At the beginning good fortune, at the end disorder

I recently saw the galley proofs of Storylandia issue 7, (and a sample of the issue is now available from the website) so all appears to be on schedule as far as publication goes (which may still be up to two months away). I’ve been very impressed with the professionalism of the magazine and am really looking forward to getting hold of a copy. As the autumn storms rage here in Mount’s Bay, early but no less fierce for it, I’ve been tidying up Theophany/Darkworlds Part Two. For a 14,300 odd word opus that practically fell out of my head and onto the page, it’s appearing to need a lot of tidying up but remarkably little rewriting. Thanks are due to Peter Tennant, writer and Black Static reviewer/columnist, who publicly encouraged me to write a sequel to the original Darkworlds. Ten years down the line, living a very different life to when the original was penned, it’s been amazingly easy to get close to the same headspace, although I think my change in environment and “born-again Paganism” (to quote a wise man) is clear in the second instalment (which is possible to read without having to be familiar with the original, I think) I’m at a bit of a loss as to where to send it: I’m not arrogant enough to assume Pigasus Press (who published the original in their Premonitions: Causes For Alarm anthology) would be interested, if they’re even still publishing new work. However, that’s a minor concern. The work is what really matters. With Pieces awaiting consideration for another anthology and The Ferocious Night hopefully appearing towards the end of September, the question is: what next? Perhaps a re-write of a very old story called Angel Wing, which I had a read through recently. The general story is good enough although it needs some work, but it was the last paragraph that made me sit up and want to see the piece realise its full potential.

Three pieces of music(k) have been accompanying my every written word and nearly my every move over the last months: King Creosote/Jon Hopkins’ John Taylor’s Month Away (a melancholic Scottish folk song), Fougou’s Further From The Centre of Disturbance (a very dark, otherworldly, ambient album somewhat reminiscent of Lustmord and Coil, very emotional in places, in a beautiful art package with the field recordings made at sacred sites in West Cornwall) and Cyclobe’s Wounded Galaxies Tap At The Window (more dark ambience; Cyclobe’s claim to be drawing water from the same well as Coil is well justified).

From inside the beehive hut

Inside looking out, Carn Euny

Two days ago I revisited Carn Euny iron age village near Sancreed and managed to spend some time completely alone in the fogou. We (T and I, in celebration of T’s birthday) had approached the ancient village via the old trackway from the bottom of Chapel Carn Brea, around the bottom of Bartinney Hill, between the two Holy Wells and past the dell that has its own strong energy – all sacred sites; as T said it felt like a pilgrimage – to find the village almost deserted (rare, as it is reasonably easy to access from a nearby layby). When we had the place to ourselves I made my way through the fogou entrance and into the older beehive hut. It is a strange place indeed. There are spiders’ webs over various stones but arachnophobia never rears its head. It has a hole at its centre, like a chimney (now grated) so is open to the outside world but is nevertheless absolutely silent. An other-world. The most peaceful place I have been (on the British mainland at least). There is much argument about what purpose fogous served. Possibly storage and hiding places, but a visit to one will leave you in no doubt that they also had ritual purposes. The energy at Carn Euny is undeniable and I will use the experience in future writing.

A little after we arrived home there was the sound of horns blowing: outside was the May Horns procession, five days late from its traditional Beltane date, but still a welcome sight. Amongst the Green Men and Women danced a huge Crow, a recent addition to the procession. It reminded me why I stay here and, along with experiences like the one at Carn Euny, is more than consolation for missing the odd cultural event in the big smoke.

I have just finished doing another read-through of The Ferocious Night for the Penzance Literary Festival. The theme this year is ‘journeys’ and TFN is about Death, the biggest journey of all, so seems even more appropriate now. I had an idea of looking as conservative as possible for the event, so as to appear almost at odds with the subject matter but I’m incapable of looking straight (in any sense of the word), so will go the other way – the brightest, flame red coloured hair and perhaps (it taking place in July) a vest top that will show off my tattoos. But the hope is that the writing will attract more attention that however I look on the day.

Finally, Fougou (Matthew Shaw and Brian Lavelle) have a new album out, titled Further From The Centre of Disturbance. The initial copies come beautifully packaged and the track I’ve heard sounds fantastic, as dark and wonderful as its name would suggest.