A decade-long love affair with Iceland fills my new book with poems and prayers that are lifted by place and magic. This is a book for people who love the Earth, told in a language physically anchored to the roots of English in the old sea-going North.
It is also full of trolls, elves and other land-based understandings of consciousness the Norse brought from Norway 1100 years ago. In Iceland, even a man or a woman could become a troll, even while living, as the word originally described only the relationship of a person to a specific place. Only? Well, it’s a lot! Here’s one of my favourite haunts.
It is always good to know where the neighbourhood volcano is.
Here’s how Sharon Thesen describes the book:
It is, as you can see, a work of love. The “Landings” of the title are those moments when the earth lifts up the keel of a boat and holds it steady, where just a moment before it was rolling at sea. It is an energy that precedes “land” and more accurately describes human relationships to it. In other words, it is a book about being home on the Earth, and is the culmination of decades of work exploring the roots of English to function fully as an indigenous language. Here is Petursey, Peter’s Island, one of the elf cities of the Icelandic south.
These are simple poems of wit, grounded in experience. They come with a rich glossary of names, giving the story of each place in which they are set. As the publisher says:
Here’s an example from the glossary:
Hallormsstaður / Hawthorn Farm
This old parsonage houses a children’s art school within an arboretum of exotic trees from the global North, and a guest house in the dormitory of a girls’ boarding school, where the girls of the district were taught Icelandic embroidery as part of the project of freeing the country from Denmark. It worked. Never underestimate embroidery.
I spent a month just up the fjord as writer in residence in 2013, talking to the local thrush. Here’s Ljósárfoss, The Waterfall of Light, in the Birch and Hawthorn Forest the girls embroidered a country from:
And the embroidery? You can tromp through the hills and still pick these flowers today. The poems in the book are like this, too, following sheep and farmers through the heather and the grass.
In addition to a textual table of contents, the book’s frontispiece is a map as well, showing the whole country as the book.
Thanks to my editor, Daniela Elza, for urging us to make this deep ecological guide.
Those girls are one of my inspirations. The book is a woven artefact, like the lines that sheep make wandering through the Icelandic summer, which are spun and knitted again into the charms we call sweaters to keep us warm together in the winter dark. Here’s how Patrick Friesen describes this approach:
This is the poem craft I have learned after forty seven years at this game, written out of love and in honour of all that Robin Skelton taught me of poetry, magic and the weaving of silence in among words. This is not a poem of the past, though. Its songs are of the present and the future, physically grounded. It’s not just the horses grazing on the old turf house ruins at Eiðar, the farm called Fate, that stretch across a line of verse but don’t break it…
… but words as well. Here is the ending of my poem Findings, contemplating the Syrian exodus from the lost harbour of Stapavík in the Icelandic East.
Here’s the view from the Stapavík Trail, looking north over black sand and the dunes of the bird sanctuary between the Seal River and the Glacial River itself.
The beach, though, is not for humans, and that’s about right.
These are poems for living voices. Here’s how Marilyn Bowering describes them:
In this time that seems to want to drive people apart from each other and the land, I found myself in Iceland, writing a book about coming home to a renewed Earth and feet solidly standing on it. Sometimes those are the feet of a thrush, those curious birds that follow you around, stare you in the eye, and always on the verge of speech.
This is the work of a poet, as I know it. Here’s the first half of my poem “The Poet’s Work.”
The first half of writing this book was to build a musical language of spirit embodied in the Earth. The second half is to share it with readers and listeners. Thanks to my publisher Byrna Barclay of Burton House Books, for finding the love poems in my travels and bringing them into print for us all. The best way to buy this book in these strange times is from me, or from Burton House. Or order a copy into your local bookstore, and gently suggest that we do a reading together.
And, please, be in touch. We’re open to any ideas as to how I can bring these poems to voice and ears and keep us all close as we start to heal our broken Earth, one word and one landing at a time.
Let’s talk soon. Here’s the book details your store will need.