Remains of Elmet

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The people of Elmet survived as a distinctly recognized Brittonic Celtic group for centuries afterwards in what later became the smaller area of the West Riding of Yorkshire then West Yorkshire, South Yorkshire and North Derbyshire. [1] Geography [ edit ] has come. They are now virtually dead, and the population of the valley and the hillsides, so rooted for so long,

Most importantly, he achieved something he once described as essential for poetic development, the ability to move inwards into imagination and beyond that into spirit, using perhaps no more external material than before and maybe even less, but deepening it and making it operate in the many different inner dimensions until it opens up perhaps the religious or holy basis of the whole thing UU.204). But after dispensing with a few choice words on humble journos (for not turning up to see her latest exhibition of digital work), she relents a little, and explains what’s kept her away from the hills these last few years.Anderson, A.O. (1922). Early Sources of Scottish History: AD 500–1286. Vol.I. Edinburgh: Oliver & Boyd. p.441. In Remains of Elmet Hughes’ warnings are repeated most strongly. He uses this poetic and photographic re–creation of the fate of the Calder Valley not only as an example, but also as a powerful imaginative tool with which to stimulate us to awareness. At the same time, by describing for us certain events of his childhood, he, as it were, establishes his credentials for this task. Hughes, however, was not merely a prophet of doom. In adopting the persona of the crocodile, Hughes shared the destructive and creative energies associated with this animal in mythology and folklore where, like its relatives the serpents and dragons, it is a symbol of fecundity and power. The crocodile is linked, too, with Leviathan who is “ king over all the children of pride” ( Job. XL1:34) and, symbolically, with foresight and knowledge. And the old belief that crocodile eggs were magically hatched from the river mud by the power of the sun associates the beast with the natural alchemical power by means of which water, earth and sun are joined in the processes of creation.

After the publication of her first books— Rebecca the Lurcher (1973) and The Oldest Road: An Exploration of the Ridgeway (1975), co-authored with J.R.L. Anderson—she was a prolific publisher, working mainly in the landscape tradition to great acclaim and becoming the nation's best-known landscape photographer. The Oldest Road sold over 25,000 copies. [4] Her work was informed by the sense of ecological crisis present in late 1970s and 1980s England. [ citation needed] Go fishing / Join water, wade in underbeing” ( R.42) he writes in River, where his entry and return from the elemental other–world has become most accomplished but no less fraught with danger. The waters he fishes hide terrifying monsters, “ Killers from the egg” (‘Pike’); he is “ hunted / and haunted by apparitions from tombs” (‘Earth–Numb’ ( THCP.541); and the river itself is “ Alive and malevolent” (‘Stealing Trout on a May Morning’ ( THCP.137)), roping his ankles like “ a drowned woman” and rushing “ headlong” past him like a routed army, “ Mixed with planets, electrical storms and darkness” which tear “ the spirits from my mind’s edge and from under”. At times, too, the river is “ evil”, a “ grave” where “ The strange evil / Of unknown fish–minds” lies in wait for him ( R.76;62). These fish which lurk beneath the “ smoothing tons of dead element” are one with it, so that when one bites “ the river grabs at me … stiffens alive ... the whole river hauls” and the struggle between Man and fish becomes a struggle with the elements: Something terrified and terrifying There seems to be an underlying admiration of nature's persistence, of the long game it is unconsciously playing with the fleeting lives that encroach upon it. Yet it is also a portrait of a stoic populace whose relationship with the valley is depicted both as hostile and intimate. Major retrospective at the Barbican Centre in London , with accompanying publication, Landmarks, published by Dewi Lewis.Born Berlin , Germany . Father a British diplomat, mother an American artist. Educated at various schools all over the world. The area to the western Calder Valley side of Elmet is the subject of a 1979 book combining photography and poetry, the Remains of Elmet by Ted Hughes and Fay Godwin. [16] [17] The book was republished by Faber and Faber in 1994 as Elmet, with a third of the book being new poems and photographs. [ citation needed] Consequently, the trout which leapt so suddenly into his dark “ cavern of air and water” under the busy canal bridge seemed god–like and sacred –“ An ingot! / Holy of holies! A treasure!”– a “ seed of the wild god now flowering” just for him.