Poems at a Distance

Poems at a Distance

Distance, figuratively through a lens or over physical miles, brings a focus and perspective to the human experience; particularly in my case to a sense of connection and disconnection. When I am away, in those first few moments and days of separation, whether I am leaving behind home or returning to it – I feel this tension of being pulled apart. My voice here is that between lovers, but really, it’s the cry of what feels like home anytime you are separate from those who welcome you, who bring you back to yourself.

So here, a series of poems at a distance and what it is like to feel that connection and disconnection over miles or through a lens, from that which we love and which calls us home.

i.

Kiss me one thousand kisses
A single drop at a time
Kiss me under moonlight, rain and sky
Kiss me sweetly in the morning
Graze my cheek as you come and go
I will count each one as offering
I will learn it we go
Kiss me to finish an argument then end it anyway
Your thoughts are as fierce as your lips sometimes
I am learning you best this way
Let me taste the kindness on you
Let me taste til I’ve drunk you in
When I am drunk enough on you at last, one thousand kisses done –
Then give me one thousand more,
Til kisses are breathing and words and knowing
Til you can’t take them back.
Kisses like water when they are true
Healing the dust and the ash of you
Kiss me with your mind in the morning, touch me with thought all day
I am yours one thousand times over, in each single turn through space.

ii.

There is a curve of you
Where the light rests and if I could
touch you there, quietly
just a caress of atoms and
feel you breathe, life within you
I would rest complete.
But though your body rests
beside my body during conversation
You are beyond reach just now
holding yourself together
just where I want to hold you.
Release yourself, I demand
But it is whispered like a prayer.
Oh, how I long to touch the light in you.

iii.

In my dream I am half of nothing
And whole of a whole
I am the tree and the bud
One round curve kissed by light
Another curve in shadow
Half of nothing is the difference
And the whole of a whole is complete.
It is a sweet dream to be touched by the moon and caressed by darkness
When one is your hand and the other is also yours.

iv.

Touch me again with your eyes
Let me soak in your voice
A little longer, a little closer
The timbre of your pitch humming in the air
Whisper closely and touch me with a word or two
But do not touch me
I do not want to touch you more than a whisper
Not yet, not today
Today is the long, slow luxury of not touching what I want to touch
After tomorrow, I will have only to remember what it was like to wait on you, fingers, hands, lips
The hidden corner between your shoulder and neck
I should like to live there a while
Resting on your pulse, rising on your breath
So, just – there.
Yes, your fingers are gentle and go no further

Touch me but do not touch me yet.

v.

This is the view of my weary heart
Another hotel room with crisp sheets
Only one side of the bed will warm
and I reach endlessly into white blindness in the night
It matters not that you do not share my bed when I am home
My mind is warm with the thought of you so the bed is emptier while I am away
My thoughts return to you, no doubt sleeping on the other side of the earth.
You are all imagination to me now, too far away to be real, a phantom in the night when I long for home;
I chide myself now home is something, someone I do not know.
I cannot claim to know how you would lie beneath these sheets
Or occupy this space with me
But you do occupy it, softly, insistently.
I push back against your presence in my mind and wonder if you feel me occupying your spaces or feel me in your dreams.
I still myself against this ocean of pristine cotton; think only what is real.
I will pass this day and the next one too; I have lived long not knowing you –
I can sleep alone.

vi.

I am sleeping under the stars in the Czech Republic
Which has known so many names
for one small piece of earth.
I too, have many names.
Long, short, punctuated and sentimental.
Soft names and hard names made of history’s sad stories.
Like this land I breathe and walk on, I cannot direct you north or south on it or point you to clear winds.
Like this body, I cannot whisper how to map your way through me, my great city of Names.
Perhaps do what no other has, carve me a map of myself using only your name; the name you choose for me.

vii.

Sleep, love but do not sleep –
instead dream.
Dream hard and long and wild, no pretend
that dreams are mild or mannered things.
No, a dream is a phoenix of the day passed
and dragon of the day to come.
A dream is what carries you to me in the dark
between oceans and thoughts.
More than an imagining now, you’ve left some
thread of yourself on me
now in the dark, my mind can paint you in a dream
one thousand times over.
I need never be lonely but to
dream and remember you.
Sleep, love but do not sleep
dream of me instead in whatever colour
I have left upon your chest
or written in your mind.
Dream hard and long and wild
and meet me there in the long dusky cloud.
Sleep so I can reach you in my sleep.

Edith’s Omelettes.

Edith’s Omelettes.

A short story about Edith who can’t remember how to make an omelette. She may be losing her mind slowly or just rediscovering the joy of using the F word. There’s a little language, be warned if that’s offensive.

Edith’s Omelettes.

The omelette is gone.

“The fucking bastard!”

The well-loved chef’s pan is thrown into the sink, a foaming hiss of steam rising up and across the window.

Edith stands head down, tea towel over her shoulder with her hands pushing her frustration into the bench.

She checks and double-checks. Gas burner off. Off. Oven off. Off. Didn’t use the oven, she thinks, but just check again.

There is a small mound of flat-leaf parsley on the board. She opens the fridge and puts it slowly back into the packet. The indignity of herbs from a packet, she thinks. Slams the fridge door for emphasis to her thoughts.

Fucking bastard omelette.

Edith shakes her head slightly and purses her lips, running her tongue between her teeth and upper lip.

‘Is that a new habit or something I have always done?’ she wonders, reaching for the tea cup with some half-tepid green infusion. ‘Good for my health, those fucking nutters. If they weren’t my own children, I’d never drink this shit,’ the internal dialogue continues.

Her thumb catches on the lip of the cup as she picks it up. She likes to get a decent grip on it these days and because her mother is nowhere near, there can be no complaints about ladylike behavior.

“You’re 62, for fuck’s sake, Edith. You can hold the cup anyway you like!”

That was out loud, she realized. “Well done, love. Probably gave the neighbours a thrill with that one.”

That’s what the vague pricking sensation in her thumb was. The pain, if you could call it that (which Edith wouldn’t) from a tiny scratch on the tip of her thumb made by the bright, white edge of where the cup has chipped. She holds it closer to her face and sees a faint smudge of red.

Smash, crack, splatter.

Edith laughs out loud and keeps laughing. She has thrown the tea cup against the wall and now the shards sit on the floor in a kind of halo, while the green tea drips in long strands across the counter and down the cupboard door.

‘Would you look at the legs on that,’ Edith smirks (internally, of course). A quick calculation (she is fairly certain none of the kids will be back until the weekend) tells Edith she has at least two nights to clean it up because she is almost 100% confident it’s only Wednesday.

She walks to the fridge and looks at the lists pinned there.

Yes, definitely Wednesday. Thursday’s deadline is fast approaching.

On the next list, Edith looks at the fourth item listed and makes a single stroke next to it. She’ll try the omelette again tomorrow, she decides, but only twice – because it’s an omelette and if it’s still gone tomorrow, well, then damn it all to hell.

On the third list, the first five items are already crossed off. Edith has been making good progress here, but the sixth has proved problematic. Still, a Wednesday night at 6pm should be perfectly reasonable to walk up and get a table, she surmises with confidence.

She moves through the kitchen with a kind of graceful efficiency you would expect from someone who accomplishes an omelette with ease; the apron off and hung in the nook beside the pantry. Tea towel back over the oven rail and a decisive ‘Whack!’ as the cookbook closes.

She picks up her cellphone and calls the cab company from speed dial. “Yes, thanks. Just one from 23 Macintosh. Ready now.” Click.

You must be efficient wherever possible. Don’t waste words and risk getting caught in a conversation or train of thought that isn’t precisely about the current task.

Edith’s inner monologue is full of these little commandments. Of course, there is a wryness to her thinking, because if she followed half her own advice half as well as she ought, then she probably would’ve already crossed this restaurant out weeks ago.

She makes her quick revision of tasks as she prepares to leave the house; first handbag, then checking the list inside it. Keys, phone, purse, notebook, lipstick. Ok. Next the bathroom; taps off. Off. She sees the light of the bedside lamp as she moves down the hall and into the kitchen. Oven and elements all off. Off. Fridge closed. Ok.

A brief pause at the hallway mirror to reapply her lipstick.

‘Really? This I can do with my eyes closed or basically in the dark, but I can’t make an omelette without burning the pan?I’

She hears the cab pull up and triumphantly emerges from the front door before the horn toots. Edith is secretly pleased with her efficiency in the last hour. There is a burnt pan in the sink and the remnants of a tea cup on the kitchen floor but she has managed to escape the house in the blink of an eye and feels much closer to achieving Thursday’s goal already.


 

“Table for one, ma’am?”

“Yes, thank you. By the window, if you can. I’ll have mineral water to begin, also. Not tap. Ok?”

“Of course. Follow me.”

Pleasant, but not overly endearing, Edith thinks. The seat by the window looks lovely, a nice view of the rest of the small suburban bistro, yes – this will do. A decent slice of the kitchen is visible but nothing is too theatrical in the fit-out. Pleasant, but not too pretentious.

She picks up the cutlery, getting used to the feel of it in her hands. It’s weighty and well-balanced. There is some relief in this, as last week a fork had unexpectedly slipped from her grasp and left streaks of marinara sauce all over her pale pink blouse.

Edith used to relish these nights, inviting friends and dragging them around the city to every new and favourite haunt. They used to simply decide on the night which restaurant on the list they would choose. Her husband used to refer to it as ‘The List’. It was, for a long time, the only list.

Now Edith has a list for nearly everything. A list in the handbag to make sure she’s never without what she needs. A list beside the telephone in the hallway of names, numbers and when to call. Edith believes that list is going a step too far. So far she hasn’t missed a single appointment or even needed to use the list, but the kids are always going on about things like that.

Focus. It’s simply a matter of maintaining focus. Which is why she takes a cab now, instead of driving. Easier to stay focused on the task. A single restaurant or location. Simple.

“Ma’am?”

“Oh yes, hello.” Edith is a little startled but finds herself talking to the pleasant maître d again.

Just typical to lose track of myself while I’m thinking about focus. Dammit. Also, funny. Keep your sense of humor at all times.

“Have you had a chance to review the menu? Perhaps I could tell you about the specials?”

“Yes, that would be fine.”

He smiles gently.

Ahh, that’s it. He’s not quite figured out if I am happy or sad to be dining alone. Not sure what to say so he’s keeping it bland. It’s ok, we’ll manage.

“Excellent. Well, we have the scallops in fresh today with a cauliflower cream with a orange, pomegranate dressing and pickled radish to start. And we have a beef daub on offer, made with a cheek, and really, it’s very good. It comes with the potato dauphine and beans, very traditional.”

“I see. I’ll have the prawn ravioli to start and the scallop. The daub sounds good. So yes, I’ll have one of those. And some wine – just a single glass, with the main course. A Burgundy, if you have it?”

“Of course. Would you like to choose..”

“No, I’m sure you can make a suitable match. I’m very happy to leave it to you.”

“..well, ok then.” He smiles again, the gracious host.

Edith has been eating alone since her husband left, early last year. Choosing the wine feels exhausting. She’s getting used to it again. It’s the sort of thing she did frivolously when she was younger. It was always exciting to eat some place in a new city or just some place new in the same old city she lived in every day. But then, at a certain age it seemed less graceful and certainly less efficient to eat alone. You can only get through so many tastes and dishes, and no reviewer wants to visit a place three times to get a sense of the chef.

Of course, when she was starting out, that was almost exactly the opposite of what Edith did. She would order always from the menu, never the specials. Always choose her own wine. Always some witty conversation with the front of house staff. Not so much now. Now, a single three course meal will be enough to make her mind up about whichever young chef is behind the pass.

Well, she thinks, two starters is hardly excessive, right? Not that it matters. Can’t remember if it started before Brian left or after, but I can eat what I like these days and it melts away. Harder to keep my pants up than his. Bastard.

First, or was it second? Anyway, my damn memory, Brian and now the fucking bastard omelette. Just gone. Perhaps a few other things along the way, but that’s the crux of it, isn’t it?

Edith realizes she has been chuckling out loud.

Great, now they all think I’m a raving lunatic too. But I’m not, am I? No. Everything is perfectly fine, actually. I have lists, I stay focused. I am doing alright. After all, I’ve even got my confidence back. Look at me, eating alone. Right, lady. Assume the posture, back straight and a slight smile. Hands gently resting on the table. Don’t let the smile hit your eyes, yes, that’s it. Mysterious, graceful. Don’t think about the tea cup or the omelette any more. Nobody feels sorry for you, they’re just curious.

Edith begins to let her eyes roam the room. This is not breaking the commandment of focus, instead it is her focus. There is a young couple she imagines on a first or second date. Their conversation is still a little stilted from time to time. It is easy to imagine the young woman is not sure of the man in front of her.

In a lovely parallelism, she notices an older couple at the table opposite. Then balks internally as she realizes that it’s actually a couple about the same age she is. Dammit. Squinting slightly, she wonders if it’s actually Paul and Rachel, who had that son Dave, who went to school with her Lachlan. It’s just a little too far to really see for certain. People age so differently anyway. It’s probably nothing. Stay focused.

Slowly Edith makes her way around the room, noticing each party and noticing especially those that notice her. The maître d has been remarkably attentive all night, a lovely touch.

The courses pass from first into third, until finally Edith takes out her notebook and the pen which is easier to grasp. Damn Holly for being right about that, if not the green tea.

Notes fly furiously into the notebook, little wee sketches. A little exclamation here and there. The scallop was lovely, Chef was right to make it a special but if Edith isn’t turning into cauliflower cream one of these days she’ll be surprised. The ravioli was indulgent (three underlines), a code for butter and cream. The daub was delicious and the cheek was a very good idea. Everything else was a little bland about it though. Edith had reached to the salt dish twice for the beans.

Just like that, the meal is done and disappeared. Edith asks the lovely maître d to order the cab and settles that she will leave a suitable tip.

As she settles the bill, she asks “Are you open for breakfast ever? More specifically, I mean to ask, does your chef make an omelette?”

“Ah, yes. Yes, we open for breakfast in the weekends. From 8am on Saturday and Sunday. And the omelette is quite good.”

“Excellent. I got my first kitchen job making omelettes. Dozens in a day. Short order cook, that’s where I started. Maybe I’ll come back. Thank you again. Good night.”


 

Edith checks her watch while sitting in the back seat of the cab. It’s stopped at 3.22. She’s forgotten to wind it but who knows for how many days. Instead she reaches into her handbag for her phone. There is a text message from Sarah, the editor.

‘Copy due by 9am. Will you be on time?’

8.53pm seems like a suitable time to get home for a Wednesday. I can get that copy done in time. Perfectly acceptable to work late whether I’m 62 or not. Oh dear, am I 62? Or is it 63 now? What was that last birthday card from Holly and Lachlan? Oh shit, shit, shit.

“Are you ok?” the cab driver interjects.

“What? Oh, I’m sorry. Was that out loud? I’m so sorry.” Edith blushes slightly, feeling her cheeks and ears reddening. It’s one thing to be caught out when throwing a tea cup or swearing at a burned omelette but it’s worse when you’re frustrated with yourself about losing track of things like your own age.

“It’s ok, as long as you’re alright. My mrs always chooses the lowest one, if it helps. She’s been 48 for five years, I reckon.”

“I’m not sure it helps, but thanks all the same.”

“Alright then love. No harm meant.”


Edith is standing in the kitchen, observing the burnt pan and smashed tea cup. There was a time when this would have seemed an ideal opportunity to procrastinate against a deadline, but those times have passed.

They went sometime ago and now Edith is just tired. Lists are exhausting and spending so much time trying to remember to remember is even worse. She knows the window is short to get the copy done and there’s no time to feel sorry for herself right now.

Tomorrow, when she sweeps up the porcelain, scrubs the pan and mops the floor, will be the perfect time to wonder how the omelette slipped out of her grasp to begin with or how many more dishes on her list will be scratched out next month.

Perhaps it is the sign they were looking for with the last scan, that this is more than just forgetting the odd thing here and there and occasionally leaving a pot on the stove. It’s like my wrist had just forgotten how to hold the spoon. Does it get worse than losing your mind?

Edith had jollied everyone along in the beginning, convincing them that dementia was just her brain taking a lovely little holiday every so often. So much so that she would barely notice and then one day, they could slip her off into care and she’d be none the wiser.

It was just taking so much longer than she had expected and surprisingly, Edith was fighting it harder than she thought she would. She’d had so desperately wanted to be graceful about it and slip away quietly. But people made it so easy to fight. She’d said to Sarah, there was no point a chef writing restaurant reviews anymore, when the chef can’t remember how to cook.

Nonsense, Sarah had said, you still know what good taste is. And then there were the puzzle games, the mind teasers, the physiotherapists. The green tea from the kids. Even Brian had tried eating salmon for dinner each week, despite hating it.

Ha! Scramble Brian and you get brain. Both my problems summed up.

Edith flicked on the table lamp, opened her laptop and reached for the notebook out of her bag. There was no pretending that these five hundred words would make or break that young chef’s career but now, it was the summation of hers. All those years in the kitchen, all those years eating and writing. All those years dining alone, then with friends and now alone again; Edith and the food, Edith and the kitchen. Edith, one old chef and these new, younger, still inspired and unbroken ones.

There are more restaurant reviewers and bloggers in this city now than restaurants, thought Edith. I’m glad I’m not cooking for them.

Less than half of those know how to really cook or what it’s like in a kitchen. Less than half of those can actually write. At least I have that. I’m witty enough for now and I’m never writing about cauliflower cream again. I’ll stop when I’m no longer witty. There’s a boundary I can live with. Right. Now here’s my thirty years and your ten, kiddo. Let’s see what we can tell people about your food.


From: Sarah Smith (Editor).

To: Edith Bradbury

Date: Thursday 7 March

Subject: How’s the omelette?

Hi Edi,

Thanks for the copy. Late night was it? Great copy, I’ve sent it to sub. Sending someone in for photos. Don’t forget your expenses this month. You know what I mean. That’s not a joke about the.. thing.

What I really want to know is how the omelette challenge is going? How many have you crossed off the list? I’ve been thinking about doing a feature and wondered if one of our seniors here might interview you.

It’s the list thing, Edi. Got me really fascinated about how you’re trying to keep track of things and I’m wondering if we shouldn’t just out you now – woohoo, big reveal, our chef’s critic all these years has been…. Edi Bradbury! Then swoop into the inner world of your diagnosis.

What do you think? I just think you’ve been so funny and smart about the whole thing and you’ve really got the strategy down so far. Hope you’re not offended, but I had to ask. I know you said you were just going to let your brain go on holiday but you’ve got so much left to give. Imagine how this might help people. Let me know what you think.

Much love – don’t forget next week’s copy is due by Wednesday instead. Short week.

X Sarah


Edith measures the weeks in omelettes. If it comes together in the morning, soft but holding together and sliding gently onto the plate, she knows it will be a good day. Some weeks measure six omelettes, some only three. She hasn’t told the kids about this system yet; they’ve stopped taking notice of the list on the fridge. She’s in the clear for now, so she’s started a new list. Public outbursts and sweary emails. She can’t decide if there should be more or less of them, though. Like many new ideas that come along now, Edith is happy enough with the concept of a thing rather than the specific numbers. Somewhere, in a slightly fuzzy thought, she knows eventually the numbers will tell a story about what happens next. But at least for now they are her ideas about how to measure things and not someone else’s. So fuck words and omelettes it is.


From: Edith Bradbury

To: Sarah Smith (Editor).

Date: Wednesday 13th March

Subject: Copy

 

Hi Sarah.

Copy attached and on time for this week’s deadline. Getting a reminder at the beginning of the month about this month’s expenses may be slightly over the top. I’ll get them done, but remind me again next week. I’ve put it on a list (see below).

In response to your other request; sorry about the delay. Wish I could say I’d forgotten you asked it, but I hadn’t.

In short, FUCK OFF.

If you want some dizzying witticisms about living with the knowledge that you’re slowly going completely insane and losing every sense of what is normal in the world in slow-motion, I’ve created a list.

  1. You swear a lot more. You swear all the time and sometimes it happens out loud when you’re not meaning too. People stare. It frightens the children, including your own.
  2. You sometimes lose track of when you’re talking to yourself out loud or just having a thought.
  3. The lists are pointless. They’re the things I’ll likely never forget or just insufferable burdens that make me walk around the house three times before I’m comfortable to leave the house.
  4. Everyone worries about you all the time, so much so that you start to feel as incompetent as people worry you are.
  5. Some days you want to put up a fight and make the effort (and those are most of my days) but actually, then the kids think you’re having a good day and get their hopes up. Frankly it’s exhausting. We all know I’m too young to die in my sleep without a miracle and so I will have to lose my mind slowly. It’s terrifying.
  6. Some days you don’t want to fight at all. You wish you could slide into oblivion in the land of happy memories you do have so that you don’t have to watch the sad faces of your children, or your friends, or waiters in the restaurant who don’t even know why you’re just so damn tired that you can’t order a glass of wine for yourself.
  7. Actually, waiters can be your best friend because you don’t have to try and remember anything but to tip them and they don’t know I’m not meant to be drinking.
  8. It’s lonely. For everyone. Me, the kids. My friends. Everyone. And don’t get me started on worrying about what will happen with the lists don’t work.
  9. As for the omelettes. I’ve eaten them every fucking day for a week. With goats cheese, tomato, with bacon and brie and those damn microgreens which I wish they’d stop selling at supermarkets. The omelette went on a little holiday in my brain somewhere and came straight back as soon as I remembered what my wrist is meant to do to get that lovely soft texture and perfect pillowy fold.

Feel free to ask me again next month.

I may be less inspired by the omelette diet or even better for you, I may have forgotten you asked the first time by then. Right now, I cannot imagine sharing how truly lonely this journey is with anyone. I’d rather eat out alone for the rest of my life. At least then, there’s still mystery about it.

With efficiency and focus,

Edith.


 

*Edith has dementia, diagnosed relatively early. She is losing not just memories but abilities while trying to decide whether to resist or accept the changes happening to her. While Edith is a fictional character, I’ve learned much about dementia and related diseases through my step-father’s illness.

When The Sun Comes Out On Islay.

When The Sun Comes Out On Islay.

It has rained on Islay for 105 days in a row. But today is the 106th day, and the sun has arrived back to Islay after a long, damp, dark winter. I too, have arrived. Whether I brought the sun, or the sun brought me is moot; although sometimes I like to believe I have magical powers, it is enough to know there is magic in the place.

Islay is soft earth; like many islands. Heaving with moss and peat, the hills and landscape of the island is a vessel for water that lands up high from the rain and makes its way into the lochs, then into the rivers and streams and back out to the sea. The sea itself encroaches on the island at every opportunity. The moss and grass grows down between the jagged rocks at the shoreline and the rockpools are sometimes hard to discern from the land. Soft earth, that moves under your feet but is teeming with life. 

 

Islay is soft earth; like many islands. Heaving with moss and peat, the hills and landscape of the island is a vessel for water.

There is magic in this place, I’m sure of it. As I walk over shorelines and climb jutting peaks for views of the Atlantic on one side and the Lochs on the other, seals appear, head bobbing and looking straight at me. We stare at each other; the occasional head tilt from side to side. I smile and the silkie disappears below the sea crest once more in a dive, his back slick like oil and inky black against the blue of the tide.

  

As I step, I see feather after feather along my way. There is an old legend that says when you see those small white feathers appearing around you, it’s a sign that someone is watching over you, thinking of you. I have found those feathers in the back country of Kentucky, the suburbs of Tennessee, the steps of St Pauls in London and here, in Islay – in the hallway of the Port Charlotte Hotel, on the foreshore of the Singing Seas and on the steps of Bruichladdich Distillery. Perhaps my Scottish ancestors are smiling that I’ve returned to the land of my forefathers and to this island of most famous malts. It’s remarkable that one small island of eight remaining distilleries can have such an impact on the world whisky stage. Islay malt is a thing of legend.

The island is sweet to smell with her salty air, endless vegetation, and the Port Ellen maltings running from early morning til night, the warm, malty smell hovering over the bay. In Bowmore, the distillery sits in the heart of the administrative capital of Islay, just tucked into a side street. Kilchoman is a farm distillery – no distinctive stacked hats, just stone buildings tucked into pasture. Life is built around whisky here, in more ways than one but life is also more than whisky. It is people, farmland and the weather.

I’ve come to Islay for the whisky, yes but more than that. To explore this tiny island of single lane roads and step back in time for a moment, going as far as I can to this edge of the world and breathing deeply. And I’m glad of it; glad for the way each passing driver lifts their hand in greeting, glad of the easy manner of suggestion and introduction. There is a hospitality here that flows easily between people and you can feel it from the moment your feet hit that soft earth. You could cover the main roads of this island in a day and still have time to spare. Villages might be as small as six houses, but there are coves and hills, lochs and lighthouses to see as well as 8 distilleries in operation, running tours and tastings. The best way to stay on Islay is at one of the local hotels or in the myriad of guesthouses and B&Bs. They are all over the island, in every crevice.

  Beyond the long road that runs past Laphroaig, Lagavulin and Ardbeg, I reach the Kindalton Cross. Amongst this graveyard there are stones are carvings that seem to predate words, ancient Celtic carvings alongside burials as recent at 1903. The gravesites are littered inside and outside of the ruin of a church and outside it, the Kindalton Cross. There is an old spirit in this place for certain, echoed in more than just the ruins that scatter the shoreline. At Lagavulin, the church used to be beside the distillery but it was moved to make room for a carpark, only to have the church bell returned to the hilltop overlooking the old malthouse. It’s bad luck to move a church bell, they say. There is old magic here.

  At the Mull of Oa, there is a square lighthouse that marks the entrance to the channel. Behind that lighthouse, a flock of wild goats that have free run of their hill and the coastline there. A colossal bull with ivory horns turns to stare me down as I walk past him. I can’t resist the urge to poke my tongue out at him and he, unimpressed I assume, turns away again. I laugh out loud and he looks back, but it’s impossible to be here and not feel connected to the land and all that lives on it here.

Islands, and island people have much in common no matter where you find them. They make life from what the island gives them. In this instance, the farms are full of fat cattle and sheep and the whisky makers are happy; very happy. I have eaten salmon from local Loch Fyne, venison from the central hills and fennel grown wild with homemade bread that yearns for Scottish butter. I oblige happily; and indulge in Botanist gin, made with 22 botanicals foraged from the island. There is a married couple, botanists, who were enlisted by Bruichladdich to help them create an Islay dry gin. It’s delicious and comes in a bottle the shape of the square monument.

Bruichladdich has become my favourite of the Islay malts, by nature of their people. The warmest and kindest of all the whisky people I have met. Mary is a kinswoman as soon as we meet and the hour or so I spend wandering the distillery with her will stay in my mind a long while. A family-style business despite having lost their independent status, what they haven’t lost is their progressive approach to single malt.

Late at night once my exploring is done, I venture onto the top of the hill that heads out to Kilchoman Farm Distillery. Word is that the Northern Lights will be making an appearance in the clear skies overhead and what few town lights exist on Islay disappear up here. I sit out in the dark, nothing but the wind and the stars beside me. I can smell the peaty residue in the air from a fire burning on the west side of the island. I saw it earlier and because there is no wind, it hangs in the air. Somewhere to the east of me, there is a riverlet running, I can hear it gently trickling down the bank. That water is likely clear as glass but inky brown, like all the water that runs through the peat banks.

While technically spring, the earth will need a few more days of sunshine before the islanders can start cutting the peat. Too soft, it won’t burn but too dry it will crumble. It’s impossible for me to think of Islay without thinking of peat, but the truth is you can only smell the smoky, iodine nature of it once it’s burning or faintly in the water.

The water runs gently, the faint smell of smoke is in the air and then, just a hint of green glow starts dancing on the horizon. It’s not as dramatic as I was expecting or hoping for, but as my eyes adjust, I see it stretching up and then rolling, listing slightly to the left. In an unexpected turn, not only has Islay given me sunshine but she’s also given me the lights. There is magic running in this place.

I have tasted whisky straight from the cask here, roamed on hills and rugged coastlines, breathing deeply of this rich, island air. As I drive out to meet the early morning ferry back to mainland, I see great flocks of birds dancing in the morning light. The dawn is slow here, taking from just before six in the morning to half-eight. Their graceful dance against the indigo sky is mesmerizing. Even the skies above this soft and fertile earth are alive.

  The two hour ferry crossing back to mainland sees me leave the sunshine behind, a gentle grey blanket resting over Kintyre. The sun is trying to push through with the same urgency that the boat pushes through the current. I came to Islay for whisky but I found magic and I leave, hoping I have breathed some of that magic into my bones and blood.

Can I Keep You?

Can I Keep You?

I used to be sentimental about a lot of things, but I ran out of room in my heart and for keepsakes. Now, I only keep the most important things. I try to limit my sentimentality but it’s hard to put memories away, even when you no longer need them. We spend a lot of time making memories we don’t need. You only need to remember where you live when you are twelve while you are twelve. When you are 25 or 86, it matters less where you lived when you were 12, but where you live now.

By now I’ve learned what they don’t teach in school, but ought to. People and the unique connections we form with each other can be like seasons. Some pass and some always return. Some are life-long and with those people, I want to remember everything. Some people you meet and want to keep forever, to sear into memory each unique expression and turn of phrase; the way of walking and movement. How they enter a room and the sound of each sigh and laugh. Mostly, these are colours that bring stories to life and I want to remember each story of the most important people.

But whether it is transience, heartbreak, betrayal, injustice, death or simply the way the world turns from time to time; we are taught to hold nothing tightly; nothing is forever. People will come and go from your life but sometimes, taken by surprise, you will whisper to yourself the question of another, ‘Can I keep you?’

Can I keep you?
I remember the first time I met my friend Bethany. I’d known her husband for a couple of years but in meeting her, felt a kinship that was special. I found myself wondering after laughing together, will I get to keep her? ‘Can we always be friends?’ I whispered to myself. I store up all the memories of our visits together, because I never want to forget a moment of her magic and wonder in my life.

It’s like that with my nieces and nephews too; paying attention to remember the funny things they say and how they play, their favourite books. I want to keep them preserved in my mind from age 0 til .. well, forever.

All relationships change the brain – but most important are the intimate bonds that foster or fail us, altering the delicate circuits that shape memories, emotions and that ultimate souvenir, the self. Diane Ackerman

What does it mean to keep someone?
Of course, I never set out in knowing someone to say goodbye; but sometimes it is unavoidable. Time and space dictate a mathematical impossibility in maintaining the intimacy and hum of relationship with all those we meet. You have to make choices about who to keep and who to let go of. Sometimes people will choose to let go of you and all of this is acceptable, until you have no choice in letting go. The problem with dementia isn’t keeping the memories at first, but finding them. My stepfather is losing his ability to make new memories so now he only has what he has, when he can find them.

Maybe if we keep less of the unimportant memories, we’ll make it easier to find the important ones. One step further, maybe if I only make the memories I know will count, then perhaps I can save myself some unnecessary grief and hold on to the important things, giving all my attention to those.

I meet a lot of people. But I confess I do not catalogue them all or commit each one to memory. I listen to stories, I pay attention, I am present with you and sometimes that is enough. Sometimes it has to be enough but it leaves me with a choice about who to remember, who to give the precious space of memory to, and that is harder than you might think. Once in a while, I meet a person that is too exquisite and interesting and I hear that small voice whisper again, ‘Please can I keep you?’

What greater thing is there for two human souls than to feel that they are joined – to strengthen each other – to be at one with each other in silent unspeakable memories. George Eliot

Should I remember the way you said that, in case later it becomes important? Will I want to remember what that expression means? Should I make an effort to store away this particular feeling in case I want to one day say, this was the first time I knew I wanted to keep you. This was the first glass of wine I knew we would be friends. I am tired of collecting memories just in case; but I can’t help myself but make them.

Life would be simpler with caveats on how the end will come. If you could know when people would leave you or when you would need to leave people. You could administrate farewells and collect only the innocuous memories, the ones that bring no harm. No need then for memories that are so heavy, collecting too much weight in the mind or heart.

But a life of caveats leaves no room for surprise. No room to change the rules and I am, by nature, a rule changer. Not a breaker, as much as a changer. I like the flexibility to change the expectations. Who says some things are unforgivable or that things must go a certain way? Why must beginnings be dictated by their end, before a proper beginning is even begun?

Oh, it’s the weight of memory that we carry from the time before and the time before that. We forget to reach for the stars yet untouched. We neglect to imagine what is possible, what may yet be. We know what it’s like to let go of memories we made with the intention of keeping them forever.

But perhaps it’s perfectly acceptable to keep some memories forever, without keeping the people. Perhaps that one unforgettable season is worth holding on, no matter what happens.

I’ve never tried to block out the memories of the past, even though some are painful. I don’t understand people who hide from their past. Everything you live through helps to make you the person you are now. Sophia Loren


When I see you now

there is room in my eyes to remember your eyes.

I have space under my fingertips

to remember the feel of your skin.

I remember now, the feeling expanding within

my chest cage is not sadness but space

– when did lightness become so heavy?

Oh, but it’s you, like an anchor within me.

An anchor in space

As light as the moon

Can we turn the moon upside down

Change the weight of gravity

Leaving nothing as it was

A star map to find everything again

When I see you now

there is room in my eyes to remember your eyes

I have space under my fingertips

I am only anchored to the sky

feet gently dangling on the earth

rewriting the stars.

 

Why You Need More Whisky In Your Life.

Why You Need More Whisky In Your Life.

Whisky might be the most romanticized spirit on the planet – more accessible than absinthe and more challenging than gin. Whisky is part of cowboy folklore, Celtic heritage and appears in more genres of music than any other. Everybody who ever sang the blues, or rock’n’roll or country songs, sang about whisky probably more than they ever drank it. Every flawed hero of literature and television knows how to drink it and yet for all the saturation of whisky into our culture; I’ll bet it’s not enough alone to make you order a glass in a bar.

We have these ideas about whisky, but we rarely talk about how to approach it, how to begin, how to introduce people to the concept of it. When we do, we talk about facts, flavor profiles and palate preferences and how to smell, taste and cut with water.

But that’s not the thing. That’s the thing after the thing. The thing to understand is the concept of what has been poured into your glass. It’s a story. It’s all that romanticized, stuff-of-legend that you imagine and a little bit more. You just have to start at the beginning, with the idea of what whisky is. If you can grasp the idea of it, you’re ready to drink almost any malt you find yourself in possession of.

Whisky is elemental; it is earth, fire, water and air each playing its part in telling you the story of a place. And it is soul, the spirit of the people who made it that finds its way into the glass as well. Eventually you’ll taste the alcohol volume, the sweetness, the salt, the floral notes – but first, know what you’re tasting.

Earth: the grain grown and harvested under utmost care. Like grapes for wine, if it gets too wet, too cold, too hot it can ruin the flavor profile. But barley carries the unique properties of the region it was grown in, as well as the very type of grain itself. Not all barley is suitable for malting, not all barley is of the right quality.

Fire: the heat of the mash and the malting of the grain over peat, or the scorching of those virgin oak barrels for bourbon with blistering heat. Temperature, its presence or lack of is a vital component of the story that ends up in your glass.

Water: crystal clear from a Highland spring or silky from a limestone acquifer, water is unique as grain in its particular mineral composition and will make this whisky claim some geography too. The better the water, the better the whisky – after all, whisky is uisge beatha, the water of life.

Air: invisible like the wind but you can taste the change the air makes. The heating and cooling of the air will expand and contract the barrels, pushing and pulling flavor from the wood to the whisky. Just as trees collect their stories in growth rings, barrels collect flavor in their reuse journey. Bourbon first, or sometimes sherry, a variety of red wines, port – each leaves a distinct impression in the wood and that is then passed to the whisky too. Where the air is particularly salty in a warehouse set against the sea, like on Islay – you can smell and taste the saline quality of that ocean storm.

Whisky is about its place and its people – where the earth, fire, water and air of that whisky can be found and the people who gathered it, tended it, turned it and blended it. Their stories, hardships and triumphs turned into the taste of sweet victory and the bitterness of a cold winter. A whisky takes on a spirit in the same way it gives away the Angel’s Share and you can taste it, if you just try. There’s a story in the glass, an expression of something.

Which is why you can’t argue that Scotch whisky is better than bourbon or rye, Japanese, Indian or even New Zealand whisky. Whisky is all the elements of wherever you are. Japanese whisky tells me a different story, about different mountains, grain and different water. And whisky drinkers should be lovers of story, first and foremost.

Now, there are plenty of people who will try telling you that story is about the alcohol percentage or the cask finish or whether or not it is a single malt, a blend, a non-age-statement whisky… but those are just signposts and markers that the story leaves behind.

A whisky tells its story by the paradoxes and complexities it can hold in amber suspension. A little savory while also sweet, a touch of bitterness that follows sweet floral roses. Umami notes of seaweed darting in and out of coffee and chocolate sherry notes that tease the tongue and that is just the beginning. When you begin, you might taste alcohol burn and nothing but peat even in the most delicate drops – but give it a little time and you’ll taste ocean currents, mountain passes, long summer days and winter storms.  

So why should you drink whisky? Because whisky can be as simple or as complex as you like. It can tell you a different story at any time of the day. It can be sweet and soothing when you want something simple, or as complex as a degustation when you feel like a challenge. Because whisky will demand your attention, quietly and persistently once it’s in the glass. Whisky will make you think and the more you think about it, the more it will reveal itself to you. Because whisky will share a story with you and invite you to tell one of your own – I have whisky for heartbreak, for triumph, for funerals and for lovers.

I was once told my love of whisky wasn’t particularly feminine. It seemed strange coming from a tattooist who draws half-naked women for a living, but apparently that makes you an expert on femininity. I was offended at the time (I was drinking a very reasonable Auchentoshan Three Wood that I nearly gulped) and perturbed for much longer.

Whisky has something to teach even smart women (people). You can tell a smart woman (person) by if she knows that, or sees whisky as just another thing to be mastered.

You see, this is where I will digress to romanticism for a moment. Of course whisky is a woman’s drink – if for no other reason than women make it and I, being all woman, drink it with passion and respect. I believe whisky itself is more feminine than masculine. It can be like a woman – warm and approachable one moment, artic the next. Complicated but still simple. Can be beautiful to look at but too sharp on the tongue to be savoured. But for a good one – a whisky or a woman, you go to the ends of the earth.

I drink whisky because I’m not afraid of complexity, of a challenge in the glass. In fact, too sweet or too simple and I might soon be bored. A woman who drinks whisky isn’t drinking to pass the time or just to escalate a party, because she’s very comfortable with the drink in her glass demanding some attention.

And yes, a woman who drinks whisky can be assured she can sit alone at a bar with confidence and conversation will find her if she wants it, or leave her well alone if she chooses. A woman who drinks whisky is still defying a needless stereotype and redefining her own rules of engagement.

A woman (or anyone) who drinks whisky isn’t afraid to go the distance and learn something new along the way. Not every whisky I taste for the first time wins me over, sometimes I have to work through layers of spice, heat, salt and fruit before I find the story the glass is trying to tell me – but I have patience and endurance, because women who drink whisky know that sometimes it just takes time. Whisky has something to teach even smart women (people). You can tell a smart woman (person) by if she knows that, or sees whisky as just another thing to be mastered.

Sometimes you have to learn something new. Too many people start drinking whisky in a sweet Jack’n’Coke or a Woodstock and Cola. Worse, they took shots of moonshine equivalent and haven’t touched it since. But just a little knowledge is dangerous; whisky is the drink of a life-long learner. You simply need a new story to go with your whisky.

When you learn to drink whisky properly, you learn to smell, then taste and taste again. You learn to know the story before you lift your glass and how you really can, cut it anyway you like with ice or water. You’ll cut it too far in order to pull out every drop of flavour for your tastebuds and olfactory to savour. You will learn the delight of a whisky sour, a Sazerac, the Manhattan, the Julep and that you most definitely do not require Coca-Cola. Whisky will teach you patience, to listen to more than words, to seek out new paradigms.

You will travel around the world and taste the earth, fire, air and water from far-flung corners of the world. From a glass of whisky, you can explore countless new territories without boarding a plane or catching a boat. Maybe that’s why you should drink more whisky, to see the world through different eyes and to learn stories other than your own. Stuck? I’ll take you for a drink and tell you a story or two.

Whisky is elemental; it is earth, fire, water and air each playing its part in telling you the story of a place. And it is soul, the spirit of the people who made it that finds its way into the glass as well.