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2016
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7 pages
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Central, changing there for Bamberg, in the Blue Mountains. From the station he took a cab to the holiday cottage, at which he'd arranged to meet the owner. The cottage was small and tight, more so than the photographs on the web had suggested. At the back a north-facing deck, amply stocked with outdoor furniture, overlooked a bush garden. "Good for native birds," the owner said, and everything about her seemed to quicken.
This paper elaborates on Douglas Gifford’s concept of the dear green place as a metaphor recurrent in Scottish writing and analyses the use of this metaphor in Agnes Owens’s novella Like Birds in the Wilderness (1987). The image of the dear green place is associated with the west of Scotland in general and with Glasgow in particular—Glasgow’s Gaelic name, Glaschu, loosely translates as the dear green place. Owens’s protagonist leaves the west for the north in search of a job, hikes through the Highlands for the same purpose and, finding no job and losing his girlfriend, returns to his hometown. The novella strategically explores landscapes and cityscapes to test their potential for becoming the protagonist’s very own dear green place—an impersonal space transformed into an intimate place—and concludes with the protagonist’s realisation that such place cannot be found, but must be created, and can be created anywhere.
Appalachia, 2020
I ARRIVED AT MEDAWISLA TO SILENCE. NO JETS, HELICOPTERS, NO garbage or recycling trucks, no jackhammers or car alarms. No air conditioner fans. No leaf blowers. Missing, too, were the sounds of summer lake recreation: motorboats and Jet Skis. The sun was high, and the trees stood quiet. Beyond the waterfront cabins and bunkhouse, the Roach River passed slowly, underlining the feeling of stillness. A few birds chirped. I'd forgotten this was how things were in the wilderness. I had spent the previous month at home in Boston watching the World Cup, so I was desperate to connect to nature. Soccer had dominated my life, and I worried how the digital world occupied my mind. Even while I was reading a book, I felt perpetually distracted, wondering about new emails, notifications, and updates on my various social media feeds. Now I wanted to get lost in the wild. Medawisla Lodge and Cabins promised limited cell reception and no Wi-Fi, so if I didn't get lost, I could at least unplug for a week. I also considered staying longer, to help with Maine Audubon's annual loon count at the end of my stay. Medawisla Lodge is perched on a pond in the heart of the Maine Woods and the 100-Mile Wilderness. I liked both names: Medawisla means loon in the language of the Abenaki, who lived in the area for thousands of years, and when I thought of the 100-Mile Wilderness, I thought I could get lost there. But a map shows a landscape dominated by water. When glaciers receded from the region 13,000 years ago, they scraped out 1,200 natural lakes and ponds, like Second Roach, which the lodge overlooks. The 19-mile Roach River winds through the area, spilling into several large, numbered ponds before emptying into Moosehead Lake, the most impressive body of water in the region. After passing through Greenville, Maine, I caught only brief views of the lake, through gaps in the trees. Each time it was like a secret being revealed. Day 1 Desperate for a swim after six hours in the car, I followed the path between the cabins to the pond. The waterfront opened into a cove ringed with evergreens and edged by a marsh on one side and rocky outcroppings on the Silence was the rule during the author's time on Second Roach Pond, seen here from the air. JERRY AND MARCY MONKMAN/ECOPHOTOGRAPHY
wash your hands, your face, compose yourself once more. 'I hope he gave you money?' your mother says. 'He did,' you say. 'How much did he give you?' 'A hundred pound.' 'He broke his heart,' she says. 'His own daughter, the last of ye, and he wouldn't even get out of the bed and you going to America. Wasn't it a black bastard I married!' 'Are you ready?' Eugene says. 'We better hit the road.' You put your arms around your mother. You don't know why. She changes when you do this. You can feel her get ting soft in your arms. 'I'll send word, Ma, when I get there.' 'Do,' she says. 'It'll be night before I do.' 'I know,' she says. 'The journey's long.' Eugene takes the suitcase and you follow him outside. The cherry trees are bending. The stronger the wind, the stronger the tree. The sheep dogs follow you. You walk on, past the flower beds, the pear trees, on out towards the car. The Cortina is parked under the chestnut's shade. You can smell the wild mint beside the diesel tank. Eugene turns the engine and tries to make some joke, starts down the avenue. You look again at your handbag, your ticket, the passport. You will get there, you tell yourself. They will meet you. Eugene stops in the avenue before the gates. 'Da gave you nothing, sure he didn't?' 'What?' 'I know he didn't. You needn't let on.' 'It doesn't matter.' 'All I have is a twenty-pound note. I can send you money later on.' 'Oh?' 'I'm not staying.' 'What do you mean?' 'I'm giving up the land. They can keep it.' 'What?' 'Can you see me living there with them until the end of their days? Could you see me bringing a woman in? What woman could stand it? I'd have no life.' 'But what about all the work you've done, all that time?' 'I don't care about any of that,' he says. 'All that is over.' 'W here will you go?' 'I don't know. I'll rent some place.' 'Where?' 'I don't know yet. I was waiting until you left. I didn't think any further.' 'You didn't stay on my account?' He slows the car and looks over. 'I did,' he says. 'But I wasn't much use, was I, Sis?' It is the first time anyone has ever mentioned it. It feels like a terrible thing, being said. 'You couldn't be there all the time.' 'No,' he says. 'I suppose I couldn't.' Between Baltinglass and Blessington the road winds. You remember this part of the road. You came this way for the All Ireland finals. Your father had a sister in Ta llaght he could stay with, a hard woman who made great tarts and left a chain of smoke. Boggy fields, bad land surround this road, and a few ponies grazing. As a child, you thought this was the We st of Ireland. It used to make the adults laugh, to hear you say it. And now you suddenly remem ber one good thing about your father. It was before you had begun to go into his room. He had gone into the vil lage and stopped at the garage for petrol. The girl at the 'You never put on an ounce, Father,' the aunt says. 'Don't mind me asking but how do keep the weight down?' 'I walk,' he says, letting out a sigh. 'The walking is great, they say. Do you go far?' 'I go out the road as far as the creamery and on down to the river,' he says. 'I go any day I'm able.' 'I know that way,' Miss Dunne says. 'Were you ever down wud the Chinaman, Father?' 'No.' He laughs. 'What Chinaman?' 'Well, you wouldn't know him-he's not a Christianbut there's people goes down to him for the cure.' 'The cure?' 'Aye,' she says, reaching for the salt. 'Where, exactly, does he live?' 'Down below Redmond's in the caravan. You know there at the back of the hay shed? You must know it if you do be down that way.' 'He's a refugee, some relation of them people wud the Chinese,' the Jackson man says. 'Redmond of the quarry hired him as labourer and now he's down there tending the ewes.' 'Says he hasn't lost a lamb yet,' Breen says. 'They say, in all fairness, that he's a good man even though he doesn't always do it our way.' 'He won't have a dog. Has some terror of dogs,' says Mike Brennan from the hill. 'He'd probably ate the bloody sheep dog,' Sinnott says, stretching out for the last roast potato. 'What, exactly, does he do?' the priest asks. 'He's shepherding, didn't I say?' says Miss Dunne. 'No. I mean, what cure does he have?' 'I don't rightly know, Father. All I know is there's people goes to him. I never go near him. If an'thing's ailing me, I
Reading of the material culture of a cottage in a specific time/space location in light of wider socio-cultural norms and contexts.
APCG Yearbook 2001
THIS SUMMER when I was wondering what I would talk to you about tonight, my daughter asked me, "Well, what is it about geography that excites you, that you feel passionate about?" I remembered why I chose geography as a vocation and avocation. It was due to my fascination with how we relate to places. What I hope to offer is a glimpse of how one of the main themes in geography, human-environment interactions, has taken root in my consciousness.
The Iowa Review, 2011
The building was made of red bricks, but in my memory it's a single brick standing tall and upright on its side, or not a brick but a brick-red vertical block without a single door or window and with the long rectangle of a gravel lot trailing behind it like its shadow. And the key thing about this image is its starkness. There are only two forms to it: the simple block of the building and its gray shadow, the gravel lot. Beyond these is the edge of the known worldnothing. The first time my cousin Misha and I talked about Russia, something he said brought this image to mind. "When I was three," he told me, "I would go up to every person in our courtyard and say hello. I remember there was always this guy on the same stoop who asked to ride my bicycle. I would always tell him, 'No, you can't ride my bicycle!' This was when I was three or four. For some reason, I asked my mother about that guy when I was five or six and she said, Yevo bolshe net. 'He's not here anymore' is what she meant, 59 but you know in Russian this could mean he doesn't exist anymore. It made an impression on me." Both Misha and I had grown up in the projects on the outskirts of Leningrad, so his descriptions of his building sounded like descriptions of mine. But there was also something else, a familiar way of remembering home as circumscribed by an absolute boundary. "Behind our building, there were three playgrounds that were joined by two wooded areas," he recalled. "On the other side of the street, there was a building just like ours. I don't remember what was there, only that it was a scary place. I never really went there. I remember specifics about each of our playgrounds. The first playground right outside our building felt like the home area. It had this big raketa, a lot of things to play on. The second playground had a sandbox, and all of these old ladies sat there. The third playground I don't remember much at all. I generally didn't go that far." He squinted as he spoke, as though he were really trying to see into the distance. I imagined that if he'd attempted a trip across the street to the other playground behind the other building, he might have fallen off the edge of the earth and disappeared like the man who used to ask to borrow his bicycle.
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