Tom Muir, Engagement & Exhibitions Officer
During the Orkney Storytelling Festival in 2019 one of the guest storytellers, Gordon MacLellan, invited Fran Flett Hollinrake and myself to contribute something towards an environmental arts project called CelebrationEarth! The idea was that it would be a storytelling event in 2020, but that obviously wasn’t possible. Instead we contributed other things. Fran, who is the Visitor Attraction Officer at St Magnus Cathedral, decided to combine music and story to give an account of the spiritual and the strange within the cathedral. You can view it in another blog page (see ‘St Magnus Cathedral’ in the Main Menu).
For my piece I decided to revisit poetry, for the first time in years. A storytelling event was fine, but this saw me outside of my comfort zone. I decided to focus on the tiny island of Eynhallow; Eyinhelga in Old Norse, meaning the holy island. I decided to write three prose poems that dealt with different aspects of Eynhallow. I used folklore, medieval history and an invented boating disaster in the 19th century as the basis for the poems. They take the form of three laments, giving the trilogy the title of ‘The Eynhallow Laments’
The Fin Folk’s Lament
There was a folk tale about how this was one of the vanishing islands of the Fin Folk, a magical race of beings who lived under the sea, but whose summer homes were islands that float on the surface of the sea. These islands were normally invisible to mortal eyes. A local man, whose new wife had been abducted by a Fin Man, seeks his revenge and gains the knowledge of how to see the island and to win it from the Fin Folk. He and his three sons reach the island, but the Fin Folk conjure up magical sights to frighten them off, but to no avail. The island was taken when nine rings of salt was sown around the island and nine crosses cut into its turf. The youngest son had big hands, so the last ring was not completed. I decided to write it from the perspective of a Fin child who was there that day and witnessed the tragedy that befell her people.
Brother Dagfinn’s Lament
The second poem is told from the perspective of a monk living on Eynhallow in the 12th century, and draws heavily from the Orkneyinga Saga. He is at peace now, but he reminisces about witnessing the martyrdom of St Magnus and his own fate for disobeying the orders of jarl and bishop. Again, the constant here are the selkies that sing on the shore. They appeared in the first poem and will play a more prominent role in the third and final one.
The third, and final poem had to be the most challenging for me. It is set in the 19th century and told from the perspective of a young woman who had just been widowed when her husband’s boat is capsized in the Eynhallow Sound. It brings in her grief and her feeling of hopelessness. Here the old tales and beliefs come together to create the final conclusion. I had originally wanted to have a young woman read this, but Covid 19 and the lockdown made that more difficult than it would have been normally. Having to read it myself I decided to just be me, no Monty Python type impressions of a female voice. It is not comedy. So, I had to read it as the writer, but using my storytelling skills I had to put as much emotion into it as I could. I had to feel Clara’s grief and despair. It is not up to me to say whether it worked or not, but I did have tears in my eyes after I had finished recording it in a small attic bedroom in our home.
For more information on the CelebrationEarth! project, follow this link.
For more information about Eynhallow, follow this link to Max Fletcher’s excellent ‘Rousay Remembered’ website.