Category: Culture

  • Nordic Mythology & Iceland’s Sustainable Transformation

    Renewable energy transitions have increasingly been recognised not only as technological and environmental imperatives but also as drivers of community resilience, socio-economic innovation, and energy security. In the Nordic region, ambitious renewable energy policies and high shares of renewables in energy consumption reflect a shared commitment to sustainability that encompasses social participation, democratic engagement, and community-level agency (Nordic Energy Research, 2023). The Nordic energy tradition, where energy systems are deeply intertwined with the social and economic fabric of society, resonates with themes from the region’s oldest cultural narratives.

    Norse myth repeatedly ties elemental forces to human life and transformation. In the Poetic Edda, the prophecy of Ragnarök depicts fire as both destructive and transformative: “Hot you are, and rather too fierce… the fire scorches the fur” (Grímnismál, stanza 57; Bellows, 1936). Beyond mere destruction, the myth narrates the rebirth of the world, where a new earth rises green from the waves and life begins anew (Völuspá, stanzas 59–62). This cycle of destruction and renewal provides a compelling metaphor for contemporary energy transitions: they are not only technical shifts but societal transformations that reshape communities, economies, and regional identities (Norsetraditionschurch.org, 2024).

    The Norse concept of the Three Norns – Urðr, Verðandi, and Skuld – who weave the threads of past, present, and future can inspire the context of energy planning, they serve as a symbolic reminder that decision-making must consider historical legacies (Urðr), current conditions and needs (Verðandi), and future consequences (Skuld). This framing underscores that sustainable energy transitions are not only about technological deployment but about long-term societal foresight, learning from experience, and anticipating intergenerational impacts.

    Within this broader Nordic and mythological context, Iceland’s renewable energy experience exemplifies how energy-based enterprises can act as agents of both environmental sustainability and inclusive socio-economic development, reflecting the kind of long-term, multi-stakeholder foresight highlighted by Mukhopadhyay and Ianole (2018). The organisational strategies and governance mechanisms observed in Icelandic initiatives reflect wider regional patterns of collaborative planning, community-centred engagement, and long-term resilience building. Together, the insights are central to understanding how energy systems can function as mechanisms of sustainable transformation and shared prosperity.

    Turf houses have been constructed since Iceland was settled in the 9th century.

    Linking Myth to Practice: Iceland’s Energy Enterprises

    Iceland’s renewable energy sector exemplifies the ‘destruction > transformation > renewal’ paradigm. From the early, state-led hydropower and high-temperature geothermal projects to today’s community-integrated industrial strategic enterprises, energy has served as a tool for economic revitalisation, social equity, and environmental stewardship. The foresight suggested by the Three Norms is evident in multi-generational planning, which considers historical reliance on fossil fuels (Urðr), present community and industry needs (Verðandi), and future sustainability and climate obligations (Skuld). Iceland’s energy-based enterprises demonstrate that technological innovation must go hand-in-hand with social licence, governance structures, and community integration to achieve long-term success.

    Case 1 – Baseload Power Iceland: Decentralised Geothermal for Local Development

    Baseload Power Iceland focuses on small- to mid-scale geothermal plants designed to tap underutilised low and medium-temperature resources. Unlike large-scale national utilities, Baseload develops modular and flexible plants situated close to local demand centers. A prominent example is the Kópsvatn geothermal plant, which generates both electricity and heat for surrounding communities. The enterprise’s community-integrated approach ensures partnerships with municipalities, landowners, and local utilities, creating strong stakeholder alignment and minimising opposition.

    Socio-economic impacts are wide-ranging: the project generates local employment across drilling, construction, and ongoing maintenance; it provides affordable energy access for households, farms, and small businesses, reducing heating and electricity costs; and it supports productive energy use in sectors such as greenhouses, aquaculture, and fish-drying facilities, securing local food security and small business resilience.

    By reducing reliance on fossil fuels, the initiative also strengthens household economics and insulates communities from global energy price shocks. Baseload’s model strongly contributes to SDG 7 (Affordable and Clean Energy), SDG 8 (Decent Work and Economic Growth), and SDG 11 (Sustainable Cities and Communities) by embedding energy provision within social, economic, and ecological frameworks. The community governance structures enhance local agency, demonstrating how small-scale renewable initiatives can empower residents, encourage participatory decision-making, and stimulate multi-sectoral growth. Baseload thus offers a replicable blueprint for integrating energy entrepreneurship with social and environmental objectives in other geothermally active regions (Baseload Power Iceland, 2024).

    Case 2 – Fjarðarorka: Wind-to-Green Ammonia for Regional Industrial Transformation

    Fjarðarorka is spearheading one of Iceland’s largest renewable industrial initiatives, combining a 350 MW onshore wind farm in Fljótsdalshreppur with a green ammonia production facility projected to produce 220,000 tonnes annually. The ammonia targets maritime decarbonisation while positioning East Iceland as a hub in the global green fuel economy. The project carries significant regional development implications: East Iceland has historically faced economic marginalisation and population decline, and the Fjarðarorka initiative offers a pathway toward reversing these trends. The project supports high-skill employment in construction, operations, logistics, and chemical processing; drives infrastructure improvements, including roads, grid capacity, and data systems, which have spillover benefits across other sectors; and stimulates diversification in local industry.

    The Orkugarður Austurland platform, which engages landowners, municipalities, and businesses in planning and benefit-sharing, exemplifies community-centered governance and anticipatory planning. Environmental and social sustainability are central: the project is expected to avoid approximately 500,000 tons of CO₂ emissions annually, supporting Iceland’s climate commitments. These outcomes align with SDG 9 (Industry, Innovation, and Infrastructure) and SDG 13 (Climate Action), illustrating how large-scale, export-oriented renewable energy projects can simultaneously drive regional equity, stimulate regional economy boost, and maintain environmental sustainability (Fjarðarorka, 2024; Daily Northern, 2024).

    Case 3 – Geothermal District Heating System: Public Infrastructure and Socio-Economic Equity

    Iceland’s geothermal district heating system provides energy to over 90% of households, representing one of the world’s most advanced examples of public energy infrastructure. Its socio-economic benefits are long-term and multi-dimensional. The system provides affordable energy access, dramatically reducing household heating costs and enhancing quality of life. Macroeconomic resilience is also strengthened, with estimated contributions of 7% of GDP through fuel import savings and support for energy-intensive sectors such as greenhouses, tourism, aquaculture, and fish processing (Atlantic Council, 2022).

    Social equity is embedded, as coverage spans income levels and geographies, while public ownership and regulatory oversight ensure that clean energy benefits are widely shared. These outcomes contribute directly to SDG 7 (Affordable and Clean Energy), SDG 10 (Reduced Inequalities), and SDG 11 (Sustainable Cities and Communities). The system exemplifies anticipatory planning consistent with the foresight symbolised by the Three Norns: past experience (Urðr) informs present operation (Verðandi), while future sustainability (Skuld) is safeguarded through careful governance and long-term investment. Iceland’s geothermal district heating demonstrates how public infrastructure can simultaneously promote community wellbeing, industrial competitiveness, and sustainable energy transition.

    Table 1: Organisational Approach, Community Impact, and SDG Relevance of Icelandic Energy-Based Enterprises

    Enterprise / Project Organisational Approach & Strategy Key Community & Socio-Economic Impacts Relevant SDGs
    Baseload Power Iceland Modular, decentralised, community-integrated; partnerships with municipalities and cooperatives Local job creation; affordable energy; support for productive uses (greenhouses, aquaculture); regional economic diversification 7, 8, 11
    Fjarðarorka Wind-to-Ammonia Large-scale, export-oriented; multi-stakeholder governance; industrial transformation focus High-skilled employment; regional infrastructure; stakeholder participation; regional economic revitalisation 7, 8, 9, 13
    National Geothermal District Heating Publicly owned; long-term planning; robust governance; operational efficiency Affordable universal energy; industrial co-benefits; macroeconomic savings; social equity; population retention 7, 8, 11

     

    Gullfoss, an iconic waterfall of Iceland.

    Takeaways… Cross-cutting Policy and Business Insights

    The Icelandic experience demonstrates that decentralised and community-integrated energy systems, such as those pioneered by Baseload Power Iceland, can empower local economies by providing reliable, affordable, and clean energy backed by strong social license to operate. Embedding projects within community priorities and governance structures enhances resilience, encourages local stakeholder engagement, and aligns long-term economic development with sustainability objectives. For policymakers, this underscores the importance of regulatory frameworks that not only enable smaller-scale projects but also incentivise partnerships between public authorities, private enterprises, and local communities. For business leaders, the lesson is clear: energy investments are more sustainable and viable when they are socially embedded, responsive to community needs, and designed to generate local value alongside financial returns.

    Large-scale, export-oriented renewable projects, exemplified by Fjarðarorka’s wind-to-green-ammonia initiative, highlight the strategic potential of renewables to drive regional industrial transformation. By stimulating diversification in historically mono-industrial areas and generating high-skilled employment, such projects can reverse patterns of outmigration and economic stagnation. Their success, however, depends on transparent stakeholder engagement, governance mechanisms that ensure equitable benefit sharing, and careful environmental stewardship. For business leaders, these projects illustrate that commercial competitiveness increasingly requires balancing economic ambition with social and environmental accountability. Policymakers, in turn, are reminded of the need for frameworks that integrate industrial, energy, and regional policy, enabling innovation without compromising equity or environmental protection.

    The geothermal district heating network further reinforces the critical role of sustained public investment in achieving equitable, inclusive, and resilient energy systems. By providing near-universal access to low-cost heat, the system has stabilised household expenditures, supported energy-intensive industries, and reduced dependence on imported fossil fuels. The macroeconomic benefits are substantial, but equally important are the social gains, including improved energy security and reduced exposure to energy poverty in rural and urban communities alike. For businesses, reliable, low-cost energy inputs facilitate operational planning, encourage competitiveness, and encourage innovation. For policymakers, the Icelandic experience signals the value of maintaining public oversight or strong regulatory safeguards for critical infrastructure, ensuring that energy transitions advance both economic and social objectives.

    A cross-cutting lesson across all examples is the imperative of multi-stakeholder governance. The Icelandic model shows that energy transitions are as much socio-political undertakings as technical or economic ones, requiring inclusive institutional arrangements that integrate energy planning with land use, regional development, and community priorities. Platforms that bring together communities, governments, investors, and academia not only enhance legitimacy but also improve project outcomes by anticipating and mitigating potential conflicts. For both business leaders and policymakers, the emphasis is on designing systems where commercial ambition, social license, and sustainable development objectives are mutually reinforcing rather than in tension.

    Conclusion

    Iceland’s energy-based enterprises exemplify how clean energy can be a lever for both economic and social development, balancing technological innovation with community empowerment and sustainability. From small-scale, community-embedded geothermal projects to large industrial wind-to-ammonia initiatives and long-standing public heating systems, the country demonstrates that energy transitions are not only technical but deeply social and economic endeavours.

    By linking these practical examples to Nordic mythic narratives, the analysis highlights the importance of foresight, resilience, and intergenerational thinking in energy planning. The cycle of Ragnarök ‘destruction > transformation > renewal’ together with the guidance of the Three Norms, emphasizes how past experience, present action, and future consequences must be integrated to achieve socially, economically, and environmentally resilient energy strategies. Iceland’s approach thus offers a practical blueprint for designing energy systems that are technically sound, socially inclusive, and economically transformative, with lessons extending well beyond the Nordic context.

    Feature Image: Francesca Ungaro

    References

    Atlantic Council, 2022. A geothermal leader: The case of Iceland. [online] Available at: https://www.atlanticcouncil.org/blogs/energysource/a-geothermal-leader-the-case-of-iceland [Accessed 17 March 2026].

    Baseload Power Iceland, 2024. Projects & community energy. [online] Available at: https://www.baseloadpower.is [Accessed 17 March 2026].

    Bellows, H.A. (Trans.), 1936. The Poetic Edda. New York: American-Scandinavian Foundation.

    Daily Northern, 2024. Fjarðarorka plans large wind farm in Fljótsdal to reduce emissions from Iceland’s fishing fleet. [online] Available at: https://www.dailynorthern.com [Accessed 17 March 2026].

    Fjarðarorka, 2024. Wind-to-Ammonia Project Overview. [online] Available at: https://fjardarorka.is/en [Accessed 17 March 2026].

    Larrington, C., 1999. The Poetic Edda. Oxford: Oxford University Press.

    Mukhopadhyay, B. & Ianole, R., 2021. Community level impact of solar entrepreneurs in rural Odisha, India: the rise of women led solar energy‑based enterprises. International Journal of Entrepreneurship and Small Business, 42(4), pp.472–503. [online] Available at: http://www.inderscience.com/link.php?id=114240 [Accessed 17 March 2026].

    Nordic Energy Research, 2023. Nordic energy statistics 2023: Renewable transition and societal impacts. Oslo: Nordic Energy Research. [online] Available at: https://www.nordicenergy.org [Accessed 17 March 2026].

    Norsetraditionschurch.org, 2024. Ragnarök: The fate of the gods in Völuspá. [online] Available at: https://www.norsetraditionschurch.org/post/ragnar%C3%B6k-the-fate-of-the-gods-in-v%C3%B6lusp%C3%A1 [Accessed 17 March 2026].

    ThinkGeoEnergy, 2021. GeoENVI: The many economic benefits Iceland got from using geothermal energy. [online] Available at: https://www.thinkgeoenergy.com [Accessed 17 March 2026].

  • Poem: Chimera Times

    Chimera Times

    You’ve lived beyond your relevance—
    Another song, another age,
    Another line while in a trance,
    Routine by prompt, an empty stage.
    The art lives past the life, and all
    They want is what you did when young,
    The bright first thing, the curtain call,
    When fireworks flew and bells were rung.
    Yet still the audience appears.
    The props are now collectible,
    But all creation’s in arrears,
    And art is imperfectible.
    A shiver slices to your core.
    Your fans will get the eulogy
    Before you end the trilogy
    You started many years before:
    A snowball with a granite shard,
    The encore to an emptied hall,
    The dance all done, the classics played.
    Back then it was not so hard
    To be the major act, enthrall
    Your fans, at least the ones who stayed.
    A fad will rise, a bubble pop
    With the slightest touch. The greatest hits
    Came out before you called it quits,
    And “timeless love” was set to stop.
    You won the day but lost the war,
    Remembered as the one who did
    That thing, you know, the thing he did,
    The thing he does for one more tour,
    The thing he did, the thing he did before.


    Feature Image: The Chimera, by Louis Jean Desprez, 1777-1784. Source: The Metropolitan Museum of Art

  • Musician of the Month: Cedar Dobson

    I am a California native Irish traditional musician based in Ireland. I started playing music when I was around seven years old, beginning on piano and the Native American flute, which was my first wind instrument. My dad bought three of these flutes before I was born, and I am still playing them to this day. I tried various instruments as a child, including clarinet, saxophone, various percussion instruments, the accordion, and a few others. It wasn’t until I was eleven-years-old however that I discovered the tin whistle.

    I was about to board the bus back from an American Civil War reenactment in Mariposa, California, when I visited the souvenir stand. I bought a tin whistle from a barrel and my life changed forever. I played it on the bus heading home, then occasionally throughout the year, setting it down for a while before picking it up again in May 2014.

    I was inspired by a few film scores and remembered a tune that my grandparent’s friends played at their barn, which was called ‘The Swallowtail Jig’. I searched for this tune on YouTube and the gates of traditional Irish music heaven opened for me. I have been ‘tradicted’ ever since!

    I listen to many different sources of traditional Irish music as well as folk music from around the world, classic rock, American folk, jazz, and more.

    These influences have made an impact on my playing. My style is my own creation, influenced by these genres and specific individuals suchas Brian Finnegan, Alan Doherty, Ali Levack, and others. It is highly percussive and energetic, which reflects the person I am.

    I am currently working on an album that will be released on March 23rd. I co-engineered and mixed four albums, including ‘Harmonies’ (a flute and whistle meditation album), ‘Decade’, (a traditional Irish music album with a contemporary twist), ‘Tradify’ (an album that features a band I was in), and ‘A Whistle Wonderland’ (Christmas music treated as traditional Irish tunes).

    The album that will be released this month is entitled ‘From Kolkata to Dublin’, which is a minimally produced album featuring the Indian tabla, tin whistles, and exotic/rare wind instruments.

    I am planning to record duets with tin whistles and harmonica/button accordion this month, and to record an album of traditional Irish music that suits the Chinese Hulusi.

    As I write this, I am in the middle of eight days of gigging in Dublin. Six gigs down, three to go!

    I am a full-time musician, gigging every week and offering my remote recording services, teaching, custom tune compositions, and more.

    I am also currently forming the Cedar Dobson Band, which will consist of two or three musicians that will be performing at various festivals within Ireland this year as well as abroad.

    One of my greatest joys in life is to perform and share my original music and arrangements with others. This music is my life and I love it so much!

    I am expanding my horizons by diving into the world of gypsy jazz, playing complex solos on the low whistle. I am planning to film professional music videos to send to festivals as one of my goals is to play in Celtic connections next year. I just want to play the music that I love so much with others who appreciate it. That way I will able to express my emotions through music and hopefully touch other people on a deep level. Music is so powerfully emotional and it’s vital for us during this time in history.

    I post videos nearly every day on social media and YouTube. I post a tune of the week every Sunday as well as videos of exotic wind instruments and videos of me riding a unicycle while playing the tin whistle simultaneously. Indeed I love a good challenge and unicycling while playing the tin whistle has been just that!

    I hope to break into the scene more within Ireland and Europe as I am striving for more fulfilling opportunities, such as performing in festivals and in beautiful venues. I am grateful for every opportunity though, as they have made a positive impact on me. I am making valuable connections more often now than before.

    I moved to Ireland from California to experience the music as it is in all of its glory, honesty, and rawness. I’ve been based in Ireland for nearly five years and I am absolutely living the dream! I’m so grateful for every opportunity. I am now looking forward to traveling within Ireland and abroad, sharing the joys of music with others and hopefully offering moments of peace, joy, and lightness to others.

    This music has formed me into the person I am today. Endless gratitude!

    Latest Album: Decade https://cedardobsonmusic.bandcamp.com/album/decade

    Instagram: https://www.instagram.com/cedar_dobson_music?igsh=MWF3a2hxc3Z5bHU0bg%3D%3D&utm_source=qr

    Website: www.cedardobson.com

    YouTube Channel: https://www.youtube.com/@CedarDobsonMusic

  • Podcast: Ward Bosses and Alligator Bishops: Irish Americans and Tammany Hall with Terry Golway

    For this Saint Patrick’s Day episode, Luke Sheehan asked Irish-American historian and New York history expert Terry Golway to help create an overview of the Irish American experience, with a focus on post-famine migration and the infamous Tammany Hall.

    Episode Credits:

    Host: Luke Sheehan

    Music: Loafing Heroes – ​​https://theloafingheroes.bandcamp.com

    Produced by Massimiliano Galli – https://www.massimilianogalli.com

     

  • Fiction: PANOPTICON

    The Panopticon

    The panopticon is an architectural design for institutional buildings with an inbuilt system of control. Originated by the English philosopher and social theorist Jeremy Bentham it was later derided by historian Michel Foucoult as replacing fetters with hidden observers, thus creating a form of obedience that is based on information rather than force. The panopticon at the Rilhafoles Hospital in Lisbon – later renamed after Dr. Miguel Bombarda – was built in 1896 and was closely based on Bentham’s ideas.

    Lisbon July 7th 1951

    After more than ten years of incarceration Vladimir was moved to a new cell in Block 8 where they could keep a continuous eye on him. Within a few days he had made the new cell his own with his caged birds, his wildly coloured crocheted doilies, his dolls and his huge picture of the Virgin Mary with vividly painted lips, kohled eyes and a sly side-gaze. When Tiago, the “good” nurse, asked him

    Do you like it here Vladimir?

    Yes. It’s peaceful.

    Don’t you want to ask to leave now?

    No, no. Anyway, who would I ask? The director’s a madman.

    Apart from the disruption of the move Vladimir hardly noticed the new conditions. He knew they were watching him but there was nothing new about that.

    Stuttgart May 7th 1937

    He was a madman, that Portuguese dancer in the corps. Wild mad beautiful.

    This dream had none of the flickering monochrome of “archive footage”: it was as bright and vivid as life itself. He saw the gloved male hand on the door of the sleek limousine. He saw the porcine reddened faces, the uniforms, the flowers, the glint of glass against the plush of the theatre. He was whisked off to luxurious palaces, given costly wines and white powders. In this new and shining prison he was given a whiff of freedom. He was, yes, maddened by it. Sex, beautiful clothes, the smell of money and power drove him mad, unanchored as he was from anything except the actuality of the dance, the orchestra, the theatre, the money he was given every week, the lovely wild greedy boys, the new uncouth country, language and culture, the fawning adoring old men in uniforms. The freedom – or whatever it might be – was delicious and intoxicating and he drank it so, so eagerly.

    Lisbon, May 9th 1980

    The journalist showed up after breakfast. She asked lots of questions to which Vladimir replied honestly but somehow unsatisfactorily. He answered her questions about his time as a dancer touring in Spain and Germany just before the war but he seemed unable to link his own experience to the momentous political happenings of the time and even seemed unaware of the fact that he had been courted by the beasts of the regimes. She was kind to him and endlessly patient as Vladimir provided her with nothing. She asked to look at his paintings and clothes and dolls and suggested that he might consider doing a self-portrait.

    Lisbon, April 26th 1974

    There was a revolution in progress outside.

    The good nurse was late and when he did show up he brought with him a transistor radio which played jolly martial music interspersed with announcements from the Armed Forces Movement. The good nurse hadn’t shaved and looked different somehow, radiant with some hidden happiness.

    Everything’s going to change now, comrade. The revolution has just started. The new world will be for all of us. You too Vladimir. There’ll even be a place for you.

    Vladimir didn’t share the good nurse’s optimistic outlook.

    My dolls don’t quite believe you. They think we’re here for ever.

    Vladmir pointed to his dolls ranged on the bed and on every surface in the small cell.

    No, no, no. In time we’ll all be free. Even your dolls. This place is the old world. It’ll all be swept away I promise you.

    Be careful what you say. The walls have ears.

    Lisbon, November 9th 1980

    As soon as he could Vladimir made good on the promise of his vivid dream and painted a moustache on his picture of the Blessed Virgin. When good nurse Bruno saw it he asked what had happened to the lovely virgin. Oh, said Vladimir, she asked me to make her hairy. Bruno was not a very devout Catholic but, although he thought the addition of the moustache was rather disrespectful decided not to comment any further. The weather had turned cold and Vladimir had enveloped himself in a number of the crocheted blankets he had made over the years. The bold stripes on the blankets made him look as though he had been bound and trussed. On his head was a carefully-made headdress of knitted items and artificial flowers.

    You think he wouldn’t like it, says Vladimir, I mean the moustache.

    Who, says Bruno.

    You know….Dr. S. He wouldn’t like to have a hairy Madonna perhaps.

    Dr. S? l

    Yes, he might not approve I suppose.

    Oh Vladimir! He’s been dead for more than ten years.

    Oh, I know but it’s still important what he thinks. Isn’t it?

    No. Not any more.

    Oh, so I can keep the moustache?

    Have you fed your birds yet?

    Dr. Salazar.

    Lisbon, May 7th 1948

    They were very nice to him before the operation. Even the bad nurse. No-one really told him what the operation was or what it was meant to do but he knew that it was a new and revolutionary surgery invented by a Portuguese doctor and that they’d be opening up his skull and that afterwards he’d be free to go and live his life and wouldn’t have to come back to the hospital.

    Leucotomy? Lobotomy? Dr….. Moniz?

    Lisbon, 10th September 1948

    He remembered nothing of it afterwards. They had all told him that it would calm him and make him happier but all he felt was a bit of a headache and some anguish about his head being shaved and swathed in bandages. They kept telling him he was better but he felt just the same. Still full of lust and fury, still only interested in what they called “feminine arts”, still wanting to dress in women’s clothes. So after a short and frightening time in what they called the outside world, here he was, back under their vigilant gaze of the panopticon and the ministrations of the good and bad nurses.

    Lisbon, July 10th 1982

    Vladimir had a huge surge of energy and at last set to work on the self-portrait that the journalist had suggested to him. He used his usual brilliant colour palette and black outlines but this time he was unable to confine the image of himself to the limits of the canvas and his feet, ears and the top of his head were all cut off. He gave himself the same vivid red lips and the heavy eye make-up that he’d given the Blessed Virgin and dressed himself in a variety of vibrant materials. In each of his hands, held in front of him, perched a bird, one blue, one yellow.

    January 23rd 1983

    Is that you? said the bad nurse, pointing at a black and white photograph of a handsome young man in a suit and tie leaning against a car. No, said Vladimir, it’s not me, but he threw me like a doll onto the bed. I think this is me. He indicated another old photo, this time of a dancer onstage and suspended in the air with his feet together, his arms aloft and his painted face triumphant but somehow fearful.

    They all came to Stuttgart and they took us off in their cars. Then we went to Berlin and then they brought me here. Ja, mein herr! Ja, ja!

    Prometheus. Beethoven, Petrushka. Stravinsky. Dolls. Puppets. Ja, ja, ja!

    January 10th 1986

    It was the current bad nurse, Adérito, who broke the news. He was just the latest in a succession of good and bad nurses over the past four decades. Their names changed but they were always either good or bad. Vladimir hadn’t painted anything or made anything for over a year and he was, at last dispirited, hunched in his chair and swathed in blankets.

    You’ll be leaving soon.

    Where am I going?

    That’s your business. But we’ll be free of your nonsense at last. Vladi.

    Nonsense?

    Your knitting and dolls and dressing up and lies.

    Vladimir took the shawl from his shoulders and flapped it at the bad nurse.

    Careful, sweetie, said the bad nurse. Or we may have to take away your privileges again. And then what would happen to your birds?

    Vladimir struck a pose.

    The next day he died.


    Feature Image: Section view of a panopticon prison drawn by Willey Reveley, circa 1791. The cells are marked with (H); a skylight (M) was to provide light and ventilation.[

  • Poem: ‘The con cometh’

    The con cometh

    The demon smirks, having laid out her wares.
    Will they see what she’s doing?
    Will they realise how they’re being taken in?
    Not all will grasp how an influencer works.
    She hopes they won’t. Her power over them
    depends on her ability to cajole and deceive.
    She insinuates herself into their thoughts,
    whispering temptations, telling them that the world
    is theirs for the taking. Only a click away.
    It’s not all about apples. Other goods are available.


    Feature Image: Max Beckmann – Family Picture (1920)

  • Flash Fiction: Book Lover

    I cruise the Philosophy section of Hodges Figgis, watching, waiting. Like an old-fashioned spy I stand there on the third floor, book held up high for cover, my eyes glancing left then right over the top of it, solicitously. There are a lot of people around this afternoon; the rain has brought them in. For a while now I’ve been watching them hovering politely by the shelves, and it perturbs me to see them wanting to appear so proudly aloof from one another. Separate, despite their intimacy. Lonesome, despite their shared interests. Private and untouchable: that desperate middle-class nervous thing. The worst side of bookishness. I go back to my book, the alluring title of which is A Lover’s Discourse, and I read a few lines: the lover’s discourse is today of an extreme solitude. But before these words have time to sink in, a young woman, an attractive student-type, comes and stands next to me. Her jaw-length reddish-brown hair is wet from the rain, and she curls a strand of it back behind her ear as she tilts her head, browsing. Beneath her damp, navy denim jacket she wears a black shirt, open at the neck. Scanning the shelves, she moves closer to me, and I have to take a step back to let her reach in for what she needs. The proximity is unbearable. I curl my toes down hard into the soles of my boots and squeeze them there, tightly, in order to dissipate the tension, to savor the self-restraint. I glance up and see her lift a copy of Jacques Derrida from the shelf. She takes a step back to her previous mark, turns a little towards me, and smiles. I catch a glimpse of her thin dark lips, the sparkling darkness in the amour fou of her eyes. I have a type, I admit it, and she fits it perfectly. When she opens the book the front cover glares at me: On Touching. I look down at the page I am reading but I can barely follow a sentence. She’s picked up that book in order to signal to me. My mind races. I look over at her now. She does not return my gaze. Desperate to tempt this further, I prepare myself for a casual remark. But before I can cross that stunning divide, she closes the book, places it back between the others, turns, and walks away. With no parting sign or invitation to follow the whole ritual falls asunder. But still, I can hardly contain myself: Touch me. Soft Eyes. Soft soft soft hand. I am lonely here. Quiet here alone.

  • A Tender, Provocative Interweaving of Earthly and Divine

    Review: Eros Rex, poems by Haley Hodges, Orison Books.

    Brimming over with desire, Haley Hodges’ collection Eros Rex reverberates ‘like the plucked string of a lute’ (‘Innocence’) with stark, sensuous questions about Christliness and control.

    Hodges’ poems insist upon the reader’s attention in much the same way as the poetic voice demands attention from those who spark her desire, insisting upon an external authority to which power can be ceded. The headiness of many of Hodges’ poems stems from her depiction of the power within the giving up of power; the paradox of maintaining control by choosing to yield control. Again and again, the poetic voice issues commands – to religious authorities (‘Come climax / Christ, come Eros Rex’ in ‘Eros Rex’), to figures of amorous interplay (‘Make me your illumined cave / of wonders. Make me your clever girl’ in ‘Sapiosexual’) and perhaps to the reader, to the self, or both at once (‘Just try’ in ‘Maybe welcome it’). ‘Give me / the collar. Give me the crown,’ the voice commands in ‘Two Takes’, one of many images in which the wielding of control through the issuing of instructions is couched behind a veneer of subservience. And among the many imperative commands given to others, there are just as many expressions of internal desire, from the physical to the metaphysical. Perhaps the most evocative of these is found amidst the snow-covered world depicted in ‘Blizzard’, in which the poetic voice wishes for ‘snow Jesus / not acid Jesus’. As with many of Hodges’ most arresting phrases, the complexity of meaning brought forth despite the simplicity of the immediate image hits the reader as sharply as ‘Corrosive Christ’ (‘Blizzard’) eating away sin.

    There is an enjoyable purposefulness to the rather jarring juxtaposition of earthly and divine woven throughout the collection. The reader is immediately made aware that we will be oscillating between the grand and the everyday, the lofty and the mundane, through the contrast between the first and seconds poems. After the titular poem’s delicious portrayal of all-encompassing desire, extending beyond the mental and the physical to the realm of the spiritual (‘spasm / of the panting soul’), over the page we find ourselves among ‘plastic mustard packets’ and ‘five-/dollar duo deals’ – we have transitioned from the realm of Eros Rex to that of a different monarch, found much closer to home (‘Burger King’). This is one example of many in which Hodges seizes the control her poetic voice so clearly enjoys offering to others through her ability to keep her reader guessing, wielding her wit and unreserved boldness to great effect.

    Eros Rex oscillates between self-assured yielding in the name of pleasure and vulnerable exposure of the uncertainties of a soul adrift in a dark, unrecognisable ocean. While the likes of ‘Sapiosexual, ‘Master, Master’, ‘What was the best you ever had?’ and ‘Between the jaws’ confidently offer up a knowing eroticism with a certain glint in the eye, these are counter-balanced by the quiet stillness of ‘Heart Talks’, ‘Drifting’, and ‘What is memory, if not testament?’, each of which delivers its own sucker-punch ending. Of course, the sensual and the poignant are not divorced from one other – even amidst the eroticised religious imagery of ‘Master, Master’, there is a sudden heartfelt sincerity as the voice proclaims, ‘my love of you has been / the death of artifice’. Nevertheless, it is when the voice is not engaging in erotically charged power plays, but instead turns its focus inwards, that the single-minded confidence, unapologetic demands, and fiery sharpness of the more carnal poems are eroded like sea-glass. What remains is fragile, tender, and achingly poignant. When the satisfying and pleasurable sense of self-certainty is stripped away, we are left looking inwards with a quiet contemplation of isolation, purpose, and need.

    Many questions are put forward over the course of the collection, some more explicitly than others.

    Implicitly, the collection asks: Who are we when we are left alone?

    And explicitly: What is memory if not testament?

    Whether any reader believes that the answers can be found within these pages or not, we will surely find ourselves with much to contemplate in seeking them, buoyed by the ample richness of imagery and sound that makes up Eros Rex.

  • Cuckoo

    Cuckoo

    I fall to Wales
    between barred clouds and slate sea,

    trailing a long day like a banner.
    Coucou, I say, I am from Kinshasa 

    Cwcw, they say.
    Soft rain rills desert dust from my wings.

    I am not a migrant;
    this is my second home.

    I fathom the woods for dunnocks.
    Zulus call me unokukhukhuza.

    My eye is a universe.
    I quarter the meadows for pipits.

    My eggs hatch their terror like slow bombs.
    More! they megaphone.

    More! is not enough –
    they might swallow their parents whole.  

    They follow white thread stitching black roads to the coast.
    Their hearts’ compasses beat them south:

    Africa Africa Africa.
    The sun scags at their backs like a hawk.

    Forests applaud their arrival.
    Warm rain brooks Wales from their feathers. 

    Cwcw, they say.
    Coucou, I say.

    Feature Image: A chick of the common cuckoo in the nest of a tree pipit

  • Poem: Ion

    Ion

    Light itself is a chapel
    an east-west wash
    spilt on the Christmas rose.

    Space itself is a chapel
    a fruitless bowl
    flowers dried in a jug.

    Life itself is a chapel
    at water’s edge
    murmur of patient prayer.

    Feature Image: Saint Enodoc Church, Trebetherick, Cornwall, U.K.