Quotidian

Play-writing as a shared endeavour

When I first set out to write a play, I envisaged it as the lone writing task, par excellence. I thought of someone like Henrik Ibsen, exiled and working alone with only his dramatic imagination to guide him. The prospect was uncongenial.

I called my friend Jo Hockley, who had once produced a play at the Edinburgh Fringe, and asked her to join me in the enterprise. She readily agreed to review my drafts, offer insights and comments and generally take an interest in the project. Quite soon a former student of mine, Erin Craighead, an amateur actor and budding playwright herself, came on board in a similar way.

Suddenly my playwriting ambition was housed within a team of three people, whose members were keen to work together. I was no longer on my own.

Hazel Campbell: at the stroke of a brush

The year was 2010. Heading to our favourite cafe/gallery in Castle Douglas one gloomy Saturday, we paused at the front window. A large watercolour painting was mounted on an easel and seemed to be lighting up the whole High Street.

Electric blues and vibrant greens shone out around a quirky white cottage. In the foreground, as if on a window ledge, was a pot of purple flowers, itself decorated with a red heart. The sky looked like the northern lights. The whole painting exuded a sense of energy, yet at its centre was a sense of quiet, rural calm. In an instant, Dr G strode into the shop and within moments she had made a purchase.

Thus it was that the work of Hazel Campbell found its way into our home. It is my pleasure to enjoy that painting multiple times each day as I go in and out of my house. It is the first thing visitors see on arrival and the last thing they view on departure. Fastened to the wall with strong mirror plates, it has become almost a part of the building itself.

Karen Campbell – a writer’s story

Photo credit Kim Ayres

Back in the early months of the 2020 lockdown, like many others I was using enforced isolation to broaden and deepen my reading. I found myself reaching out to the works of authors I was aware of, but had not yet ventured towards. In this context, that spring I became immersed in a novel about wartime Tuscany. A story of divided communities, and cultural strain. A story of violent and mounting tension. And yes, also a story of love. The writing was luminous, sharply observed; the characters compelling and demanding; the historical details, mainly new to me, peppering the storyline, but never obscuring it. I read the book slowly and with respectful attention. Two years later the hardback copy still sits in a pile by my favourite chair, something to be returned to, its vivid passages re-experienced, its deeper implications re-explored.

The novelist in question is Karen Campbell. The Sound of the Hours, is her seventh book and the eighth is soon to appear. Through my links with the Atlas Pandemica project, in which artists and writers developed cultural interpretations of the unfolding consequences of COVID-19, I also discovered her remarkable set of short stories and reflections based on the experiences of Council workers during the lockdown periods of 2020.

Art, memory and the lobster pot

It is a bright, dry day in October 2021, the full palette of autumn is fully established, and there is still plenty of warmth in the sun. With me are two friends from southern Norway, Lisbeth and Einar. We are spending the day together, drinking coffee in my Dumfriesshire home, exploring the Dalswinton estate, and eating lunch at Thomas Tosh in nearby Thornhill. The highlight of our excursion is to be a visit to CAMPLE LINE, a small gallery in Nithsdale, where I am a charity board member.

At the gallery, the three of us encounter for the first time the work of Tonico Lemos Auad. His show consists of just 12 pieces. The largest are in an upstairs room, where some are suspended from the wooden rafters of what is a former textile mill. The exhibition is beautifully constructed. The work and the place that contains it seem uniquely at one. It is clear that the artist understands the building. So I am only half surprised when I learn that Tonico is also an architect.

Circles of trees: an ‘arboretum’ in the making

The idea of the arboretum came about in 2015, when I had the opportunity to take a long lease on the field adjacent to my home in Dumfriesshire. Having secured the arrangement, I began to ponder how to proceed. Almost two hectares in extent, the field had been set-aside for years as rough pasture. Long coveted, it now seemed a rather daunting responsibility.

Fortunately it did not daunt my ever practical friend Artur Nalepko, who assured me of his assistance and know-how. My principal idea was to plant trees, though I wasn’t sure which ones or in what groupings or pattern. The rather grand term ‘arboretum’ came a little later,

The Christmas Eve dinner: a mystery story

The motorway is down to one lane in the deepening snow. I’m in a convoy of vehicles making cautious progress as we all head north. Driving home for Christmas.

I reach the Scottish border. The Gretna outlet store, now re-named Caledonia Village, is crammed with last minute shoppers. I take the next exit, heading west into Dumfries and Galloway. That little corner of Scotland that no one elsewhere seems to know much about.

Barry Graham and the spirit of Loch Arthur

Over the last decade I have taken many friends, visitors and colleagues to the Loch Arthur Farm Shop, in Beeswing near Dumfries. I’m always pleased when the visit coincides with an opportunity to chat to Barry Graham, who in the interview with me below tells us his intriguing story.

One challenge I have had at the Farm Shop is how to introduce him to others. Occasionally I have used the term ‘majordomo’ as a title, though as the interview will testify, that is far from being the right descriptor. ‘Inspiration behind Loch Arthur’ is another phrase I’ve used, though as we shall see that doesn’t quite capture it either.

His own words tell a good story. “I am the person who knows the most people who I don’t actually know”. For my own part, I am certainly one who beyond a sketchy knowledge of Barry’s varied roles and responsibilities at Loch Arthur, until now knew very little of the person. Which is why it is such a pleasure to present here this account of aspects of his life and work.

Weeds, humans and virtue

‘A plant in the wrong place’. I have long been aware of this rather cryptic definition of a weed. A few years ago I mentioned it to my friend Devi Vijay, whilst strolling around the Brooklyn Botanical Garden and puzzling over a few patches of vegetation here and there that seemed out of harmony with the overall presentation of the place. When Devi got in touch with me recently about the work of a cultural anthropologist who has written in detail about the subject, I realised that there is a great deal more to the casual question, ‘what is a weed?’

The summer of love

Saturday early evening she closes the shop. Pulls down the blind, the summer light still pouring in above the door. After cashing up the till, her hand is shaking slightly as she removes £7 and pushes the grubby notes into the back of her purse.

The eel

I was walking round the garden just before dusk on All Souls Day, when something at the edge of the pond caught my eye. I immediately thought the predatory heron had been in action and perhaps left behind some part of its prey. A closer inspection showed that the eel which lay there, for such it was, appeared unharmed and with no sign of damage from that stabbing beak.

It was a beautiful elver, maybe ten inches long. Pigmented in colours of grey and brown from its elegant dark head to its finely tipped tail, it was also mottled with greens and blues, that seemed to refract in the low light. A yellowish-brown belly, looked soft and vunerable.