world. Every rowan does that …

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… not just to those who know its stories, but to all who know how to read its language in the wild. By bringing that into our social structures, we become the world. We become changed, and the world we imagine becomes changed in turn, and so it comes to pass by the action of our hands. The ancients knew this, and worked hard to protect these relationships. For young men, Thor’s axe might have been there to gain advantage by cutting through the wisdom of the world and recreating it as action, but there were large social structures to guide that strength into productive and ultimately feminine forms.

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In historical terms, it means that in the lands of the rowan, the Christian staff can be a magical one at the same time, with no contradiction. The rowan’s staff, or bloody spear, has led to such concrete social acts as the creation of states, science, and female power.

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I hope you will find a rowan on Brigid’s Day and find your balance by being in its presence —for personal development, if you need that, for spiritual purposes, certainly, and for social development and renewal of the principles embodied in this tree and in the powerful, earth-altering symbolic life to which it has been dedicated.

The Language of Birds

I was thinking of lines and circles and how all stories start there, when I noticed these circles of ice, each with a yolk, leading in a line to this little fall below a long-abandoned turf house at the end of the valley. Next stop the glacier.P1430219

 

I thought they were very nice indeed and stopped all my rushing around for a moment just to breathe in the same place as them, and then the whole world kind of stopped and fell into focus …

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Long stories of birds tracks, leading everywhere, even …

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… onto the ice floes! In this kind of talking, birds definitely have the advantage. For a while I followed the lines and sentences and song lines and line dancs of this story…

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The birds were writing a beautiful music. I felt I could almost read it …

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… and I knew it wasn’t random. There were too many stanzas and too much fine drawing work centred on stones, and I thought, well, isn’t that a beautiful thing: the delicate footsteps and the cold, hard stone …

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Somehow, it made the stone a lot more like air… really fascinating air. All this time, I was meditating on lines, of course, because Ken Blackburn, sculptor, put me up to that, and circles, so I thought, in my human way, that it would be a fine thing to follow those lines and learn the dance steps, so to speak. Who needed a mind. Let the body do the dancing, I thought. Well …

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… I could have paid more attention to this, I guess. But I was happy and out by the falls, with the water singing away, so I pulled my ball of wool out of my pocket, that I have been using as a very slow walking image-making tool — not a camera; something more physical and human than that, and I dipped it into the water …

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… and starting unwinding off of its bobbin. If you’ll remember, when I wound it there, I pulled the energy out of the Skriðuklaustur well, through the monastery garden, around and around the axle of the earth, through the church, and up to the carving of Mary (?) on the hill. Now I was unwinding that energy among the birds …

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… ah, yes, as you can see, the spiral of the first winding stayed with the wool. That made me realize I knew close to nothing. Then …

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… the wind demonstrated that I wasn’t going to follow the birds, no how, no when. The birds, for all their, I dunno, 90 grams of weight, could outgust the wind better than I. Maybe that randomness …

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… was a way of harnessing the wind. So, I thought, OK, I’ll be the human here, and let whatever lines I can make by pulling on the string, and whatever lines the wind teases out of it, lie against the lines of the birds and see what that’s all about. Well,

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… my line was awfully straight at times …

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… and retained a lot of memory at other times, and …

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… ooops!. But eventually my rather straight but colourful line seemed to frame the bird tracks nicely enough …

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… and sometimes even followed the birds …

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… even improvised …

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… and soared on flights of fancy …

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… in its own conversation with the rocks. Up into the rocks I led the string as it led me …

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… and when I looked back, I thought, well, I’m going quiet all over again, and I thought I had gone quiet before…

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Onward, up onto the sand …

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… and the grasses …

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… I went. Now, the thing about having 70 metres of Norwegian wool is that it has an end, and when you’re unwinding it off of the axle of the earth and get near that end, you start looking for a place to land, a place that has some physical meaning. The little birch trees, I thought, just like the spindle, but living, not dead! Well, I thought it, but the string ended here …

P1430290Wool, Spindle and Moss

at the end … or the beginning … of the line of blood and fire?

Yeah, which? Should I wind the spindle back from the water to the sky, or from the sky to the water, I wondered? Should I bring the well, through Mary, to the mountain stream, or the mountain stream, with Mary and the well, up to new life? Well, that was a no-brainer: to life! This story, I felt was not one that repeated itself three times to make a tight spell. It was going somewhere, although I did not know where. I had to trust it. So, I did, and I rolled that yarn up, slowly walking the path of the birds among the stones, over the thin ice, with the thinner creek below, and this time, I noticed this …

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… I didn’t make the first line in this place.

P1430388Or the second! Well, not counting the lines of the birds, but I think they were making more than a line, or a series of lines, but that’s skipping ahead in the story. For the moment…

P1430395Life! Richer than it was before.

The well in the Garden of Eden, the Monastery Church, the Baptismal Font, the Axle of the World, Mary (?) and now a flock of unseen birds, all right there, burning. 

The physicality of this method of slow photography charmed me: the wet wool on my fingers, the feel of the sheep’s hair on my fingertips, the cold, and the repetitive, meditative motion of winding it, and matching my footsteps to the winding had helped me to see this valley, and my place in it, intensely. And then, just when I thought I had been as quiet as I could be …

P1430418 … the birds came!

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They came by the hundreds, on and on, in a fast river, winding with the river upstream, weaving in the air, landing briefly, lifting, an tumbling on…

P1430425… and I went so silent that I just put my camera down and raised my arms into the stream of birds, as they came at me, materializing out of the water and the light, and laughed out loud. And then, as quickly as they came …

flyaway… they flew away over the fields. And that’s why it took me two days to get to the falls.

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Strutafoss, Iceland

And that’s partly why they left me wordless with wonder.

~

The story of the wool comes to a powerful climax tomorrow. 

 

Missing Your Camera Lens? I Found It.

Dear Photographers! Did you go to Hengifoss in Iceland and stop at Littlafoss halfway up and … drop this intricate, beautiful and very expensive thing?

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Canon 28-135 mm Lens

I hate to be the bearer of bad news: it rattles now. I don’t think that’s good.

I found it when I clambered down a long path into the canyon to get a closeup view of this…

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I guess you were trying to get there, too. I don’t blame you. Yesterday, I tried from the other side of the canyon, and got this instead …

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Littlafoss

Squeeeeeeeeeeezing around the edge of the cliff to have  a peak.

I tell you, this slow move-the-human-around zoom method takes a bit of puffing, but it sure changes one’s perspective. Still, I’m sorry about your lens. Here’s where I found it, if that helps, seen from yesterday, on what I thought was the wrong side of the stream, but which now seems just as interesting as the right side, if it is that, if not quite as dramatic… but your lens! First the setting …

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… and now, X marks the spot …

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I could send it to you, if you like. Lemme know. Next time, though, I recommend the human movement method, cuz I’ve become quite smitten by it. It takes some time, well, heck, days, really, but it’s not bad, you know. It kind of focusses the mind. Here’s the focussing apparatus (kind of big, yeah, I know — won’t fit in my camera case) …

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Bring walking sticks. Now, it’s a mighty beautiful fall, which is why I keep going back, and why you were so taken by it too, I bet. Here it is from the viewpoint, as I’m sure you remember …

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Easter Afternoon

If I’m right, you dropped the lens from about here (see the x in the upper right?) …

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And I would have, too. That’s way too close. Man, those basalt chunks fall down. There’s a dam in the stream down there five feet high of stuff that came down this winter alone! The wind blows there something fierce, too, so I understand: hard to hold onto a lens with half-frozen fingers when that wind blows. Man, I am so sorry about your lens. If it’s any help, this is the best closeup I could do with my little Lumix …

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Not glossy photo magazine worthy, I’m sorry, but it gets me out and about exploring what the world looks like when a human looks at it from all kinds of different ways. I find it fascinating, but, hey, it’s a bigger relief that you didn’t fall, thank God for that, although I bet that when that thing went you felt like you were falling with it. I hate that feeling. I’m glad you hung on. Drop me a line. Harold

The Sculptural Path to Story: an Icelandic Saga

Today, a meditation on lines, and the art and society that sprout from them, as a branch to this…

rowan2Gunnar Gunnarsson’s Rowan Tree, Skriðuklaustur, Iceland

Bending to the earth and throwing her branches into the sky. To say that these branches and twigs were hair, or a mane, or arms and fingers would be a kenning, or a skaldic pun. She has her own dignity, though, I’d say. After all, rowans are sacred to the Goddess. Their red berries glow like drops of blood in the snow, or, if you wish, the strawberry coloured lips of the Goddess of the English celts, or, if your mind wanders so far, to the lips of your first love, or your deepest. They are also a symbol of Icelandic nationalism.

Yesterday I started this meditation by talking about elves, to suggest that the earth is very much alive with human imagination, and not in a fantastical way, either. If you missed that, it’s here. Today, I’d like to talk about lines, to show how story rises from that same imagination. A couple weeks ago, I introduced this thought on my Canadian blog, Okanaganokanogan.com, with a thought from the sculptor and painter Ken Blackburn, that all writing and imagery, indeed all artistic culture, begins with a line. Here’s that post, if you’d like to see Ken and his strawberry-coloured raven. I’ve had many joyful arguments with Ken. He represented lines with panache. I argued for knots, deep wells, pools and other points of intersection between worlds. Well, look, maybe we were both right:

bubbleline1Icelandic Pool with Line, Skutustaðir

If you take the line away, you have a field, but no story.

I learned the skills for that kind of erasure by pruning fruit trees by starlight (I do not exaggerate) in the German Nordic Canadian dream that was my childhood, and learned to adapt it to the crafting of objects made out of words, which I thought for decades was writing, although it was really a form of sculpture. The addition of a line to a field, however complex, creates a tension, which human minds, structured to track game across grass and sand and to recognize the nuance and significance of the tiniest of plant forms and deviations, naturally follow. In terms of the craft which I track as a sculptor and many others lay down somewhat differently as trail makers, or writers, this is the root of story.

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Footsteps on Lake Mývatn, Iceland

With the late afternoon sun rolling around on the horizon, like an eye. A writer looks forward here, into empty snow. A sculptor looks back into its story.

Before the line, there is indeed a pool (or a lake, a pond, a puddle, a sky, a moon, a well, a field, a face, or a room, and so on). It is endlessly fascinating but engages only one half of the split human mind. In storytelling, this is called a situation. To create story out of a situation, there must be two characters, who exchange powers at a point of transfer. That point of interchange transforms them.

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Lines of Cosmic Energy Entering and Departing a Vortex …

… or rising from it. Driveway Puddle in the Early Morning, Skutustaðir

This kind of tension (and this unresolvable paradox), will continue to generate story as long as humans last on earth. This ability to read story into the earth’s processes is the signature of humans. It is the same tension that creates a poem within the boundaries of metre, or the balance that humans call beauty, which is a coming together in complex relationship to lines…

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Beauty

Driveway Puddle at 9:30 a.m. on a March Morning, Skutustaðir

Lines, of course, don’t always have to be simple. The one above, for instance, was taken while men with orange vests were fussing over the lone gas pump a few metres away, a woman was driving around crouching me on her way to take her kids to school, and the hotel cook was banging the snow off his boots after sucking the fire out of his morning cigarette before work. Lines, or story, shall we say, can be as complex as this…

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… or this …

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… or this …

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… or this (you can probably surmise that a number of people had to drive around excited me) …

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… or this…

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Icelandic Horse Held in Its Field by a Line of Human Will …

… and continually at tension, between running free and being led (and fed). Notice the line in the foreground that humans have built in order to move past at speed, without stopping.

Sculptors stop. They get out of their narratives and find their stories telling themselves. The imagination that reads the human body into the sculptural forms of the land, also reads, and indeed creates, story, not as narrative but as something complete and whole in the world, that one can follow without moving at all. Pretty beautiful, I’d say. What does all this have to do with Gunnar Gunnarsson? Ah, I was getting to that. That is where you’ll find me tomorrow: in that story.

The Architecture of Souls

If you look at mountains on a human scale, they have presence.

blue22Volcanic Glass, Skjaldsvik, Iceland

If you look at mountains on the scale of a mountain, they have presence.

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Mountain in Late Afternoon, Skagafjörður, Iceland

If you look at mountains from a cultural point of view (in this case, Nordic mythology), they have presence…

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Spring Sunset, Skagafjörður

In this case, story unfolds in time, as the earth turns from the sun, which is just below the ridgeline. Here is the same mountain a couple minutes later …sunset2

Spring Sunset, Skagafjörður

And a half hour later, when the sun is behind the shoulder of the Arctic Ocean?

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Spring Sunset, Skagafjörður

The story continues through the northern lights at night, and on into the next day. Light is writing on stone and ice. If the mountains are viewed through Christian eyes, perhaps this is the spot for the centre of Christian life in Iceland.

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The Heart of Christian Iceland, Skagafjörður

If you’re thinking of print making or writing, you might as well think big. When your technology is the earth itself, it’s easy to think of the architecture of souls.