King’s Cave, Arran

sea caves

On the west coast of Arran, quite near Machrie Moor, are a series of sandstone sea caves, formed by wave action when the sea level was higher than it is today. One of them is full of petroglyphs, some of which date back to the Iron Age if not before. It’s called King’s Cave — one of many caves around Scotland alleged to be the one where the fugitive Robert the Bruce famously observed a spider persisting in trying to attach its web to the slippery walls, and so resolved to be similarly persistent in fighting for Scottish independence. Continue reading “King’s Cave, Arran”

Encounters with the Neolithic (4)

(Read Part 3.)

Aviemore ring cairn and stone circle sign

Early one morning some two weeks after our Wiltshire trip, we stepped off the overnight sleeper train in Aviemore, in the heart of the Scottish highlands. We had reserved a campsite in the village of Nethy Bridge, a short bus ride away, but check-in wasn’t until late afternoon, so we had plenty of time to kill. A tourist map of Aviemore showed a Neolithic stone circle — one of many in the local area — a few blocks from downtown, so we decided to wander over and check it out.

Aviemore stone circle stone 3

The site was in a suburban neighborhood, across the street from a fire station. A team of carpet cleaners were at work in the house next door.

Aviemore ring cairn and stone circle rowan tree

The ambiance was very different from Avebury — and the monument was, of course, infinitely less significant. The only tree on the site was a small rowan that had been permitted to grow next to one of the smaller stones in the ring.

Phatigued fotographer
(photo by Rachel Rawlins)

There were, however, other visitors when we arrived, so we made our way to the back of the site and flopped down to rest, trying not to stare at the middle-aged woman sitting in Buddhist-style meditation at the center of the ring. A man of the same age waited near the street, while a teenaged girl we took to be their daughter sat with with her back against a stone, her facial expression and body language a comical mixture of boredom and acute embarrassment.

Aviemore stone circle stone 4

While the woman meditated, we each found things to photograph.

Grass and stone

Rachel became entranced by a head of grass,

Aviemore stone circle stone 1

while I stalked some of the outermost stones.

Aviemore stone circle stone 2

They were most cooperative models, and beautiful in their variegated coats of lichen.

black cat at Aviemore stone circle

Finally the woman got up, and they all left. But we weren’t alone for very long. A few minutes later, a friendly black cat appeared.

Aviemore stone circle

What most impressed us about this site was its setting, best captured in this panoramic photo of Rachel’s (click to see a larger version on Flickr). In the heart of a residential area, surrounded by close-cropped lawn, the stones retained as profound a sense of presence and individuality as anything I ever saw in a Zen garden in Kyoto. Especially to an American, it’s astonishing to realize that the landscape is dotted with 4000-year-old stone monuments, and few people make a big deal of them. A few hours later, when we mentioned the stone circle to the woman in the train station who was watching our luggage for us, she admitted that she’d never gone to see it, despite having lived her whole life in the town.

Aviemore ring cairn and stone circle

So it seems that at least the less impressive Neolithic monuments in the U.K. are of intense interest to a small subculture, and are otherwise taken for granted — given some level of care and protection as sites of historical interest, but that’s about it. And stones, let’s face it, are not especially demanding things to look after. As for their suitability as meditation partners, the Visit Avebury website claims that “During a period of 20 to 30 minutes, you may feel deep peace, bliss and gain some truly amazing insights,” and they link to a wild “Avebury vision” by intuition consultant and healer Suzanne Askham. The specific content of the visions she describes may provoke skepticism, but I kind of like her central insight: “It is not the stones themselves that matter. It’s the spaces in between.” After an experience of oneness and bliss, she writes,

Gradually, as if from above, I become aware of the pattern of the stones again. I understand now how they act as a locus. The circular structure is helpful for returning back to your body.

We can think [of] it, perhaps, as a Neolithic landing pad for the soul.

And then I am back again, sitting on baked bare earth, the sun on my face, cool stone behind my back.

“A Neolithic landing pad for the soul.” Sure, why not?

A cat may look at a Dave

I have a feeling the cat would agree.

(Continue to Part 5.)

Ancestral photography

Alastair Cook prepares wet plate to photograph Marc Neys
Alastair Cook prepares a wet plate to photograph Marc Neys

The photographer dons safety glasses and blue rubber gloves. His friend the other photographer takes his glasses off and sits for his tintype, the back of his head pressing a cup to the wall. In his lap, the tilted reflector like an absent-minded mirror that has forgotten how to hold an image. Meanwhile, the wet plate primed with chemicals slides into the camera and waits for the takeaway, its quick supper of shadows.

photographer as mummer
the photographer as mummer

Assistants hold a black cloth behind the sitter’s head. The photographer assumes his crouch, a red hood cloaking his moment of intimacy with the camera. Only the bellows and brass eye protrude, like the horse-skull head of a Mari Lwyd without the grin.

Rachel sitting for her tintype portrait
Rachel sitting for her tintype portrait

To a sitter who has practiced meditation, the enforced and urgent stillness feels familiar.

finished tintypes sit in water
finished tintypes of me and Marc sit in the water

Then follow the photographer down to the darkroom and watch your face emerge like Lazarus from the murk. Warm colors appear dark and cool colors light, due to the wet plate’s appetite for blues. No negative intercedes.

The details are so fine and the eyes so strange, you startle. You have seen this face before in a gilt frame. Except that your ancestors wore high, starched collars to try and hide the shame of sunburnt necks, and here you are in t-shirt and ball cap, wearing an expression you can’t begin to read.