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What I Could Do

25/7/2013

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Remembering our skills at Lughnasadh

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One of my favourite books is a slim thing called "I Could Read the Sky" by Timothy O'Grady and Steve Pyke. O'Grady wrote the text, which is accompanied by Pyke's black and white photography. It is an odd, poetic novel - disjointed death bed recollections of an Irish labourer at the end of a life passed mostly in England.

In 2005 I was lucky enough to attend one of Tim and Steve's performance/readings of the book, which involved projections of the photos, Tim reading, and great musical performances by Martin Hayes, Dennis Cahill, Mairtin O’Connor, Iarla O’Leonard and Karen Casey. Perhaps this has something to do with the deep impression the book has made on me, but the quality and content of the writing, and Pike's stark images are enough in themselves.
One of the most memorable and popular parts of the book is a short chapter which begins with the phrase "What I could do". It is the central character's recollection, by way of a simple list, of his abilities and accomplishments as a young man still in Ireland.
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What I could do.
I could mend nets. Thatch a roof. Build stairs. Make a basket from reeds. Splint the leg of a cow. Cut turf. Build a wall. Go three rounds with Joe in the ring Da put up in the barn. I could dance sets. Read the sky. Make a barrel for mackerel. Mend roads. Make a boat. Stuff a saddle. Put a wheel on a cart. Strike a deal. Make a field. Work the swarth turner, the float and the thresher. I could read the sea. Shoot straight. Make a shoe. Shear sheep. Remember poems. Set potatoes. Plough and harrow. Read the wind. Tend hens. Bind wyndes. Make a coffin. Take a drink. I could frighten you with stories. I knew the song to sing to a cow when milking. I could play twenty-seven tunes on my accordion.
Steve Pyke, I Could Read the Sky, hands, what I could do
this and following photos by Steve Pyke

A list of skills valuable in a particular time and place, and a list to be proud of. Skills of the sort handed down through generations, and so often undervalued. Skills of the ildanach. Ildanach, is an Irish word which means many-skilled, or perhaps skilled-in-all-things. In the story of The Coming of Lugh, there is a famous scene where the young hero-god arrives, unknown, at the gates of the castle of Nuada, a king beset by the Fomorians. Lugh is there to offer his help, but first he has to gain entry and acceptance. The gatekeeper questions him as to what skills he offers. Lady Gregory's "Gods and Fighting Men" tells it this way:

"Who are you yourself?" said the door-keeper. I am Lugh, son of Cian of the Tuatha de Danaan, and of Ethlinn, daughter of Balor, King of the Fomor," he said; "and I am foster-son of Taillte, daughter of the King of the Great Plain, and of Echaid the Rough, son of Duach." "What are you skilled in?" said the door-keeper; "for no one without an art comes into Teamhair." "Question me," said Lugh; "I am a carpenter." "We do not want you; we have a carpenter ourselves, Luchtar, son of Luachaid." "Then I am a smith" "We have a smith ourselves, Colum Cuaillemech of the Three New Ways." "Then I am a champion." "That is no use to us; we have a champion before, Ogma, brother to the king." "Question me again," he said; "I am a harper." "That is no use to us; we have a harper ourselves, Abhean, son of Bicelmos, that the Men of the Three Gods brought from the bills." "I am a poet," he said then, "and a teller of tales." "That is no use to us; we have a teller of tales ourselves, Erc, son of Ethaman." "And I am a magician." "That is no use to us; we have plenty of magicians and people of power." "I am a physician," he said. "That is no use; we have Diancecht for our physician." "Let me be a cup-bearer," he said. "We do not want you; we have nine cup-bearers ourselves." "I am a good worker in brass". "We have a worker in brass ourselves, that is Credne Cerd." Then Lugh said: "Go and ask the king if he has anyone man that can do all these things, and if he has, I will not ask to come into Teamhair." The door-keeper went into the king's house then and told him all that. "There is a young man at the door," he said, "and his name should be the Ildánach, the Master of all Arts, for all the things the people of your house can do, he himself is able to do every one of them." "Try him with the chess-boards," said Nuada. So the chess-boards were brought out, and every game that was played, Lugh won it. And when Nuada was told that, he said: "Let him in, for the like of him never came into Teamhair before."

Then the door-keeper let him pass, and he came into the king's house and sat down in the seat of knowledge. And there was a great flag-stone there that could hardly be moved by four times twenty yoke of oxen, and Ogma took it up and hurled it out through the house so that it lay on the outside of Teamhair, as a challenge to Lugh. But Lugh hurled it back again that it lay in the middle of the king's house. He played the harp for them then, and he had them laughing and crying, till he put them asleep at the end with a sleepy tune. And when Nuada saw all these things Lugh could do, he began to think that by his help the country might get free of the taxes and the tyranny put on it by the Fomor. And it is what he did, he came down from his throne, and he put Lugh on it in his place, for the length of thirteen days, the way they might all listen to the advice he would give.
What a fine thing it is to be many skilled! Most of us long to be able to do things we don't know how to do. We've all had the experience of people seeing some skill we have and saying "I wish I could draw/make a souffle/play the guitar!" Yet when we tell them it's simple enough once you know how, they often reply, "Oh, no, I'd never be able to." Perhaps we've had the same feelings ourselves: we don't have time to take up gardening, we were told at school that we weren't musical, or we're afraid to attempt tennis because we'll look silly.
Steve Pyke, woman knitting, Irish kitchen

In honour of the season of Lughnasadh, I'd like to offer you an idea. You might like to use it as a journaling exercise, turn it into a meditation, or use it as part of a Lughnasadh ritual. Sit down and make a list of "What you could/can do". You can make the list long, and divide it into categories, if you like, or you can limit it to a set number of the things you're proudest of.

When you've made your list, think about who taught you those skills. I think maybe one reason that Lugh was so skilled was that he had so many mentors. Not only was he fostered by Taillte and Echaid, as mentioned above, but he was also fostered by the god Manannan mac Lir, who gave him several magical gifts. Take time to note who you learned skills from. In some cases this may not be a person who taught you directly - you can also say "I taught myself" or mention the name of an influential role model or author, etc. Now, think about what skills you would like to pass on, or have passed on, to others. Make a note of these, and of who you taught (or will teach) them to. There may also be things that you would like to learn to do, and that you have an intention to learn to do. Write those down, too.
Here's part of my list:
- I could knit a jumper without seams. I could tame a horse. I could understand cats. I could teach people how to play music. I could play for a ceilidh dance all night and call the dances while I was playing. I could build a straight fence. I could drive a tractor. I could make a poem. I knew lots of ways to meditate.

I might then go on to remember the ladies at the knitting shop in Santa Cruz who patiently taught me to knit. How hard I studied horses, and some of the people I passed a bit of that knowledge on to. I remember my father pointing out to me what cats feel in different situations, and how they show it, I've continued to study them. I remember the many wonderful music teachers, mentors, and "inspirors" who made me the musician I am, and the many wonderful students I had the privilege of teaching - some even went on to play for dancing. I taught myself fencing and poetry writing. Mark taught me a lot about the ways of old tractors.

I hope that you will have a wonderful time thinking about your skills!
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Of Oracles, Wonder and Inspiration

24/7/2013

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With Lughnasadh nearly here, I thought I would share this piece which I originally published on facebook in March 2012.

Some thoughts on the coming of Lugh.

I've just been reading a wonderful retelling of the Irish story "The Coming of Lugh" by Ella Young. Myths often contain a passage of "wonder" which particularly moves me. This story has such a passage, but first, let me set the scene.

The Irish sea god Manannán mac Lir, whom you may remember from my post on The Voyage of Bran, takes the young god Lugh to Tir na nOg (The Land of Youth) for his upbringing. Here  -

He raced the waves along the strand; he gathered apples sweeter than honey from trees with crimson blossoms: and wonderful birds came to play with him. Mananaun's daughter, Niav, took him, through woods where there were milk-white deer with horns of gold, and blackmaned lions and spotted panthers, and unicorns that shone like silver, and strange beasts that no one ever heard of; and all the animals were glad to see him, and he played with them and called them by their names.
Meanwhile, back in Ireland, the people of the land, the Tuatha De Danaan, were having a hard time of it. They were subjugated to the not-so-nice Fomorians, and Nuada, the king of the De Danaan, was unable to defeat the Fomorians in any decisive way. Things dragged on, with Ireland constantly at war. Manannán knew this because he'd been putting on his cloak of invisibility and checking up on things at night.

When Lugh came of age, Manannán gave him a magical sword, and Lugh decided to head back to Ireland and see what he could do to straighten things out. Of course, when he got there, nobody knew who he was, so he had a little trouble getting into Nuada's castle. Through a dialogue of boasts and challenges, he was finally admitted, and proceeded to best Nuada at chess and other games.

Seeing Lugh's many talents, Nuada then asked him to play the harp -

"I see a kingly harp within reach of your hand," said Lugh.

"That is the harp of the Dagda. No one can bring music from that harp but himself. When he plays on it, the four Seasons--Spring, Summer, Autumn, and Winter- pass over the earth."

"I will play on it," said Lugh.

The harp was given to him.

Lugh played the music of joy, and outside the dun the birds began to sing as though it were morning and wonderful crimson flowers sprang through the grass--flowers that trembled with delight and swayed and touched each other with a delicate faery ringing as of silver bells. Inside the dun a subtle sweetness of laughter filled the hearts of every one: it seemed to them that they had never known gladness till that night.

Lugh played the music of sorrow. The wind moaned outside, and where the grass and flowers had been there was a dark sea of moving waters. The De Danaans within the dun bowed their heads on their hands and wept, and they had never wept for any grief.

Lugh played the music of peace, and outside there fell silently a strange snow. Flake by flake it settled on the earth and changed to starry dew. Flake by flake the quiet of the Land of the Silver Fleece settled in the hearts and minds of Nuada and his people: they closed their eyes and slept, each in his seat.
snow, pheasants, evening light
Photo by Shelley Newton-Carter

Lugh put the harp from him and stole out of the dun. The snow was still falling outside. It settled on his dark cloak and shone like silver scales; it settled on the thick curls of his hair and shone like jewelled fire; it filled the night about him with white radiance. He went back to his companions.

The sun had risen in the sky when the De Danaans awoke in Nuada's dun. They were light-hearted and joyous and it seemed to them that they had dreamed overnight a strange, beautiful dream.

"The Fomorians have not taken the sun out of the sky," said Nuada. "Let us go to the Hill of Usna and send to our scattered comrades that we may make a stand against our enemies."
aturally, Lugh and Nuada were able to defeat the Fomorians in short order after this. So what changed everything so suddenly? I think it was the inspiration of beauty. The "strange beautiful dream" that Lugh's playing had induced, the inspiration of the beauty of nature hadn't just intoxicated Nuada and his men, it had inspired them. They hadn't so much fallen into a dream as been awakened. Joy, sorrow, and ultimately peace, inspired them. The snow, here a symbol of peace, which physically settles upon Lugh's hair and cloak, that fills the night with radiance. Pure inspiration.

Music, art, symbolism and nature are potent magic. When we are asleep, sometimes it is the dream that truly wakes us. Particularly when the sleep feels like being stuck, as Nuada was. An oracle reading is just one way to dream yourself awake. You might prefer to read a myth, go into nature or experience music or art. All are potent.

At this point in the story, Lugh was Nuada's oracle. Yet he never said "Go, fight the Fomorians, and this time you will win!" Instead he sang of joy, and sorrow and peace. When each man awoke the next day, he knew what to do. And so they all showed up for the battle. The battle they could not win before. Of course, Lugh and the army of Tir na nOg showed up, too. How could they not? They were the embodiment of the inspiration the De Danaan awoke with that morning. For there are three parts to inspiration - there is the dream, then the awakening, and finally the doing. The inspiration of the oracle is in all three.

To arrange a reading, or ask a question, you can send me a message via the form at the bottom of this page.


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Accepting the Salmon's Gift

11/7/2013

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Recently, in Salmon in the Weir, I referred to a dream I had, where I felt that I was being told to capture the salmon, which is a symbol of knowledge, by writing down my dreams, and other possible revelations, from things like card readings or meditation journeys. Many of us love the written word, me included, but I also recognise that it can create limitations for us. When we write something down we risk setting it in stone, and somehow "killing" what we were trying to preserve. The written word takes on more import than the thing we tried to describe. This does not have to be so, of course, but we need to allow our insights to have a life, not stick them in a museum. Also, writing something down, filing it away, putting it on speed dial, is a great way to abdicate responsibility for remembering it at all. Could you remember a friend's phone number for a week without writing it down or storing it on some device? I'm sure you could, whether you think so or not, but I'm sure most of us don't bother anymore, because we think the information is "safe" for the time when we need it. How would you gaze differently on a beautiful scene while on a rare holiday, if you hadn't just snapped a couple of digital images of it? Would you let it fill your eye and your soul, making it part of your deepest memory - rather than hurrying on to the next item on your itinerary?

You might also remember that in my dream, there was some confusion in my mind between a weir (a device to trap fish) and a salmon ladder (which facilitates their journey upstream). Now I think I understand this. Trapping the fish, via a reading or a dream, etc. is only the first step. You need to get the essence of the knowledge it contains upstream within you. Let it climb the ladder up into your consciousness and into your everyday thinking.

salmon weir and ladder, river wenning
A Salmon weir and ladder on the River Wenning, North Yorkshire.
photo: Ian Lane


In Celtic myth, there are many tales of magical Salmon. The Irish story of Fionn Mac Cumhaill tells how the young hero accidentally, and innocently, tastes a salmon of knowledge which is supposedly intended for his master. His true identity as a great person is then revealed and he is transformed both in status and ability, after his master tells him to go ahead and eat the whole fish. I think that this is an important part of the story. Fionn's act of accidentally licking some juice from his thumb seems merely to confirm him as the person for whom the salmon is meant, but it is the eating of the entire salmon that brings about his transformation. I like this picture. A salmon of any size - and this was said to be a very large one - takes some eating! Think of the repetitive act of this eating. Slice after slice, bite after bite. Did each mouthful taste the same? Did each chewing noticeably add a new layer of knowledge? Was there a time when Fionn felt full, and thought that surely it would make no difference if he left some portion uneaten, after all? We'll never know, of course, but I'm sure we've all been there.

This is interesting, though. Fionn didn't just write "Today, I tasted a drop from the Salmon of knowledge," in his daily journal and then somehow magically he became great. He sat down and engaged deeply with his gift. He gave it respect, he gave it attention. Those of you who have had a reading from me will know that I place a lot of emphasis on working with the material in that reading, of spending time with the information in meditation, contemplation and study. Believe me, I know that this isn't always easy to do. I have had some very profound experiences - with my cards, in dreams, in readings from others, and in meditation. These can be humbling and awe inspiring, and yet in a few hours I am caught up in whatever life puts in my path, and if I'm not careful - nothing comes of it. Well, I am trying to do better. I'm trying to learn to "clean my plate". To follow through with ideas until I understand what action to take, and then to take that action. It's a tall order, but I feel more honourable when I do it, and I think my life goes a little more smoothly, too.

What I know is impossible, however, is to implement all the things I find immediately - just as Fionn did not go out and do a lifetime's worth of heroic deeds the next morning. However, he did acknowledge the transformation and he did begin the journey. I know that my journey is nowhere near completed. It's uneven, sometimes it gets stalled, but I am on it. I do my best to follow the signposts, check the map and make progress - and I try not to forget to enjoy the experiences along the way.

In Salmon in the Weir, I mentioned that I was going to put some things on my walls. At the time, I had recently had what felt like a very important session and reading with someone. He had given me some homework. Things to do and say in order to be more at peace. I liked the ideas, but was uncomfortable with some of the details, so I let it slide for a few weeks. The day I wrote that piece, however, I adjusted the wording and printed some things out, nicely, on my computer, glued them to some beautiful photos saved from a scenic calender, and put them up in my bedroom. The change for me has been positive, and I feel pleased that I took the trouble. This is just one of many ways to make an adjustment. What I liked was the concreteness of it. I still have a backlog of actions I would like to take based on readings, etc. but I hope to hold myself to account. I intend to do it with patience and compassion, but I will be honouring each bite of the salmon, if I can.


You can read a little more about how the posters I made for my bedroom developed into prayer cards in Latest Projects,  and you can buy my set of Four Celtic Prayers on beautiful cards.
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Salmon in the Weir

8/7/2013

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How can we hold the knowledge we gain?

I will not dream another's sweet musings
when the truth is only partly known
the fruit is so sweet but of another knowledge

but face my own full on
naked in the darkness
and recognise that which has never been shown before
and dream it as my own

I will not share you with another
I cannot
for their knowledge would lack the spice of experience

I am the silver salmon driving out of the peat black water into the
daylight
Rising rising
Timeless and heavy 
Falling backwards into the darkness

    ~ from the poem Leaping Salmon by Anthony Dalby
salmon weir
A salmon weir

I recently had a dream about a salmon weir. At least I think that's what it was. In the dream, it looked like a weir, but in the dream I also believed that it was there to help the salmon swim upstream. That would be a salmon ladder. A weir is a trap. When I awoke, I believed that the dream was a message about holding on to wisdom, and specifically that it was telling me to write down the details of my dreams and the journeys I take in meditation.

You may know that in Celtic myth the salmon is a symbol of knowledge, or sometimes said to be a symbol of wisdom. Obviously, there is a distinction between knowledge and wisdom that you can make for yourself. For some time, I have been considering the problem of what we (and specifically what I) do with the knowledge I gain in spiritual pursuits such as readings, meditation, encounters with nature, etc. Often, with a little effort from us, the universe is generous with information. With a little effort we take the time to meditate or walk in nature with deep awareness, or we delve into divination or learn to remember our dreams, etc. We take a class, we go on a retreat. We gain knowledge, and it is very precious. When we receive "good advice" from a friend or mentor, this is also precious knowledge.

There is also a lot of useful knowledge available to us. If you are reading this, then you are probably bombarded with inspirational quotes and great articles (with links to yet more potentially mind-opening information). You are probably the kind of person who goes out of their way to find this stuff, to study this stuff, and possibly to absolutely wallow in this stuff. What I've been noticing, though, is how I sometimes fail to hold on to it. Of course, I have to trust that all those inspirational quotes on my facebook wall, and many other things that I read or hear, are more like part of the river. Each one cannot be a salmon with my name and address on it. I trust that if they help make my river a good place to be, they're doing their job. Hopefully, some of their nutrients are leaching out of the river and into me. However, there is a good chance that what is delivered to me in a dream, a personal reading, or something similar does have my name on it. It is worth holding on to, and worth acting upon. The first step, I see, is actually trapping that salmon. Writing things down might be a good first step - although I can think of other ways I might make the information memorable. One trouble I find with writing things in a journal is that I may connect writing it down with actually letting go of it, rather than holding on. (File and forget.) So perhaps I need to make a provision to go back and read what I wrote as part of some daily or weekly practice. Or maybe something like a picture or a post-it note in a strategic place, would be more helpful.

Actually, I like the idea of doing or making something to seal the memory of an important revelation. I think that this is one of the most useful things I can do to commemorate receiving an important piece of knowledge. Having trapped the salmon, and received the knowledge, the magic lies in moving that information upstream where it can grow into wisdom. I need to build a weir, and I need to place it where I interact with it. Some pieces of knowledge are easier to act on than others, but even one action that keeps the knowledge in view is a step in the right direction because it will affect my thinking on a regular basis. I think my house is about to have a few more interesting things on the walls!!


This is part one of a two-part piece which I originally published as facebook notes in April of 2012. To the right, you can see one of the "prayer posters" I put on my bedroom wall at the time. Right next to a mirror by the door, where I couldn't miss it! It worked really well for me -- so much so that it became the inspiration for the meditation and prayer cards I now sell in my webshop. (They are quite a bit nicer than this poster, but I still hate to take it down.) Part two coming soon!

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The Twa Corbies

6/7/2013

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How we too easily get spooked when divining from nature.

The blog seems to be taking a musical turn at the moment. Something a friend said yesterday put me in mind of one of my favourite Scottish ballads -- The Twa Corbies. You can hear a version of it below, and read both a transcription and a "translation" from the Scots.

As I was walking all alane
I heard twa corbies makin  a mane
The tin untae the tither did say-o
Whaur sill we gang and dine the day-o
Whaur sill we gang and dine the day

It's in ahint yon auld fell dyke
I wot there lies a new-slain knight
And naebody kens that he lies there-o
But his hawk and his hoond and his lady fair

His hawk is tae the huntin gane
His hoond tae bring the wildfowl hame
His lady's taen anither mate-o
So we mun mak oor dinner swate

It's ye'll sit on his white hausebane
An I'll plake oot his bonny blue een
Wi' a lock o his gowden hair-o
We'll theek oor nest when it graws bare

Thaur's mony a ain for him maks mane
But nane sill ken whaur he is gane
And o'er his banes when they are bare-o
The wind sill blaw forever mair

As I was walking all alone
I heard two crows making moan
The one unto the other did say
Where shall we go and dine today


It's in behind yon old stone wall
I know there lies a new-slain knight
And nobody know that he lies there
But his hawk and his hound and his lady fair

His hawk is to the hunting gone
His hound to bring the wildfowl home
His lady's taken another mate
So we must make our dinner sweet

It's you'll sit on his white collarbone
And I'll pluck out his bonny blue eyes
With a lock of his golden hair
We'll thicken our nest when it grows bare

There's many a one for him makes moan
But none shall know where he is gone
And o'er his bones when they are bare
The wind will blow forever more

When I was looking on YouTube for a version of this song (and there are many good ones!) I found it interesting that many of the accompanying videos made much of the song being dark or spooky, etc. Some of the artwork seemed to portray the crows as slightly evil. Equally, some versions of the ballad seem to suggest that the knight's hawk, hound and lady have been highly disloyal to abandon him. Those comparing this ballad to its English counterpart "The Three Ravens" often say the Scots version is "cynical", since in The Three Ravens the knights companions protect and bury his body. Hmmmm. I see it a little differently.
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For whatever reason, this knight is dead. His hawk, hound and lady have moved on - what else can they do? Their lives have continued, as they must. Meanwhile, the crows are finding a use for his body. The circle is, in a way, complete. I have always suspected that The Twa Corbies is the older version of the song, and the slightly moralising "Three Ravens" is an attempt to correct the "savagery" of the original.

Arthur Rackham, The Twa Corbies
Arthur Rackham's illustration for the ballad
The Twa Corbies

This kind of thinking often comes into play, I find, when people are looking at cards in a reading. We've all heard it a thousand times:  the Death card in Tarot rarely refers to death, it usually refers to change. When working with my own oracle deck, which is made up of plants, animals and aspects of the landscape and weather, I often see people jumping to the conclusion that everything from nettles, to foxes to ruins must have negative connotations. My answer to this is that everything follows it's nature. It is not good or bad. A fox is just being a fox, a rook is just being a rook. What can we learn by observing them? That is the important question!

As for the Twa Corbies. They are not evil birds. There is nothing spooky about them. After all, they didn't kill the knight, you can be sure. They are just helping to clean up, and putting his remains to good use in the process.

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A Song, a Story, the Sea

3/7/2013

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Growing up, as I did, in landlocked Colorado, the sea was not so much a mystery to me, as an object of no meaning whatsoever. I never even saw it until I was in my twenties and moved to California. However, when I was about twelve years old a musician called Donovan Leitch came across my radar and his music moved me intensely, and still does so today. In 1968 I bought his double album A Gift From a Flower to a Garden. One LP was acoustic and one electric. The acoustic one spoke deeply to me, and most of the songs on it were about the sea - or more precisely the seaside. Starfish, crabs, gulls and assorted wandering humans inhabited the lyrics in a way that made this environment real and interesting to me for the first time.
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Donovan Leitch

I awoke this morning with a song from that LP in my head. What struck me was how like Manannán, as he appears in his trickster guise, the tinker character is. Manannán who can be recognised by the water sloshing from his shoes as he walks on dry land. I knew he was familiar from somewhere. Maybe I first met him in this song!

You can read about some of Manannán's fun and games in Lady Gregory's "God's and Fighting Men" Part I Book IV: Manannan at Play or listen to an adaptation of it by the folks at The Celtic Myth Podshow in The Raggedy Man

If you enjoyed this post, you might like The Beach

Mythology

A chapbook collection containing the allegorical tale The Story Shawl, a poem about Macha entitled Approaching the House of Cruinniuc, and a long essay called The Beach.


Size 8.5" x 5.5"


14 pages


Please see product page for more information.

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