Mapping Our Place

 

This is one of two maps I was commissioned to make by Closing Loops of areas in Lancaster.  There was a lot of walking around the area, working out what to include, talking to people as to what was important to them, and getting a feel of the place myself. I knew both sites reasonably well, but definitely was an outsider – a perfect place to begin.

Over April 2025, I invited people who lived, worked and played in the area to contribute drawings, collages and / or stories of the area. The drawings and scribbles were originally added onto four A1 sheets that only had the roads marked on them, while people talked freely about what events the drawings were inspired by. These encounters happened in schools, groups that met in the community centre and on a field one weekend, where I met the biggest range of people (and as usual was far too engaged in talking with them to take photos, so this is a recreation of what went on).

I then transcribed their stories, and along with their accompanying drawing, added these to the back of the map

The four giant maps were then scaled down to a manageable A3 size and sent to the incredible Morecambe Riso Press to be printed. 

These were then given to those who contributed and people who came to events at the Wild Roots Festival in June. 

It was a project to reveal the multi-layered nature of each place as well as the opportunity to dream its future. Over all these conversations what I loved the most was encouraging people to share their stories of a place. You might see in the map under its title two stick creatures. These were my benchmark drawings. They are of two deer spotted in the woods. So whenever anyone told me they couldn’t draw, I pointed to the deer. It was not a project about art, but the artistry of storytelling, place and how we might tell our stories of the place, using words, pictures, collage, or any other format possible. 

I’ve written about the joy I had in finding a place for my very limited drawing skills over on substack. What I didn’t mention was that I had been wanting to make a community map since devising a mapping walkshop with Maya Chowdhry when we worked on Walk With Us, in 2020-2022. We applied to various residencies with the idea, that was as much digital (and audio) as zine-y because of Maya’s interests, and never got a bite. So while this was a far smaller scale version of our vision, it did bloom, two years later, which in the scheme of sowing seeds isn’t too long to wait for germination.

This Mapping Our Place project didn’t manage to fulfil all its ambitions – of using the maps to instigate walking tours in the areas, but that can come next time. I also made a make your own map zine  which you can download and try if you’d like to have a go in your neighbour. Alternately you could ask me 🙂 

Short Stories

We Buried the Whale at Night (published in Seaside Gothic, 2023)

 

If I stare hard enough everything will lose definition, like when repeating a word over and over whale whale whale I can hear myself moaning.

*

There was no moon. Just distant red lights of the windfarm defined our dark, scored the rhythm of our digging. We finished before dawn, enough of us to pack mud ten foot deep above the dorsal fin. Tide would ripple the grave invisible.

As the sea yellowed two more surfaced in the bay, less than a mile out, their bulk foaming the incoming tide. Our thudding couldn’t mask the wheeze of their sister compacting in the watery mud.

*

Wind brought in a spicy stink, like fresh sweat turning sour, scraping the back of our throats. It was cloying and thick, sticking to our lips, tongues. Our faces and clothes furred with its breath. Each swallow puttied with its syrup. When we didn’t eat, it singed our nostrils, sanded our teeth. Even our piss smelt rank. For the week everyone avoided the foreshore, and each other.

*

Me and my son are the first to walk the beach after that night. He’s desperate to get out, and we stalk the seawall, hunched like old men. Two channel buoys had beached on the skear and lie side-on, chained together. Starboard and port, both lights missing, pitched at the whim of the tide.

He runs across the beach to the red one. It dwarves him, and still he pushes against it, as if trying to heave it back to the water. He yells at me to come over, but I’m too cold. Hands in pockets, my body’s stiff like I’m one magnet resisting another. His face grows red from anger and exertion. I can’t tell what makes him more furious. Both me and buoys are dead weights in the wrong place.

*

He saw the whale first. I thought it was a jellyfish, twinkling on the mud, perhaps a mile off, but clearly visible from our upstairs window. He was eager to examine it, and I wanted to see him play. Within minutes he was back, sweaty as the foreshore, incoherent, inconsolable.

I took my spade and left him dry-sobbing on the seawall. Five metres away and it was bigger than I’d imagined, blacker than a mussel shell, oily. Light skimmed off its low dome, following my movements as I backed away.

It arrived the week before the cocklers’ Landrover rose out of the mud, almost exactly ten years after they’d drowned. It had to be theirs, with sacks, full of cockles, piled in the back. I hadn’t gone with everyone else. I knew we wouldn’t be able to read anything in the sediment streaking the windscreen. That day I didn’t worry about anything else reappearing. All I could think of was the voice at the end of the phone crying out, ‘It’s dark and we are drowning.’

*

While my son is fighting with the starboard buoy, three dogs thrash the low tideline near where the grave is, digging in that frantic way dogs do, splattering shells and weed, clots of grit.

I throw a pebble. It falls well short. There’s no human with them. I hurl a larger rock, as hard as I can. It lands in the hole. Half their bodies disappear after it. I find another, and lob again, yelling. One of them yelps, but the other two continue to excavate, piling mud behind them, that could become the size of another whale.

Suddenly they all high-tail it, leaving the hole and the mud. My son runs to it. ‘Hey dad!’ he shouts and doesn’t wait for me to reply before jumping in. ‘Jonah!’ I scream. ‘What the -‘ He stands up, waving a bony hand at me. It’s part of a skeleton fancy dress costume. White plastic bones on a black glove. A child’s hand. He offers it to me.

It fits, if tight and clammy. I clench my fist and brown liquid dribbles. It makes me invincible and for a second I scan the shore for the rest of the outfit before catching myself. He laughs and I raise my arm, splay my fingers. Wind attacks the wet material, making it colder still and me more aware of my hand than the rest of my body, as if I’m submerged and waving, waving to be hauled out.

*

I want him to remember the flat beauty of the bay, for him to look back on these days and think of the promontory, shored by gleaming tributaries, appearing as dauntless as the pressing together of palms.

‘Come on, kiddo.’ It’s getting cold and I reach for his shoulder, but he skewers away and runs to the one car in the car park. A black mammalian Buick, all waxed and expensive. There’s no sign of its driver. Ahead of me, Jonah tugs at a door handle.

I shout for him to stop but the door swings open and he scrambles in, slamming the door behind him. By the time I get to the car he’s in the driver’s seat, one hand by the ignition, feet dangling nowhere near the pedals.

*

A flock of something turns, swells and rushes overhead in a whirr of gushing water, gasping lungs, where one wrong step backwards and I’ll be drowning. The mist no rope to lunge for.

The car chokes and lurches forward before stalling. Jonah beeps the horn. The door he’d entered by is locked. I hammer on the window, kick metal and shout. He laughs and laughs inside the Buick’s belly.

Then he stills, turns and looks straight at me. His face contorts behind the glass. If I’d passed him in the street I wouldn’t have recognised him.

‘C’mon, Jonie,’ I wheedle, trying to smile calmly, aware the tide will be turning soon enough. And it’s springs. The water reaches the car park sometimes.

He doesn’t smile back. He doesn’t move, apart from shaking his head. ‘No,’ he mouths. ‘No.’

 

***

 

 
Backfoot (published in Litro Magazine 2020)

It was ridiculous, Meg knew. At the same time it was the only space she could think of that was completely private: no Alexa, no Siri, no incidental street camera, nothing but white tiles, grout and the toilet. She had the sock peeled off her left foot, which was balancing on her right thigh. No matter which way she angled herself she was blocking the light. She hissed, probably too loudly, but she was beyond giving a shit. She would not risk getting her phone out to take a photo. She just needed another minute, another twist. The door banged, sharply. She jolted. Her foot slipped. Someone shouted, Come on!

She didn’t shout back. Instead, repositioned herself under the light. Breath heavy and loud. There were so many lines on the sole of her foot. She took another breath, smoothed out her skin with her thumbs, holding the foot as flat as possible so she could read the number lined in the arch between ball and heel. 29 11 20 27. Twenty-ninth of November 2027. Two years and one day from now.

The door handle cranked down then up, twice.

‘Just a minute,’ Meg tried a singsong casual tone. ‘I won’t be a minute.’ She spread the skin flatter. Is that what it read? There were so many wrinkles. She could imagine anything in this crap light.

A fist banged on the door.

‘Sorry.’ Meg didn’t look at the man waiting outside the door as she passed. Instead she spread her weight across both feet as she descended the stairs to rejoin the party.

There she was grateful for low energy bulbs. With so many people packed into the two rooms, everybody was more haze than feature. She couldn’t see Karl, and headed to the booze to pour a large shot of cloudy liquid. She knocked it back, not caring what it was. Two years one day left. Why had it changed so much? It had been stable since she’d been nineteen. Now, thirty years lost – just like that. Well, perhaps not just like that, since she couldn’t remember exactly when she’d last checked before her whim in the bath that evening. It could have been six weeks, longer. She’d got complacent. Was it cancer? A tumour? She needed to get home. Leave Karl here. Give herself time to get all the lights in one room.

A hand waved in front of her face. ‘Meg! Hey.’

Meg focused, stifled a scowl. It was their neighbour. She couldn’t remember his name.

‘Meggie.’

Do not call me that, Meg did not say, nor did she smile.

‘I wanted you to meet Theo.’

The skinny man in front of her appeared as underwhelmed by the introduction as he felt. Maybe they could cut a deal and get out of there.

She did not say, Why? She did not say, This is not the time. She did not apologise. She stood, double checking the calculation in her head: It was the twenty eight of November 2025, yes, two years one day. She didn’t have time for small talk, and made to turn away from this Theo.

‘Are you okay?’ He rested his hand on her arm.

She looked at it, looked up at him. He felt both concerned and invasive. ‘I’m sorry,’ she began.

‘You look as though you’ve had a shock.’ Theo leant, millimetres closer. She could smell something coppery about him. Too close. ‘Do you want a seat?’ His hand cradled her elbow.

Meg detached herself. ‘No. No. I’m just leaving.’ She didn’t move. There was something about how he was looking. Something intense, hungry, knowing. She was furious with herself. Felt tearful, fearful. She didn’t know. She wanted to say something. Didn’t know what to say. Stood there, looking at him looking at her.

‘Well,’ he smiled, ‘that’s a shame.’ He was hovering, like a kestrel with his beaky face. She kept staring. He didn’t blink. Nor did she.

‘I’m sorry. Yes.’ She was spluttering like a teenager. Inside she was seething, despairing.

‘Well, should you ever,’ he leant in again, handing her a card, ‘you know.’

She didn’t know, but took the card. Scrunched it in her hand.

‘Meg! Sweetheart! I’ve been looking all over!’ It was Karl. Inserting himself between her and the tall guy, he kissed his cheek awkwardly. ‘What’s that?’ He was looking at the card.

‘I don’t know,’ she said, pocketing it. ‘Nothing.’ She tried to smile at Karl, then looked beyond him to the guy who was no longer there. ‘Look, love, I need to go home. I feel crap. You stay. Get a taxi back.’

‘A taxi?’ Karl laughed. Then looked at her with concern. ‘I thought we’d used up our quota? I’ll come home with you. I’m wiped anyway.’

‘Honestly, love. I don’t mind.’ Finally Meg managed a smile. Verging on snarling. The card was crackling in her pocket. Its text coalesced into words in her mind.

Karl produced his coat. ‘It’ll be freezing out there.’ And hers.

Purple italics: Society of Sole Mates. A phone number. Or her sole date. She couldn’t visualise it.

Karl was asleep within minutes of getting into bed. He was good at that. Tonight it irritated Meg more than usual. And he’d been right about the weather. As he snored lightly, Meg lay there, stiff, trying to decide whether to check the card or her foot first. The bedside light was the brightest in the flat but she couldn’t pull the lead free with Karl asleep.

She moved as gently as possible, folding the duvet over Karl’s splayed body, then bending her right foot up towards the light. Karl groaned. She glanced at him, catching sight of her shadow thrown onto the walls of their tiny bedroom. It presented a huge and deformed silhouette across the corner of two walls. The sight enchanted her. A thrill pulsed through her, reminiscent of an earlier life, a dream, an aspiration. It didn’t matter which, she could feel it now. She tried to reach into the surge, but it had already dissipated, leaving her hunched over her foot, trembling. Her thumbs were stretching her sole as flat. An automatic pressing against her foot. Her breath constricted. It was odd to touch her sole and feel her tongue prickling, tasting that thing that was both unfamiliar and absolutely inevitable. Like seeing her shadow, she was straddling two selves, and the sensation, disconnecting and reconnecting her, made her feel she somehow slipped between layers of her feeling-body. It reminded her of the first time her mother taught her how to trace the lines with her finger, whispering the numbers slowly, close enough to feel her warm breath as much as hear her voice, all the time feeling her finger curl across her sole, etching out the numbers. They’d never been so close again.

Meg’s eyes watered with the strain of keeping them open to focus on the lines amongst wrinkles, with the memory now occupying her. Yes, definitely 29 11 20 27.

She felt thin, transparent. It made absolutely no sense. She ate as well as she could. she worked out. Stopping smoking had finally settled her adolescent fluctuations completely. All those years of reassurance rewritten into a scribble of uncertainty. What had happened? Had she always read what she’d wanted to? She’d expected the same long life as her parents. Of course her mother hadn’t shared her sole date, but she’d never suggested any disparities.

Meg pored over her upturned foot again, trying to see any remnant of her previous date. She couldn’t, released her foot and leant to the bedside cabinet, for her notebook.

Amongst the phone numbers and passwords was her previous sole date. That numerical invocation of life she’d chanted over a decade: oh two one oh two oh five seven: second of october fifty seven: oh two one oh two oh five seven. She could still hear the tiniest of strains of her mother’s voice in the way she stressed the numbers; how she clustered them. That sense of her being there soothed her, gave her a sense of life lasting longer than the body. More compelling though was the trajectory she felt in the mantra: the arc ahead disappearing beyond any conscious horizon. Meg never made any plan beyond a few months ahead. To know she had years beyond any speculation meant her potential was still unfolding. She still had a chance.

When the number had first settled her recitation of it had been daily, then slowly, as she began to trust what she intoned, she would recall it weekly and then only a monthly check on her foot, and before this evening that had slipped. Being with Karl had distracted her. Scribing had been a potent ritual: tracing, speaking and signing her date. She’d added totems – a felt cloth, three black candles, lavender oil – timing the trace with the waxing moon, and, of course, when Karl was out for the night.

He was still fast asleep, oblivious to how everything had changed. Sprawled on his back, hair thrown around his face. Meg had been drawn to his calmness, confidence in dealing with whatever happened. Except of course he’d never admitted to knowing the real consequence of everything. He must have been looking at his date and not telling her. Pretending to embrace difficulties with the belief it would teach him something, while actually knowing he was safe. She’d already fallen for him by the time he told her didn’t engage with his sole date, didn’t want to know hers. It hadn’t seemed such a big deal then. She didn’t expect to share everything. She convinced herself some distance fed the relationship. She shuddered, feeling that slippage between her two bodies again: one living one dead weight.

Meg sidled down the bed, until her face was level with Karl’s foot then lifted the edge of the duvet. It was dim, but she didn’t dare move the light. She held her breath and stared at his exposed sole. So many lines. She squinted. Slowly numbers formed out of the striations: 27 02 20 61. She twizzled back to the notebook now lost somewhere in the folds of the duvet. She needed to find it quickly. She needed to spit the numbers out of her mouth. She needed to not ‘Fuck it!’, not to fist something. She knew those numbers as well as she knew her own numbers. The numbers that were no longer hers. His, of course, had not changed.

Jerking upright, jaw clenched, she couldn’t focus. The darkness fuzzed and hummed around her. Her skin had a charge to it. It would make absolutely no fucking sense at all if she knew what sense was. Nothing made sense. Her sense was unravelling around her into this dark humming. One way to stop it would be to press her hands against his throat, feel the tension of his cartilage against her fingers, the constriction of his breath and watch his sole change date, watch how quickly it responded. How quickly he would respond, and how eager he would be to know his date, share it with her. Know hers.

Her sobbing broke the thought. Her hands were limp. Heat from her body drained into the duvet. She gathered up the cotton cover and pulled it back over his legs. He’d tuck himself back under. She didn’t want to touch him, didn’t trust herself.

There was no point seeing a doctor. She’d only be given one of those stupid Dying Well leaflets. If she couldn’t prove pain, she wouldn’t even be given a paracetamol. Plus the whole insurance implication wasn’t worth thinking about. She hadn’t taken any photos. There was no digital trail. Nobody would be asking questions, although she had no idea when her next screening was due. They kept them random, for obvious reasons.

The ground floor electricity wouldn’t be on for hours yet, but she took her jeans downstairs anyway and pulled out the business card. It felt shiny, rigid. Untrustworthy. Or maybe it was meant to be reassuringly expensive. Meg almost amused herself except for the worry of her phone not having any charge. She powered it up. One battery bar left. Its screen lit up the card, making its wording and number legible. She texted: It’s Meg. When Where is Soc of Sole Mates? The phone light died before she could press send. She did not throw it at the wall. She squeezed it, as hard as she hadn’t squeezed Karl’s throat.

The power did not come back on the following day. This was not unusual, especially at weekends. The flat was well insulated and the weather warmer, no wind, no rain for once. Karl enjoyed these power-free days, enjoyed the camp cooking, the foraging, dominoes and early nights. Meg, usually able to rise to the alternative occasion, could barely bring herself to speak to him. She told him she felt worse, and needed solitude. And she did. She was sweating more than in the heat of last summer, but not the same at all. She carried a small towel around the house. Her palms were sticky with wet. Her trousers stuck to her and needing changing after a few hours. Her mouth, though, was so dry she couldn’t drink enough to keep it moist. It was like spooning peanut butter rather than breathing.

Karl was being sweet. It didn’t suit him. She, short-tempered and aloof. Angry at her inability to say anything. Terrified to think anything. She banged about the kitchen until he shooed her out, offering to make a broth. Meg wanted to scream at him, it wasn’t broth she needed. She needed a new date, amputation, medicine, she didn’t fucking know what she needed. Her head was hot and sweaty. She needed no hair. It stuck to her scalp, moisture beaded around her eyebrows, trickled into her ears. She drank glass after glass of water. It seemed to gush out of her, except she couldn’t pee. She was dry as sandpaper down there. Itchy and dry. Like her tongue, her lips. Even behind her knees was damp.

‘Why don’t we ring the health line?’ Karl offered her a new towel. ‘You’re clearly not right.’

Meg wondered about asking him if she could borrow his mobile. She didn’t need to say who she wanted to phone, she could lie, although she couldn’t think of anyone she’d plausibly want to speak to right now. She glanced at the window. If she could catch the neighbour she could ask him about his friend from the party, suffer his smirking, his raised eyebrows, his faux innocent questioning. What the hell would she be asking him? Why hadn’t she just looked at the card when he’d given it her? Why hadn’t she just been friendly, casual, open, like a normal person? He might have been able to help, or know something. He might have at least listened. He might have arranged to meet her. She’d fucked it up, just like she’d somehow fucked this up, not even realising how. ‘Karl, please, look at my foot.’ Meg, sitting on a bath towel on the sofa, raised her left leg, stiffened it as if readying to pull back and kick something. ‘Please.’ Her tongue stuck to the roof of her mouth, silencing her. She couldn’t draw any spit to free it. Sweat, meanwhile, slipped around her palms. She tried to smile. Her eyes felt flat, heavy. She couldn’t look at him. She tried imagining him cupping his palm around her elbow, asking her if she was okay.

‘I don’t think that’s a good idea.’ Karl stepped back.

‘It’s just that…’ Meg wiped her forehead. Snatched the towel from him. Used it to mop her forehead.

‘It’s, it’s private. We ought not to know.’

‘But I do.’ Meg rung her palms in the towel, already too damp to be effective.

‘I don’t know how you can be sure what the lines say, anyway.’ Karl tugged at the towel.

‘You could check.’

‘I can’t. I can’t.’ He staggered back as Meg suddenly released the towel. ‘I’ll get you a new one.’

As soon as he was out of the room, Meg tugged at her sock. There was no such thing as privacy any more. How could there be? Her wet hands made rolling the sock off difficult, dampening it as it hitched and runkled against itself. Finally it was off. It wasn’t exactly privacy they lacked, rather isolation. Her foot cold in the unheated air. Clammy and sore. Too wet. She hadn’t realised her feet were sweating too. It’d be a breeding ground for bacteria, some fungi or verruca. Everything spread into something. Maybe she ought to stop drinking. Maybe she was drinking too much despite her dry mouth. And that was why she was so sweaty. Oddly sweaty. As if parts of her body weren’t parts of her body. Her chest felt fine. Her armpits normal. No nausea. It was just her head, her hands, the backs of her knees. Now her feet. Hence her mouth so dry. Sweat trickled into her eyes, blurring her vision. Her hand couldn’t grip her foot enough to get it on her thigh. She used her sock as a sling. Wiped her eyes with her sleeve. She wouldn’t drink for a while. She needed to regulate. She was out of balance somehow. Maybe Karl had something to with it, carrying a virus. She wiped her sock over the sole of her foot, over her eyes. She could barely see anything. The sky was deepening. He was probably rooting around for the candles. Her body burning and sodden at the same time. Her feet, her hands, prickling with dampness. Her chest and thighs so hot and dry her skin crackled. Skin along her arms flaked under her shirt. Scratching under her sleeve, pulling dry skin off, it clicked, she wasn’t imbalanced. She was absolutely in sync, feeling it all. Everything playing out in her body. She’d slipped between the disconnect of herself alive and herself dead, she here and her mother there, between power consumption and power outage, flood and drought, to become the circuitry. Inevitably fused in her compensation. The room around her shimmered, the table reflected the last of the afternoon light. Next door’s cat jumped onto the window ledge, stared in. Under the window, the armchair rumpled. She sweated and thirst, resisting the last of her water, searching for what might be offset in the folds of the curtains, the light in the corner, the children’s voices outside, and, eventually, the sole of her foot, where her skin glistened under a film of prickling sweat making the number unreadable.

 

 

Work in Progress

Dismantling My Mother’s House is part memoir, part autofiction. It has been shortlisted for Jericho Wirter’s First500 and highly commended in the Bridport Memoir Prize (reaching the last 6%)

What follows in the first few pages of the as yet unpublished manuscript

Dismantling My Mother’s House

Mummy, goodbye, sharp, singular, definite, wakes me to the dark of an unfamiliar bedroom early one October morning. Mummy, goodbye. They sound only the once but breach me awake. I know the voice. Recognise it, despite not having heard it for decades. It’s the voice of my child-self ringing out. Even though I’ve no recordings of myself as a young girl, I know the voice with the conviction of a mother. It was my child-self calling, delicate, then silent. I sit up in bed reaching for the voice echoing inside my head.

Mummy goodbye fading into the dark.

There’s only me in my brother’s spare room, on the top floor of his house. The dark expands the depth of the silence. How had the voice come? I hadn’t spoken. I felt no resonance in my throat from calling myself awake. And it hadn’t been deep enough to be the voice of my adult-self. A child’s voice, for sure. Nor had I dreamt it. The voice was too external. Disembodied and real, how the first telephone conversations must have sounded to their listeners.

A knock at the door dislodges my thinking. A crack of light, followed by my brother, dispels it completely. He has news. The hospital’s phoned, Mum has died. He sits on the edge of the bed and explains whose phone was off and whose on and who phoned him and who else knows. He breathes in the space, my silence. I thank him. We agree to talk more in the morning and he leaves. I’m listening for the voice again. Perhaps there’s more to be heard. But there’s nothing in the room except me rustling the duvet and the sound of my teenage niece sobbing next door. In a minute, I’ll go to her.

I don’t know what happened. Perhaps I’d tapped into some splintering of time, or self. Or made a prophecy. Perhaps I’d experienced an extraordinary regression. Intuitively sensing exactly when Mum died, or when the hospital phoned my other brother. Had this crossed in the night, to be intersected by some other transmission, deep within my unconscious?

Then relief dispels the questions. Mum will no longer be in pain.

 

 

Three small rocks rise from the glossy white sea of Mum’s kitchen window sill. Each is populated by miniature creatures, humans and trees made from shells, beads, pipe-cleaners, string and glue. I made these palm-sized islands before starting school, before either me or Mum knew I needed glasses, back in the Seventies, when shell art was a popular activity. I may not have heard my child-voice in decades, but I’ve long lived among the outflows of her imagination. So many things I made at school and home – embroidered mats, felt-tipped bookmarks, Valentine day cards – that Mum kept until they fell apart. And on this first visit to Mum’s house since her death, the first since that nocturnal calling out, these usually overlooked creations demand my attention.

I spent hours constructing and inhabiting these anchorages while the larger world pulsed beyond my immediate concerns. I would choose and arrange the shells of absent animals to be the bodies of new beady-eyed creatures with string tails or wool hair or lacy hats. Here I was queen, bestowing life and safety to whoever took shape from the fiddlings of my nail-bitten fingers. And the time spent in intense construction didn’t require my leaving Mum’s orbit as she baked, sewed or tidied.

Over the fifty years of their existence, the softening of glue, slipping heads from torsos, and detaching of beady eyes has obscured the original anatomies, warping them into surreal creatures, grubbied by thickening dust. Still Mum had brought them with her from our family home to this, her new one, arranging them on the pristine sill, keeping them precious, safe.


 

The miniature rock islands bind this home to the one where I grew up. Photos of us as a young family also add anchors of familiarity to a house that definitely isn’t my home. The furniture I loved as a child gives this small modern mews the air of an old lady’s home. Here, her dark oak corner cupboards, card tables and foot-rests oppress the smaller, modern armchairs and a dining set bought to fit. The weight and soft clicks of the cupboard doors and heavy drawers I’ve opened and closed my entire life still reassure me, but the velvet upholstery and ornate legs impose an era of stiff backs and waxed etiquette on the compact rooms. Adding to this mash up are traces of the previous owner, whose smoking habit, despite fresh paint and new carpets, was never totally eradicated during the six years Mum lived here. And without the heating and Mum’s cooking, the tobacco tang is creeping back throughout the ground floor.

Mum came here from the home I grew up in, where she’d lived for almost fifty years. Buying it from his parents, she and Dad moved in just before I was born. She’d spent the last years of the swinging sixties, such as they were in Yorkshire, rearranging rooms, replacing windows and painting walls to make the house her own, fit for her family. That house, like this new one, had a solidity typical of many houses in Harrogate. The spa town still is an anomaly of sorts in Yorkshire, although its gentility has been more closely matched by the gentrification in the nearby cities of Leeds and York. For my first eighteen years I’d loved living in that home, steeped in my father’s family history. It was as much inside me as I’d lived within it. An enclave, constructed by her, scuffed and taken for granted by the rest of us, as we ranged within and beyond it, always knowing it as a place to return to.

Even so, that home was less intimate than the very first one she’d provided me. In utero we were fused in a slow collaboration of bodies. There, one cell grew from another, multiplying into folds of flesh, in a network of needs, functions and sensibilities that fastened us together over the nine months of which I’ve no sure recollection.

I’d always done the leaving. Mum was always there when I returned. But now, all these sensations of home, holding me within their invisible scaffolds, pitch more air than architecture. The solidity I’d taken for granted, that I’d assumed was of my own making, now feels as empty as this house that needs to be cleared. And my body, untethered, unfocused, doesn’t know where or how to put itself.

 


It’s four years since I felt similarly bewildered.

Mum was still planning to live until she was a hundred when I went to the Arctic. I’d gone to Svalbard, with thirty other artists, for a residency aboard a repurposed brigantine. It was June and the sun did not set, merely rearranged the shadows of mountains, glaciers and moraines. What looked a few hundred metres away often turned out to be ten kilometres, or further. Million year old air hissed and popped from the bitty bergs we passed. I breathed in the exhalations of lives long gone. A glacier formed over four thousand years took five minutes to calve its front wall.

In the face of all this I shrank. And in the process of shying away from what I saw, I opened up. And not just me. Everyone on the boat was gawping and cooing, an assortment of infants scrabbling before the deliberations of rock, ice, mud and water reshaping before us. Every moment was an event, a first, that bore witness to the actions of the industrialised world. Every moment was an act of recalibration. We were face to face with the consequences of two hundred plus years of not looking. And now I didn’t know where to settle my gaze.

No more so than the afternoon we headed for the rock at the most northern tip of the archipelago. Rossøya barely broke the waters. It was a bony mound, far less ornate than the ones I’d made and inhabited with shells, string and beads. There was no sign of the driftwood and washed-up plastics we’d found on other beaches earlier in the trip. This piece of land swelled white where snow lay unmelted, black in crevices threading across it, and green at its slimy rim. Ancient continental crust three billion years old, once part of the earth’s mantle, had been pressed upwards by magma, to thicken and aerate on meeting the sky.

The sea was not white but grey. There was still the threat of unseen ice so we inched towards the rock. I was used to living on the water, the roil of a boat, sleeping in motion, being surrounded by the slap and cut of ocean for weeks at time, sometimes only seeing the curvature of the earth as horizon for days. Lucky as I was to have sailed as crew and skipper at various times throughout my adult life, here I toddled on deck. This land was unlike anything I’d witnessed before. Bundled in layers of fleece and thermals, legs outspread, keeping myself upright in the boat’s movement, I was dubious about getting too close to this low arc of rock.

I couldn’t articulate what made me uneasy. It was as if I could feel the act of seeing in my whole body, not just a cognisant recognition of rock. I was turned inside out, feeling the rock skimming below the skin of my throat or stomach. It was similar to what happens when I’m concentrating, making or writing something, trying to articulate how I find the world. Except I wasn’t making anything, just watching this low lying rock be washed by water that both connected and separated us. It was as if I was finding this remote place was within me, too, as if I was recovering an ancient memory for the first time. It felt both true and awkward simultaneously. In my pocket was a piece of fossilised coral from when Svalbard was 50° farther south. Past and present, distance and proximity, mashed together, pulverising any rationale in the grip of wide-eyed wonder. I was fifty-one years old and had never felt such a child.

Awards


2021 Ledbury Munthe Second Collection Prize for Poetry. Shortlisted. ‘melt’
2020 BlackSunflowers Poetry inaugural pamphlet competition. Winner. ‘the hispering’
2019 AHRC-funded PhD. Liverpool University. ‘Becoming Ocean: On the Marine Lyric’
2019 UK Forward Prize for Poetry. Highly Commended. ‘Whale Bone Corset and Other Relics’
2018 Ivan Juritz Prize for Creative Experiment. Shortlisted. ‘Recovery’
2016 Hinterland Inaugural Nonfiction Competition. Shortlisted. ‘This Wall’
2016 Dot Award New Media Prize. Shortlisted. ‘Ripple’
2014 International New Media Writing Prize. Shortlisted. ‘Tales from the Towpath’

Host

Host (Waterloo, 2010)

poetry

“The voices, the stories, the detail and the imagery are powerful, superbly-crafted and original.” Bernardine Evaristo

“The poetry is earthy and takes a no-nonsense approach to setting out their journey from community-based god-fearing and pious, through to the complexity, toughness and verging on faithlessness, of modernity.” Anne Stewart in Artemis

“… excellent at capturing social and religious codes of behaviour, with the acuity of Austen or Alice Munro … Host is a tactile and muscular collection, rooted in the complexities and textures of the physical world. Hymas has created fresh and exuberant work that, at its best, captures the awe of being alive.” Sarah Westcott

Waterloo Press have a few copies left… I think

Becoming Ocean

Becoming Ocean is my creative critical PhD thesis, gained in 2019 from Liverpool University.

You can download a copy of it from here

melt is its creative porfolio.

the hispering

the hispering (Black Sunflowers, 2021) dissembles and reassembles how the world speaks to us and what happens if we listen. It contains meadows, oceans, fairytales and the whisper of unseen creatures. A sequence of prose-poem-like glimpses slip between dream, waking and storytelling; plant and human ecologies; the pervasiveness of water; and how being-birthed and birthing are seeded in every word written and read.

Written in the April 2020 lockdown in England, it sits with the past as a way of stepping into a more hopeful future. Read more about its creation on EchoSoundings

You can buy a copy direct from Black Sunflowers here

or direct from me, through paypal

Publications

the hispering (Black Sunflowers, 2021) dissembles and reassembles how the world speaks to us and what happens if we listen. It contains meadows, oceans, fairytales and the whisper of unseen creatures. A sequence of prose-poem-like glimpses slip between dream, waking and storytelling; plant and human ecologies; the pervasiveness of water; and how being-birthed and birthing are seeded in every word writeen and read.
Written in the intensity of the April 2020 lockdown in England, it feels as strange as those times, perhaps more hopeful. Read more about its creation on EchoSoundings, or a review of it by Carla Scarano on the Friday Poem. If you’re really curious, you can buy a copy her direct from Black Sunflowers

Cover painting: Winter Sea III by Joan Eardley

melt is an oceanic song of love, of hope, of belonging and longing. It begins in the north west of England, on the shores of Morecambe Bay, and ends in a future that may or may not have been foreseen in the Arctic.

Interspersed with images, tickertape on plastic updates, prose, poems and fragments, the book is an assemblage of joy and despair, of bodies, human and morethan. More ripples surrounding the book can be felt here

£12 (+p&p)  Buy from me and  I’ll slip a little origami wahle in the pages

Postage options

 

Or buy direct from Waterloo Press

Shortlisted for the Ledbury Munthe Poetry Prize for Second Collections. Judges Sandeep Parmar and Naomi Shihab Nye called it ‘[a]
triumph of imagery interweave, human and sea, these moving poems employ lush, melodious language, rhythmic pacing, a hypnotic sense of attentive presence. Who are we after all, as we acknowledge the push and pull of waves, the mysteries present within every body of water? ‘

Blurbs

melt is a book that demands our attention, slipping as it does, curiously and carefully, between enfolded worlds of intellect and feeling, giving us unique access to an archaeology of perception. As Hymas brings pressure to dailyness and the ordinary, she reminds us of the importance of locating ourselves in an increasingly precarious environment. This is a wise book that asks us to read slowly; a must read for these uncertain times.   Deryn Rees-Jones

In poems of precise observation and restless energy, Hymas shows us world and self as intertidal zones of flux and exchange, ‘ebb-dragged / and flood-ripped open’. There is mourning here, in the face of loss and ecological damage; there is questioning, an interrogation of our human ways of being in the world. But there is also hope, and above all a boundless sense of curiosity, yet without any demand for final knowledge: ‘I want to ask /more questions / I cannot answer’. melt is the work of a poet deeply engaged with the world, always open to ‘what will become’.   Helen Tookey

Sarah Hymas does not ignore that which we do not want to have to comprehend about our ocean, but nor does she preach at us. The restrained prose passages situate the work in the local as place of learning; the lyric sea poems explore extending what is possible for the human body within the more-than-human world. melforms part of the necessary and exciting work emerging today from new understandings of the bodies of water that surround the landmasses we inhabit.     Harriet Tarlo

a flotilla of golden plankton, one of which could be yours #everysecondbreath

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Host (Waterloo, 2010)

poetry

“The voices, the stories, the detail and the imagery are powerful, superbly-crafted and original.” Bernardine Evaristo

“The poetry is earthy and takes a no-nonsense approach to setting out their journey from community-based god-fearing and pious, through to the complexity, toughness and verging on faithlessness, of modernity.” Anne Stewart in Artemis

“… excellent at capturing social and religious codes of behaviour, with the acuity of Austen or Alice Munro … Host is a tactile and muscular collection, rooted in the complexities and textures of the physical world. Hymas has created fresh and exuberant work that, at its best, captures the awe of being alive.” Sarah Westcott

Waterloo Press have a few copies left… I think

If you live locally to me and would rather not pay postage costs please get in touch, I’m sure we can arrange something

Imaginarium Solo

An easy to use, easy to riff off, writer’s guide to kickstart a new writing project, picking up the threads of an old one, or tinkering with an unfledged idea. The Imaginarium Solo offers a space for you to play, think, listen and write around an idea – word, image, or story – that just won’t let you go, with the intention of ripening it at a pace that suits you.

Four audio provocations, embedded within the guide, will prompt you through an accumulative writing process. For run through the guide, start to finish, probably takes about six hours. This, of course, can be broken up to fit with your life. As with all Imaginariums, Solo is based on my own processes and designed to encourage imagining, creating and writing for all genres. It’s for those who would like an invisible companion / gentle provocateur as they write

You choose the cost: from £5 – £25. Pay below and I’ll email a link to the digital guide. While you can print it off for your use, you will need to be online to click through to the audio files that are the writing guides embedded in the pdf.

All monies will go to The Morecambe Bay Poverty Truth Commission Hardship Fund

Price Options

If you’re strapped for cash, email me. I’m happy to share this for free with anyone whose financial situation is an obstacle to their writing.

And if you’d rather write in company, then maybe the Imaginarium Online is more your thing. If there isn’t one pending, then sign up to my very infrequent newsletter to hear of the next one.

Intro
Skear Zines responds to the writers we work with. It aims to resist homogenisation, and celebrate querenesse. It wants to give space to those voices that might not fit into traditional publishing models, voices that have been sidelined or as yet unheard, voices that have small (yet big) things to say, voices that will sing in unconventional forms.

What we’re interested in
Writing that straddles prose and poetry, fiction and memoir, narrative and non-consecutive sequences, short or longer pieces (anything from 100 – 2400 words), fragments or some other interesting form. We are open to combining image with text, embedding web-based audio into the zines and other things we’ve not yet thought of.

Zine format
Each zine is folded from a single A3 sheet. No glue, no stitches. Only cuts are used to create a variety of folding and unfolding forms that ask the reader to reappraise how they come to the work, or how the work comes to them.

We’re starting small, working with invited writers. We are closed to submissions. However if you know of someone whose work you think might suit this folded/ unfolded form please get in touch. 

Behind the Skear is the belief all books are a collaboration between the imaginations of writer, reader and bookmaker. As such each Skear Zine will be different, depending on the dynamic of that collaboration.

We have beem making zines for four years now
more info on the Skear Zines website

Who we are
Maya Chowdhry is a digital art/activist who works at the intersection of form, traversing radio, Installation, theatre and video. She creates immersive and democratic experiences for audiences and explores themes such as climate justice, seed sovereignty and food justice. She has worked as an editor and mentor for young writers and digital artists. Find out more here.

Sarah Hymas has been making artistbooks for several years, in conventional and less conventional forms, always with the desire to renegotiate the dynamic between book and writing, reader and book. It’s time to unfold further. She worked with many writers around the north west of UK as editor for Lancaster Literature Festival for six years.

Mish Green works across written and spoken forms in poetry, short fiction, and non-fiction. Their work often explores the overlaps of class, disability and immigration – the sites of invisible and hyper-visible bodies – and they recently edited TransBareAll, an anthology of writing and art by transgender and non-binary artists. More on their website

A skear is a low rocky outcrop in the sea. The word is a derivation of skerry which is a derivation of the Norwegian skjaer. Skear is used around Morecambe Bay, in northern England.

It is a word that changes shape. That comes from elsewhere, that refers to something that also changes shape: the outcrops are shunted and shifted by currents. The pamphlets / zines are a shape-shifting of the A3 sheet folded into various shapes and sizes that open in different ways; forms that extend the textual content into a physical dimension.

To classify the press as Zines suggests all we’ll ever make are zines, which might not be true. Skear Zines might redefine what a ‘zine’ is or could be. Ultimately it’s about the z-ness, its abbreviation, its not-quite-ness.