\n
Ben Keatinge writes<\/em>: The Amergin Step<\/em> is a book with many tributaries from the fields of archaeology, myth, folklore, history and literature, but perhaps its unifying principle is that of vision, its way of seeing and interpreting landscape, specifically the Iveragh peninsula in south Kerry. Paddy Bushe has been exploring Iveragh through the eyes and mind for several decades and The Amergin Step<\/em> is the fruit of a great deal of accumulated experience. It affirms something Tim Robinson wrote in one of his last essays, \u2018A Land Without Shortcuts\u2019, where he suggests that it \u2018is the attention we bring to it that makes a place out of a location\u2019.<\/p>\nEach guided excursion with Paddy Bushe \u2013 a series of explorations on foot, in the mind and from the archive \u2013 identifies and traces a new \u2018line of vision\u2019. One example, among many, shows how Bushe discovers meaning even in seemingly unremarkable details of the terrain. Climbing \u2018to Cloch an Aifrinn [a mass rock], uphill from Spunkane, just north of Waterville\u2019, the landscape becomes \u2018very different\u2019 from ground level, giving a sweeping view of \u2018Church Island, Inis Uasal\u2019 on Lough Currane from the vantage point of an innocuous \u2018low upright slab [. . .] neither prominent nor, at first sight, very impressive\u2019 to the left of the hillside. However, we soon understand that \u2018the significance of this slab is in its placing, which makes it another mirador, a place from which to look, to admire, and \u2013 especially for the believer \u2013 to give credence to the miraculous embodied in the landscape\u2019.<\/p>\n
There are many examples in The Amergin Step<\/em> of this sudden jolt of understanding of how the terrain is configured. In fact, Paddy Bushe does for Iveragh what Tim Robinson did for Connemara, Aran and the Burren in locating \u2018a secular version\u2019 of the miraculous by reading the landscape carefully and thus \u2018call[ing] forth an awareness of [a] place\u2019s constitution, the casual net that brought it into existence, from cosmic origins to the casual touch of local microhistory\u2019. Taken collectively, these insights have an extraordinary \u2018illuminative value\u2019 for the Kerry locales they describe, helping to make sense of what might otherwise appear arbitrary, mere location rather than place.<\/p>\nThis holistic sense of recovering meaning by delving into this region\u2019s past and looking more closely at the landscape\u2019s physical contours is also an ethical act of responsibility towards what our ancestors have bequeathed to us. Rather than an exploitative relationship to the world, we might consider, Bushe urges, \u2018another way of experiencing the world, a different way of appropriating the world we live in, physically and imaginatively\u2019. The Amergin step of the book\u2019s title is this endeavour to reorientate our approach.<\/p>\n
In our current era of climate disaster and biodiversity loss, it seems imperative to find a more responsible, harmonious way of living both with our immediate surrounds and, at the global level, with our whole planetary ecosystem. In this respect, the Amergin poet\u2019s moment of appropriation, making landfall near Paddy Bushe\u2019s house at Carraig \u00c9anna, is reinterpreted, in the book, as a declaration of ecological responsibility:<\/p>\n
Am wind on sea
Am wave swelling
Am ocean\u2019s voice
Am stag of seven clashes
Am falcon on cliff
Am sunlit dewdrop [\u2026]<\/p>\n
An ancient voice addresses contemporary concerns about the custodianship of our planet in what is an \u2018inclusive ecological manifesto\u2019 which has never been more needed now that climate change denial is, once again, in the ascendancy in the USA and the green agenda is on the defensive in Europe.<\/p>\n
The wide-angled lens of The Amergin Step<\/em> is also framed in terms of \u2018listening to landscape, listening for the stories it tells\u2019. For example, as Bushe surveys Dingle Bay from the top of Drung Hill, he writes of the \u2018whispered echoes\u2019 from the past \u2018that the attentive listener can still catch on the wind\u2019. And such is the archaeological, geological and historical complexity of this single vantage point, that the listener may pick up \u2018the sense of a multitude of different voices to be heard if only we open ourselves to them\u2019. There are abundant examples in the book of how we experience the world aurally and of how the sudden onset of silence, where we expect to hear voices, may carry an extremely sinister resonance, the \u2018stillness\u2019, for example, of the recent pandemic, during lockdown, or the \u201c\u2018terrible, unbearable silence\u201d that arose from the Famine\u2019. In the book\u2019s coda, Paddy Bushe quotes Brendan Kennelly\u2019s great poem \u2018My Dark Fathers\u2019 where Kennelly speaks, in the last line of his final stanza, \u2018Of unapplauding hands and broken song\u2019. The great silence in the mid-nineteenth century is a sombre reminder that landscape is \u2018essentially a human construct\u2019 and that its gaps and missing voices must also be looked for and listened to.<\/p>\nBut Bushe encourages us to look forward as well as looking back and another Brendan Kennelly poem, \u2018Begin\u2019, resonates strongly with Bushe\u2019s repurposing of the inaugural Amergin step as a positive stepping forwards and onwards. To begin again one must also begin at the beginning which, in Bushe\u2019s imagination, means going back to the Amergin poet and listening to him, for example, on the iPod\/iPad, in the twenty-first century:<\/p>\n
[. . .] as I had been instructed, I read
Right from the beginning and in the end
I managed to download The Song of Amergin
From the air, and I dived
Deep into the earphones, listening
To the majesty of that synthesis
And to the ancient words of that poet
Who long ago made landfall in my mind.
I walked by myself beside the sea
And deep into the mountains
listening to the wind\u2019s voice on the sea
to the baying wave in a storm
to the hawk\u2019s screech on a cliff
to stags bellowing on the hills
to salmon leaping and falling in a lake
to a bee drowning in the mouth of a flower
to the raven\u2019s croak among mountain
to the celebration of larks over furze
to the wild words of the poet
In order to begin, as has been said
Right at the very beginning.
(\u2018Amergin on the iPod\u2019)<\/p>\n
Tim Robinson\u2019s beautiful coinage of \u201cpre-emptive nostalgia\u201d furnishes us with a phrase to describe how the past informs the present and how looking inward and downwards can shape a productive way forward. And as Brendan Kennelly suggests in \u2018Echoing Note\u2019, the preface to his collection Begin<\/em> (1999), \u2018Poetry is a land and sea of echoes connecting with each other [. . .] steppingstones across a river of time [. . .] a kind of education\u2019 which allows for both \u2018chronology\u2019 and \u2018intensity\u2019 of experience. An intense, breathtaking experience is surely what the incantatory music of\u00a0 \u2018Amergin on the iPod\u2019 describes as it delves back into the mists of time in its huge chronological sweep.<\/p>\nThe \u2018Echoing Note\u2019 traced by Paddy Bushe across Iveragh allows great \u2018insight [. . .] into the lives and beliefs of those shadowy figures who inhabited this landscape over the centuries\u2019. Even in the remotest of locations, such as on the majestic island of Skellig Michael, hallmarks of \u2018social connectivity, organisation and commonalit\u2019 can be found in ways which suggestively align centre and periphery, past and present. And among Bushe\u2019s many distinctions as a poet is to have written wonderful poems about Skellig \u2013 its history, birds, climate, topography \u2013 in ways which exemplify his conception of the Amergin step as an act of ethical relationship to the world. Artistic expression is another facet of this harmonious relationship to a \u2018unique\u2019 environment, as he explains in the book\u2019s discussion of \u2018Skellig Michael as an Island of the Mind\u2019:<\/p>\n
At the margin of the known world when it was settled by monks, it is now uninhabited. It is at the same time the centre of its own unique and self-contained world. And for those who manage to enter that world, and especially those who manage to give artistic expression to that world, marginality and centrality tend to resist definition and limitation.<\/p>\n
One of the pleasures of Bushe\u2019s explorations on Iveragh is how he combines an awestruck appreciation of \u2018the elemental beauty\u2019 of a place like Skellig while insisting on the human and communal dimensions of their enabling isolation. At one extreme, Bushe considers the eremitical austerity of the monks on their \u2018fantastic and impossible rock\u2019 out in the Atlantic; at another, he celebrates the \u2018Wordsworthian integrity and intensity of vision\u2019 of the O\u2019Connells of Derrynane. But in both cases, he demonstrates their spiritual and communal relation to landscape.<\/p>\n
The Amergin Step<\/em> engagingly overlays, from different angles, the sublimity of the landscapes it describes with their social histories. For example, at Drung Hill, we are told that \u2018community, legislation, gathering, identity, energy, buying and selling [. . .] lie behind the enigmatic appearance of the mountain\u2019. Equally, the book expresses present-day concerns about rural depopulation, the need to conserve Iveragh as \u2018a living and vibrant community into the future\u2019, anxieties felt all the more keenly given the long-term shadows of \u2018language-loss [. . .] cultural impoverishment [. . .] and economic demoralisation\u2019 cast by the Famine.<\/p>\nThe social dimension to landscape is equally evident in Bushe\u2019s magnificent poem \u2018Stormbound\u2019, about being \u2018sucked into the isolation of Sceilg\u2019. Read carefully, one realises how, even as the poem celebrates solitude, it also insists on the need for regular social rhythms so that, instead of surrendering entirely to the spectacle of a storm, the poem returns to a social and spiritual \u2018need\u2019:<\/p>\n
For the stone steps\u2019 passage
To the high oratories and cells,
For ordained hours, for bells and ritual
That might placate the implacable,
For the final, clear word upon this rock.
(\u2018Stormbound\u2019)<\/p>\n
By looping back to the social and ordinal in a poem filled with intensity, Bushe underlines his dual sense of Iveragh as holding \u2018integrity and intensity of vision\u2019 in balance. Ultimately, his vision is Apollonian rather than Dionysian, but the invigorating synthesis of these two modes of perception bolster, with measured urgency, The Amergin Step<\/em>\u2019s ecological concerns.<\/p>\n26\/5\/2025<\/p>\n
The Amergin Step: An Exploration in the Imagination of Iveragh, by Paddy Bushe, artwork by Holger L\u00f6nze, is published by Dingle Publishing, at \u20ac30.<\/em><\/p>\n\u00a0<\/p>\n
\u00a0<\/p>\n
\u00a0<\/p>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"
Ben Keatinge writes: The Amergin Step is a book with many tributaries from the fields of archaeology, myth, folklore, history and literature, but perhaps its unifying principle is that of vision, its way of seeing and interpreting landscape, specifically the Iveragh peninsula in south Kerry. Paddy Bushe has been exploring Iveragh through the eyes and […]<\/p>\n","protected":false},"author":1,"featured_media":291670,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[122885,122884],"tags":[122886,4331,8767],"dealstore":[],"offerexpiration":[],"class_list":["post-291669","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ben-keatinge","category-irish-art-culture","tag-drb","tag-lines","tag-vision"],"yoast_head":"\n
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