At the Edge of Ireland
Read At the Edge of Ireland Online
Authors: David Yeadon
Seasons on the Beara Peninsula
Written and Illustrated by
In loving memory of my wife Anne's late father,
Sydney Coultish
whose Yorkshire humor, courage, and warmth remain as examples to us of a full and fine life. He will be a vital part of our lives forever.
Â
Also with wonderful memories of the late
Theo Westenberger
dear friend, photographer supreme, and creator of beauty, magic, and mystery. You will never be forgotten.
Â
Also in admiration of the late
Tommy Makem
“Mr. Ireland” himself, renowned singer, songwriter, author, philosopher, compatriot of the beloved Clancy Brothers, and friend.
The Bearaâa haunting array of sceneryâleast toured but most spectacular of the southwestern peninsulas, showed herself to be an eerie beauty of the mists, especially suited for the ghosts and fairies who live thereâ¦. Wind, fog, sea and craggy rock crescendo here and the wildest of Ireland's wild moors give testimony to the mysticism of the land.
âJ
ILL AND
L
EON
U
RIS
,
from:
Ireland: A Terrible Beauty
(1975)
Introduction:
Where and Why Beara?
The Season of Imbolc
1
Coming into Dublin
2
“Blow-In” Initiation
3
Irish HistoryâFast
4
The Ring of Beara: Our First “Loop” Adventure
5
The Magic at MacCarthy's
6
An Introduction to Dzogchen Beara
7
Monologue on Mortality
8
Moments of Meditation
9
A Delicious Work in Progress: Gastronomic Romps Around Beara
10
Padraig O'Reagan: Ireland Then and Now
11
A Very Revealing May Day
12
Beara Healers
13
Leaving Beara for the First Time
The Season of Beltaine (“Bright Fire”)
14
Days with Carey Conrad
15
Cookies with Cormac and Rachael
16
The Creators
17
The Enumerator Cometh
18
Luka Bloom (and Christy Moore)
19
At Anam Cara
20
Listening and Learning
The Season of Lughnasa
21
The Ryder Cup Roars In
22
With the Fish People
23
This Farming Life
24
A Scrap Odyssey
25
Walking the Beara Way (or Notâ¦)
26
Weather Signs (and Visions Too)
27
Danny's “Song of Beara”
The Season of Samhain
28
Set Dancing at Twomey's
29
Tales of the Seanachai
30
A Trip to Tuosist (and Way Beyond)
31
Celtic Conversations
32
Returning to the Stones
33
Rooting Around: A Final Adventure in Search of My Irish Heritage
SPRING
Ballydonegan Beach and Allihies
Dr. Michael Murphy
by Celia Teichman
Julie Aldridge
by Celia Teichman
SUMMER
Sculpture at Mill Cove Gallery
AUTUMN
Old Tractor near Dursey Island
Ancient StonesâA Fallen Dolmen
WINTER
A Collage of Celtic-Christian Symbols
F
IRST
, I'
M SURE THAT CONNOISSEURS OF
Irish history and the country's socioeconomic subtleties will find a few places in this book to let fly with contradictions at my gleaned research. The problem with Irish history is the viewpoint. This of course is what led Henry Ford to the blunt conclusion that “history is bunk,” based largely on the fact that historical facts are malleable, selectable, and notoriously unfactual (a quandary obvious in any law court every day). Ford also pointed out that history and the facts to support it were invariably compiled by the victors or survivors of any particular battle or other shifts in the status quo, not to mention the personal spins of the historians' political/social biases and regular revisions in the context of longer term hindsights and perspectives and shifts in power, control, and politics.
Soâgenerally speaking I've taken what one might call the “cautious” path with Irish and even local Beara history. I've tried to avoid putting my own overly neophyte spin on things (despite arduous research that inevitably made it even more difficult for me to arrive at any hard and fast conclusions). I thus left it largely to the localsâsome very opinionated locals usuallyâto give me their erudite and effervescent summations. And in terms of their and everyone else's words in this book, I have relied primarily upon transcripts from my beloved little microtapes, used whenever I chatted with potential contributors. In most instances they were fully aware of the taping, and I respected their wishes for anonymity whenever (rarely) requested, by modifying names a little or merely paraphrasing their inputs.
Also, to all those who shared their views on and love for Ireland and the Beara Peninsulaâthank you all for your invaluable assistance. This book would not have been possible without you. And you know who you areâ¦
Finally, “a thousand thanks” to Bridget Allen, my loyal partner in manuscript production; to Hugh Van Dusen, my longtime (and long-patient) colleague and editor, whose advice and support are always vital; and to my wifeâAnneâtraveling companion, gentle critic, spirit nurturer, and best friend without whom all my ventures and wanderings would be hollow shards indeed.
I
AM CONSTANTLY INSPIRED BY THE
amazing artistic work and publications of my friend Neil Watson. In his most recent book,
Drawing: Developing a Lively and Expressive Approach
, I noted a series of suggestions that helped redefine my usual approach to book illustration:
Our mechanisms of visual perception do not result in an innate ability to copy things visually, but rather to experience them, react to them, respond to them, interpret themâ¦. The human mind excels at interpretation and imagination so it makes sense to play to those strengths when we come to embark upon any form of personalized graphic expression, rather than to become bogged down in over-descriptive draughtsmanship.
Be still and just look. Let the subject speak. Constantly ask yourself what your drawings are about, their purpose and intent.
And in the endâbe enthusiastic. It is contagious!
SoâI've tried something a little different with the illustrations in this book.
In my previous self-illustrated publications I've tended to select a specific medium andâfor want of a better wordâa “style” and use them consistently through each specific book.
In this instance I've taken a different approach. Or, maybe more accurately, a different approach has taken me in new directions. As I began sketching, particularly “on site,” I found that the power and impact of each subject tended to suggest its own distinct medium and its own “style.” My materials consisted primarily of various blendings of pencil (HB to 6B), charcoal, pen and ink, monochrome brush washes, bamboo pen, and a range of paper textures. I found great freedom and joy in letting the subject speak to me and guide the combination of hand, brain, and eye from fastâeven franticâflurries of lines and shadings to far more measured articulations of form, texture, and dimensionality.
The process has been both fascinating and satisfying. Boundaries have been pushed out in terms of my own learning and technique experimentation. Some may find the intended inconsistencies and permutations of style a touch bizarreâmaybe even a little self-indulgent. But I blame Beara itself. The power and intensity of both the land and the people are such that I celebrated the subjects imposing their uniquenesses upon me. Ireland had that effect on my spirit.
And it also had that effect on the spirit of my longtime friend and coartist, Celia Teichman. She joined us with her husband, Robby, on Beara for a spate of sketching and produced such fine portraits of three of our friendsâDanny Quinn, Michael Murphy, and Julie Aldridgeâthat I asked if I could include these in the book. She agreedâso thank you, Celia, and may your art continue to be ever inspired by the unique essence of Beara.