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.
Tomorrow night – 11th February 2020 – sees the
inaugural event in STEM Poets programme of workshops and readings aimed at
developing a coherent and effective body of poetry and other writing which can
engage with and influence the outcomes of the ongoing Climate Emergency.
STEM Poets as a group was initiated by Eveline Pye in 2019
engaging a range of poets with a background, or special interest in Science,
Technology, Engineering or Mathematics. They support STEAM, a global initiative
to introduce the arts within STEM education in order to encourage creativity
and break down barriers between the arts and sciences. STEM poets believe it is
important that readers are presented with factually correct and truthful STEM
knowledge in works of imagination, specifically poems and short fiction, and
wish to promote informed writing on climate change. They want to encourage more
people to write about STEM subjects and will offer support and review of STEM
content. I am very pleased to count
myself as one of their number.
Tomorrow night’s event will involve a discussion between
Eveline and Colin Will, exploring some of the ideas and issues around Climate
Change poetry, many of which have been outlined in Eveline’s recent essay
published by Glasgow Review of Books.
The issues around STEM poetry and climate are, at even a
cursory exploration, complex and fascinating.
How is the complexity of biophysical processes communicated clearly and
coherently in ‘verse’ – as opposed to their natural vernacular of algebra and
algorithms? How do we as poets and
scientists avoid bowdlerising reality in order to get an essentially political
Eveline’s essay explores guidance of ‘effective
communication’ on Climate Change from a number of government and academic
sources which, in summary, propose that effective climate change poetry ‘should’:
i) be clear, relevant and
coherent avoiding references which are unlikely to be understood by the general
ii) not rely on evoking fear either for the reader or the next
generation but should evoke positive emotions which support people’s internal
sense of agency – the feeling that their actions are meaningful;
iii) not be overly strident as this increases the likelihood that
the message will be discounted or ignored, and should avoid highlighting the
difference between the reader’s attitude and actions since this is more likely
to change their attitude than their actions;
iv) focus on past loss and the restoration of what has been lost,
near-term benefits and opportunities to avoid future losses rather than apocalyptic
v) help overcome negative associations and poverty attributions
associated with actions we want to encourage such as buying second-hand
furniture and clothes, drinking tap water and using public transport.
Talk about squaring the circle!
Having been active and interested in this area over the last
decade, I find these criteria challenging in the extreme in the context of a
single poem or even collection.
How to express the complexity – and often counter-intuitive
nature – of processes avoiding references ‘unlikely to be understood’?
How to avoid frightening or shaming individuals into apathy
How to avoid advocacy in a literature which is, no matter
your perspective – whether a denier, a mitigator or an adaptor – partial and political?
And how to present positive inducements in a situation
which, ‘scientifically’, seems to forecast few upsides for human societies or
the majority of other critters currently on the planet?
In this context, this project does not need individual poets
but a community of poets – with diverse (precise but necessarily limited) STEM
knowledge and a range of political and
aesthetic perspectives on this process.
There are those who see rewilding as a ‘good’…others, perhaps, the
preservation of a material ‘civilisation’ (for some) at great cost to other
creatures and fellow-human beings. Some,
in workshops and discussions, have been sanguine and of the view that a world
without people would be a ‘good thing’…bring on the next mass extinction! Let us start again. The planet will recover…and it will (whatever
that means?). (And who are ‘we’ in that ambition?)
All of the above are essentially political perspectives –
not scientific – and should be expressed and explored clearly and coherently in
an accessible literature – doing what poetry and fiction do best – exploring alternative
personal perspectives and trajectories – but staying close to the topic. That the climate IS changing and will have
many complex ramifications for all living things and their social connection.
One of the areas I am working on, at the moment, concerns
the Thwaites Glacier, part of the West Antarctic Ice Shelf which extends ‘into’
the Amundsen Sea. Thwaites Glacier is
melting AND calving at an accelerating pace due to complex hydrological and
physical processes which, though perfectly ‘logical’ confound the simple notion
that ‘ice melts’.
Essentially, studies suggest, warm water (well… 1.5 degC) is
being hosed towards the grounding line of the ice shelf by canyons in the
seabed (themselves relics of earlier glaciation). The warm water (Circumpolar Deep Water),
which ‘flows’ out of the Northern hemisphere, undercuts and destabilises the
ice, which is NOT floating but grounded on the sea bed hundreds, sometimes
thousands of metres down. Melting from below
and subject to bending stresses it calves, releasing fragments to the open
ocean which float north (and melt).
So…make a poem out of that (working on it!) The episode highlights the gap between
school-child physics (ice melts at 0 degC in some slow dripping process – like an
ice-cube in a glass – as the global temperature inches up through 1.5 degC to 3
degC above pre-industrial levels) and the complexity of geophysical processes
in the ‘real world’. In fact, local
geophysical processes are directing jets of warm water at the grounding line
and the thinning ice is collapsing. Think of a high-powered water jet rather than
It is estimated that Thwaites Glacier could account for 0.4m
of mean sea-level rise.
What does 0.4m sea level rise mean? And when might that happen?
How do I have agency in addressing this issue –
reduce my GHG footprint? Throw up sea-defences? Both?
Does the poet addresses the consequences or
the process – a nostalgic grieving over things I’ve never seen or experienced
but are about to be ‘lost’?
I am drawn back to one of my creative
touch-stones in this, advice attributed to the Chinese Song Dynasty poet and
scholar, Wei T’ai.
‘Poetry presents the thing in order to
convey the feeling. It should be precise about the thing but reticent about the
I am very much looking forward to tomorrow
night’s event at the CCA in Glasgow and an ongoing collaboration with fellow
writers and artists in this vital area. Hope
to see you there.
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