All posts by Johnbolland

Epiphany on Hope Street

It’s over a week now since the parties to the Conference that was COP26 jetted or slogged back to their many points of origin.

Credit : GlasgowLive

In the interval, I’ve been processing the constructive disillusionment of the event, the necessary street theatre of protest, the sickening deafness of politicians and lobbyists, the vile taste of greenwash.

If there is reason to hope, it might lie in the fact that, at least this time, ‘they’ didn’t even promise to ‘save the world’ by keeping average temperatures below 1.5 degrees above pre-industrial levels in 2100. 

Credit : Climate Action Tracker

Projections, based on the agreements, suggest 2.7 degrees above pre-industrial levels is the best-case scenario.  As usual, those projections ignore many tipping points we might barge through in the meantime.  Assume that is an optimistic estimate.

So, they are content we are 1.2 degrees less safe than they promised in Paris in 2015. As they left, they promised they might promise next year…next time…maybe.

Which is not, believe me, cause for despair.  Many, many earnest folk committed to a better future prepared for COP26, showed up at COP26, tried to make their voices heard. 

I was in Glasgow for the last day.  An AcousticCommons radio initiative – As if Radio – had kindly invited me into the Civic House studio for a chat about ‘Poetry as Activism’, Pibroch and my views as a former ‘fossil-fuel industry insider’.  Too weary to ‘slog’ home to Aberdeenshire (on the bus) that night, I stayed over at an excellent ‘affordable’ hotel in the Finnieston.  On the Saturday morning we discovered that the bureaucrats were still fudging and evading whilst suggesting that pulling an all-nighter was somehow ‘above and beyond’ their job-descriptions.  “It’s only a mass extinction event, after all!”

In the breakfast room, my fellow low-budget ‘parties’ discussed and debated in Spanish, Danish, Quechua, Japanese, Xhosa and, of course, the cargo language… English, whilst two awesome women negotiated and renegotiated, in Scots, the niceties of a full Scottish breakfast – ‘haggis, black pudding AND a tattie scone?’ – with the intrigued, the principled and the down-right hungry.

“Worst fortnight o ma life, so it wiz!” she said to me. “Still, whit can ye dae?”

To avoid climate catastrophe?  Negotiate, renegotiate, compromise…don’t compromise.  Listen.

“Jist the eggs an the tattie scone then?  Whit aboot beans?”

Maybe it was the worst fortnight of many of our lives…so far.  Yet a few miles from the conference centre at Finnieston, the world seemed ‘normal’.  A bit quieter than usual, they said.  Like Glasgow was holding its breath…or under martial law…high viz policing in twos and threes on all the major thoroughfares.

Between the radio interview and the hotel, I stepped in for a dram and a scribble at the Pot Still.  Afterwards, at the Number 3 bus-stop on Hope Street, I bumped (in a socially distanced way) into a young Canadian woman and her mother.  The younger woman was incensed that the previous Number 3 had driven past her.

“He saw me.  He shook his head and just kept driving.”

I shrugged it off with native indulgence : “Glasgow. What can you say?”

They weren’t in Glasgow for the COP.  The younger woman was studying in Glasgow and her mother had come over to visit.  They had been to Edinburgh that day.  We had the standard exchange about the pronunciation of ‘burgh’ in Scots.

Four minutes before the next Number 3 was due, they lost patience and called an Uber.

“Places to be and things to do,” she said as the Uber pulled into the bus-stop and blocked the way for the Number 3 which pulled up simultaneously.

Over the previous week I had been reading David Graeber and David Wengrow’s book, The Dawn of Everything.  In it the authors propose three fundamental freedoms:

The freedom to move

The freedom to disobey

The freedom to redefine social relations

Fundamental freedoms that few in the modern world possess.  As I sat on the number 3 to Drumchapel, the brilliance of the moment exploded in my imagination.  The young Canadian’s body language, the way she hailed the bus, the way the driver of the previous Number 3 exercised, in that moment, his freedom to move, to disobey and to redefine social relations by driving straight past her. 

Ay, gaun yersel, Glesga!

At 2.7 degrees above pre-industrial levels, billions of creatures, human and otherwise, will find themselves in conditions of untholeable heat or rising water-levels, starvation or violent conflict.  And, of course, for many it will not be either-or.

The freedoms to move, to disobey, to redefine social relations have never been so vital.  The survivors on Piper Alpha on the night of 6th July, 1988 exercised exactly those freedoms.  They left the ‘temporary refuge’ in which they had been urged to remain.  They broke with procedure and the chain of command.  They re-asserted their humanity – their fundamental freedoms – and jumped. And on the sea-below, others – bosuns, ordinary seamen – waited, heroically, to rescue them, drag them to safety, give them aid and comfort.

In that sense, there is hope in the dismal fudge of COP26. Might it be the tipping point in which we realise we need to be free to live?

From Eilean a’ Cheò to Innse Gall

So here we are. About to start the production process for Pibroch – the Performance and eagerly awaiting a printer’s proof of Pibroch – the Collection.  It has been a long, fascinating journey, summarised in part in the Developing Pibroch page of this site.  The journey onwards, however, will be recorded here as an artist blog as we struggle with the meaning and articulation of Pibroch post-COP26.

From the outset, back in 2019, my focus had always been on launching both elements just before COP26 in Glasgow, an act of activism and engagement intended to raise awareness and, especially, encourage audiences to reflect on the meaning of Climate Justice and a ‘Just Transition’.

COVID-19, of course, intervened.  COP26 slipped back a year and, as a consequence of cancer treatment during 2018, I was ‘locked down’ for most of 2020 as one of the ‘highly vulnerable’ in Scottish society.  It was a year of frustration but also an opportunity to deepen my thinking and practice around the Pibroch project.

It was also a time of (virtual) engagement with other artists who acted as mentors, guides and supporters in developing the various elements of the project especially the performance, musical and audio-visual aspects.

Timelines slipped to the right, however, in the face of pandemic uncertainties (which still haunt us) and the nitty-gritty detail of any collaborative art.  The latter element was much aggravated by my inexperience in the processes and economics of theatrical production. 

Now, however, we are finally ready to begin the next stage of the journey with a great team onboard including

Mark Thomson, award winning director and former Artistic Director of the Royal Lyceum in Edinburgh,

Graeme Roger, an award-winning audio-visual designer from wildbird based in Moray, 

Arthur Coates, a talented young multi-instrumentalist from Aberdeenshire

and the collective talents of Open Road, a creative, entrepreneurial organisation rooted in North East Scotland (‘the North’), but with a global vision. Opern Road uses arts, culture, heritage and the natural landscape to contribute towards health and wellbeing, tourism and environmental sustainability. .

Rehearsals for the show will be during January 2022 with a view to a premiere at Glenbuchat Hall in Strathdon on 15th January 2022.

I am grateful to Creative Scotland and the National Lottery for funding to support the development of the performance elements of the Pibroch project and to Red Squirrel Press for their support in editing, collating and designing my second collection. 

Wish us all luck!

It’s ALIVE… poetry festival

Coming up next week! The Wee Gatherin, an ‘in real life’ poetry mini-festival organised by The Poet’s Republic in venues around Stonehaven in the North East of Scotland.

Poets are coming in from Scotland, Ireland and England for an opportunity to read, share, laugh…and probably drink.

First event in the bill will be a world premiere reading of poems from the new collection, Pibroch, which will be published by Red Squirrel Press in September…but I can’t wait to share work I’ve been focussed on for the last 2 years.

Pibroch explores parallels between the Piper Alpha disaster in 1988 and the unfolding climate catastrophe driving the extreme weather events occuring with increasing frequence and fatal consequences. The title alludes to the pibroch Lament for the Children (Padraig Mor McCrimmon c1640).

The poems in Pibroch have been created as a mix of found poems and imaginative voicings based on :

  • The extant official enquiry and documentation associated with the disaster (e.g. the Cullen Report, Cabinet Papers, newspaper articles);
  • Interviews in the public domain from survivors and relatives;
  • Emotional, behavioural and scientific parallels between the disaster and the current climate crisis as documented in various intergovernmental reports and scientific papers.

As a former oil worker, a scientist and a climate activist, I feel the tensions between my responsibility for the situation, my empathy for the working men and women involved in the fossil fuels industry over the past century and my fears for the future of my children, grandchildren and the sustainability of most of the life on the planet.  It is widely recognised that swift action is needed to mitigate and adapt-to the evolving ecological crisis.  Pibroch is my attempt to engage with the lived experience of the last three generations in both the global North and South in promoting the need for a genuinely Just Transition.

For me, the parallels between the unfolding climate crisis and the events around the 1988 Piper Alpha disaster are striking. It’s a common place to say radical change demands a ‘burning platform’.  In Piper Alpha there is a well-documented concrete metaphor for the emerging catastrophe which requires critical reflection and vivid, accessible expression. On the night of 6th July,1988, 167 men died and 47 survived.  Two weeks ago, around 500 people died on the West Coast of North America. This week, over 150 lost their lives & livelihoods in extreme flooding in Germany, Belgium and the Netherlands.

Every year, thousands are forced to flee in the face of environmental degradation and the conflicts provoked by hunger, thirst and poverty arising from the climate emergency.

Perhaps the work can best be summarised by the poem Teach Your Child to Swim. One of a number which will be featured in the Wee Gatherin reading.

22.01

Thirty-three years ago a disaster occurred 120 miles North East of Aberdeen.  An Occidental oil & gas facility, Piper Alpha, was destroyed by explosion, fire and, ultimately, human negligence.  In the hours after 10 pm on 6th July, 167 men died.

I wasn’t there.

I knew men who were…some of whom survived.  I had, for a time, ‘moved South’ after the oil price slump of 1986.  I returned to Aberdeen in the aftermath of Piper Alpha and was involved, for a time, in the oil & gas industry’s response to the events of that night – ‘improved’ permit to work systems, drop down firewalls, emergency shutdown valves, safety cases and ‘STEP change’. Earnest endeavours to keep the fossil fuel industry intact in the face of an atrocious negligence arising out of arrogance and greed.

The Tory government, led by Margaret Thatcher, expressed sympathy whilst taking measures to limit trades union reaction and suppress calls for improved safety standards offshore.  Cabinet papers released in recent years reveal that these measures were encouraged by oil company representatives embedded in UK government and that Margaret Thatcher clearly had a great deal more sympathy and empathy with Armand Hammer, then president of Occidental, than with the families of those killed or injured as a consequence of Occidental’s negligence.

Over the last two years I have been working on a project – Pibroch – reflecting upon the events of that night – and their aftermath – as they parallel our current global situation in this time of Climate Emergency.  The parallels, for me, are stark and compelling.

“The Tory government, led by Boris Johnson, expresses sympathy whilst taking measures to limit societal reaction and suppress calls for improved environmental standards.  Cabinet papers will be released in future decades (if we’re lucky) revealing that these measures were encouraged by oil company representatives and their investors embedded in UK government and that Johnson clearly had a great deal more sympathy and empathy with fossil fuel interests than with the families of those killed or injured as a consequence of his negligence.”

Somewhere about 1998 I was offshore on one of BP’s Forties installations.  About 6.30 a.m., long before it was light, the platform shutdown and the flare lifted.  I, and others in the crew, waited in the dark of a portacabin on deck, awaiting instructions to go to muster, receiving no further instruction or update on the ‘situation’.  Waiting. Hoping.  And yes…complying, obeying.

Most of the men who died that night 33 years ago lost their lives following instructions and procedures, hoping rescue would come.  Some of them, I suspect, knew the installation was unsafe.  That was certainly what I was told by some of their colleagues in the years after.  But you’re on this platform together.  There is solidarity and a certain (misplaced) trust.

Most of those who survived chose to abandon ‘business as usual’ and take responsibility for their own lives.  The parallels with the current Climate Emergency seem to me compelling.

Please reflect on that as we drift into an ever more hazardous climate.

Rolling…

Busy weeks and getting busier. 

Elsewhere to Be, a collection of creative writing – fiction and non-fiction – I’ve been editing for the WORD Centre at University of Aberdeen has (finally) gone to the printers.  The writing was inspired by the lives and experiences of landless families displaced by the effects of agricultural expansion in the early to mid-nineteenth century.  Together they reflect on experiences of displacement, loss and recovery, of living on the margins and striving for better things, using the personal experience and imagination of present-day writers to explore the lives of those who made Bennachie their home during this period.  Written in English, Polish and Scots and skillfully translated by Beata Tschirch, the project was a great experience.  More information on a launch and where to get your copy as soon as things firm up!

Privileged to have my three-poem sequence, Lament for the Children, published in NorthWords Now Issue 41 in such good company.  The poems were written as part of the Pibroch project and inspired by Padraig Mor MacCrimmon’s pìobaireachd – Cumha na Cloinne.  The pibroch, Lament for the Children, was, indeed, central to the development of the show and collection – both of which are structured around the four ‘movements’ of that piece – urlar, dithis, suibhal and taorluth.

Poetry @ Books and Beans: Thursday 27th May

In the meantime, I’m actively looking for venues for Pibroch starting from July this year – and hoping we’re not driven back into lock-down.  An abridged version will feature as part of The Gathering in Stonehaven 23rd-25th July and I’ll be sharing some of the poems online later this month at Poetry @ Books and Beans: Thursday 27th May at 6.30 pm UTC+01.  Free and online.  Check out the Poetry @ Books and Beans facebook page for more information and links.  Will be joined by Sheila Templeton reading from her new collection – Clyack – and the usual enthusiastic line-up for the Open Mic.

And in the meantime2 , there’s still time to register for the online launch of Pushing Out the Boat 16 on Sunday 16th. Writing from around the world though with a North East flavour and a fine line-up of readers.

Time to get this show back on the road…

Well, I’m sure it has been an extraordinary year for most of us, and for many of us a year of loss and sadness.  For me, it has been, mostly, a year of isolation – wait and see, restricted for much of it to my home due to my high vulnerability to COVID-19.  Unlike many of friends in the global South, I have had the benefit of vaccination and the support of a government (in Scotland, at least) somewhat more concerned with the lives and health of their population than others seem to have been in countries like Brazil and, until recently, the USA.

A year of isolation and retreat has, however, provided an opportunity to focus fairly on writing projects and some associated music and film-making ideas.  It has also provided the opportunity to provide some online mentoring and editorial support for other writers and projects.

So, as we come out of lock-down (again and at least temporarily), it’s time to get the show on the road again on so many levels.

The Asphalt City

Over the last 12 months, with the help and support, in particular, of Mary Armour, I’ve produced (and re-produced and finally produced) Threads, a novel set in Angola, Scotland, the USA and South Korea between 2005 and 2011.

It is the product of first-hand experience, deep research and, perhaps most challenging of all, a determined empathy for all its diverse characters.  

Working in Angolan oil & gas operations in 2005, I was struck by the fact that the ‘pilgrims’ depicted in Heart of Darkness (1899) were alive and well in the 21st Century.  But any reprise of Conrad’s novella of the present age, has to offer a polyphonous, multivalent account, giving voice, especially, to indigenous perspectives.  In Threads, Caliban’s much-maligned mother, Sycorax, confronts Conrad’s Mr. Kurtz with the consequences of his actions and demands a compensation greater than his death. 

Adopting terms from Portuguese, Kimbundu, Calão and Scots, the tale challenges reader-expectations as the point-of-view switches between colonised and colonist, woman and man, living and ‘dead’, unfolding in a shatter-zone of experience and memory.

I’ll be posting more thoughts on the development of this really challenging project over the next few weeks.

Remains of Piper Alpha 7th July 1988
Remains of Piper Alpha 7th July 1988

Also ready to roll is Pibroch – my spoken word show and poetry collection exploring parallels between the Climate Emergency and the Piper Alpha disaster which occurred in the North Sea in 1988.

Pibroch was originally conceived a one-person spoken word performance with accompanying music and visuals.  And it still is and can be!   The pressures of the last year have, however, driven the piece to be far more digital that might otherwise have been the case and it will be suitable for streaming as an installation as well as a performance.  This has been a great opportunity to learn new skills in film making and music production which have been integrated into my practice. 

There is a complementary collection currently in preparation. Publication of Pibroch by Red Squirrel Press is expected in 2021.

More information on some of the themes and practical issues with the development of Pibroch will be appearing on A View from the Long Grass over the next few weeks.  So watch this space!

Fallen Stock – Poetry for life not just for Xmas.

Still a few copies of my first poetry collection – Fallen Stock – available.  Signed copies can be bought direct from the Shop here or visit Red Squirrel Press for a wide range of great titles.

So, if someone in your life (or you) fancy a wee bit of “mixing the absurd with the sublime” (Maria Apichella) or “reality in all of its rough complexity.” (Katie Ailes) or even “blue collar muscularity”(Martin Malone)…or all three! 

Look no further.

 

 

September…

Was a busy month. I haven’t been as attentive to this blog as I ‘should’ be…but, at my age, perhaps ‘should’ is a threadbare verb.

I’ve been very busy progressing two on-going projects.

Bass: a novel I started 12 years ago and, thanks to generous critical support from Martin Walsh, Mandy Haggith, Rae Cowie, Ashley Milne and especially Mary Armour, seems to be progressing towards a final-final draft.

Pibroch : a spoken word performance/ poetry collection for which I should acknowledge the support of Imogen Stirling, Hamish Napier, Aileen Ackland and Elizabeth Rimmer.

This has been a weird year (I am sure for all of us) but the opportunity to focus, at this point in my writing journey, on large and (I hope) important projects has been a blessing. As has the continuing support of such as rich and insightful variety of correspondents and critical friends.

Yes: perhaps these close ties would not have been forged in these unusual circumstances. But the power of these artistic friendships at this time has been invaluable.

Thank you all!

Some of the elements of Pibroch got their first ‘outing’ as part of the Geological Societies ‘Geopoetry 2020’ event this month. My thanks to Patrick Corbett, Norrie Bissell and all the other organisers. Sneak preview on @geolsoc YouTube channel 1hr 45m. Comments very welcome.

Return of WORD festival on the way.

Next week sees the return to the North East calendar of a dedicated literary festival with a great programme including some of my favourite contemporary writers including Eimear McBride, Leila Aboulela and Lemn Sissay.

Eimear McBride
Lemn Sissay

wayWORD runs from Wednesday 23rd September till Sunday, 27th, the new festival solves must of my ‘what will I do at the weekend?’ problems.

The festival has been devised and developed by students at Aberdeen University with support from festival director, Helen Lynch, but events are open to all, mirroring the style and emphasis of the annual WORD festivals hosted by the University until 2011. Great too to see the involvement of great local talent such as Mae Diansangu, Shane Strachan and Sheena Blackhall and space given to creative writing from across the region including work featured in Pushing Out the Boat and Leopard Arts.

Of course, in these times, most events are online so geography or lock-down status should be no issue. Register your interest in events at the site above and get it in your diary. Look forward to seeing you there.

P.S. Yes: I am reading in the Leopard Arts – Pushing Out the Boat event on Sunday evening.

May PodFest from Aberdeen University

Spread the word! University of Aberdeen’s May Festival couldn’t go ahead this year because…well, you know!
But fortunately there’s… PodFest – launching today. Don’t miss it! Kicking off with podcast by art/music/poetry combo Pete Stollery, Martin Malone & Bryan Angus. Full programme and access details below. Enjoy.

Thanks to Helen Lynch and the rest of the crew for keeping the show on the road.