Image and Imagination

In Buckie, in the North East of Scotland, there is a small but beautifully organised museum, focused on the fishing heritage of the town. A number of years ago, I visited while on holiday in the area, and was fascinated, particularly by the enlargements of old photographs used to illustrate the lives and work of the fisher folk of the late 19th and early 20th century.

There is surely nothing more evocative than photographs from the past, that offer us a glimpse into a departed world, but one inhabited by people like ourselves, in strange clothing and unfamiliar contexts, but revealing in their faces and postures the common humanity that we share with them.

In the museum shop, postcard sized copies of some of these photographs were on sale, and, finding them irresistible, I purchased a selection. As with many holiday souvenirs, their number reduced after the return home: some lost, some torn, some marked by coffee stains. Eventually, only one, for me the most fascinating, remained, perched among other clutter on a bookshelf.

The photograph shows a young woman engaged in the work of filling a barrel, probably of herring, topping it up with brine. I found the image unsettling and spent much time imagining how the life of this young woman might have been lived.

At length, an idea crept into my mind that, some visitor to the museum, seeing the photograph, might see in its subject a similarity to someone he had known in the present day. I played around with the conceit, trying it out first of all as a framework for a ghost story. This proving unsuccessful, I used it as the basis for a poem.

The resultant work was published this month. You can read it below.

A Victorian Photograph

Over one hundred years ago this photograph

was taken; but the woman it shows might be you.

The hands, slightly too large, are unmistakable;

the narrow waist. The shawl around your head

accentuates your features: full brow and wide dark eyes,

your lips almost a smile.

I can imagine you thus occupied: the harbour side

the reek of fish, your arms glittering with scales,

your fingers numbed by the snell wind.

Such concentration, as you pour, into a barrel,

brine from a chipped enamel basin,

your clothing soiled by labour, masking your beauty;

yet you are beautiful, then, now.

And did some deckhand, trembling with joy,

love you, and come to know, as I have known,

the tender miracle of heart on heart?

First published in Marble Poetry Magazine, Issue 8, Jan. 2021

Copyright © Gordon Gibson


During the long, dreary, Covid-19 summer just past, my output as a writer diminished to a trickle. There was too much news to keep up with, too many anxieties cluttering the mind, and I sank into lethargy. At length, I picked out a list of publications open for submissions, and looked into my extensive files of unpublished work, seeking something salvageable to send off.

I came across some notes that I had made at a writing workshop, long forgotten, and started to tinker with them. The tutor had asked participants to focus on something that they really liked, and to identify a list of its attractive features. They should then construct a line of poetry about each of those features. The outcome, we were assured, would be an expressive and entertaining poem.

Perhaps it was a warm day, or maybe my attention was wandering, but my notes consisted of some random and uninspired jottings under the heading ‘Claret’. I gave it another go, but this time, influenced by some reading I had been doing about Edinburgh in the 18th-century, I attempted to use Scots in the exercise, and it seemed to suit the topic well. A few glasses of the liquid described also helped with the creative processes (or that, at least, was how it felt).

Having completed the task, I sent the resultant poem to Lallans, the Journal o Scots airts an letters. Although I write occasionally in Scots, I had never before felt confident enough to submit to this admirable and well-respected publication. It was therefore with great pleasure that I learned the poem had been accepted to appear in Lallans 97, Yuil 2020. You can read it below.

A Bottle o Claret

An aesome kyle, roond-shoudert, nairae-neckit.

Sandwich-buirdit in the leed o Fraunce,

Rantin its ain praises.

Brammed up wi a silver-paper croun,

Like an uncle at Hogmanay.

The green gless gleams,

The wine is daurk within.

Its soond is the dunt o a mell on the table tap.

Amang ithers o its kind,

It jowes wi conveeviality.

Chucklin, it haunds oot weelness.

The air is wairmed bi its fruitfu braith.

Its taste, o muild an sunshine,

Bumbaisies an delites the tongue.

The Student Experience

There has been much attention given to university students in recent weeks. Most people seem sympathetic to their plight – forced as they were to return to their studies despite Covid-19, many of them suffering quarantine, some of them in uncomfortable lodgings and residencies, a few left short of rations, all expected to forego the joys of restaurants and pubs.

Conditions have proved unpopular with them, especially for those entering their first year. No freshers’ week, limited opportunities to socialise, little contact with lecturers. There have been calls from student representatives and from parents to allow resident students to return home. The universities have not been keen, whether for financial reasons or in order to stop the spreading of the virus.

There have also been some less kind comments in the press and social media suggesting that the young people are responsible for their own problems (boozing and cosying up when they were told not to) and telling them to ‘grow up’ like their hardy forebears had to do.

It has all caused me to recall my first term at Glasgow University back in 1966, and to wish the students of 2020 all the very best in putting up with the fix within which they find themselves.

No one in my family had ever gone to university. At the end of my secondary education I could only think of one job that I wished to do – to teach English. This required a university degree, and so, having received no advice from anyone on the school staff, I applied to study English at Glasgow (nowhere else). Unfortunately, I was part of the ‘post-war bulge’, all of whom seemed to have decided to do the same thing. My application was rejected, and I set off to look for a job.

I was about to begin work (reluctantly) at the Caterpillar factory in Uddingston when I received a letter from Glasgow, offering me a place in the Faculty of Engineering. Apparently, as I had mediocre passes in maths and science, I could just meet their entrance requirements.

An innocent abroad, I went back to my secondary school to ask for advice. Would I be wise to accept this place? A member of staff, who had probably attended university 40 years earlier, assured me that, ‘Once you are in, you can change your course to something else, as long as you don’t fail exams.’ He was completely wrong, but I didn’t find that out until later.

There can never have been anyone less prepared or worse advised for starting university than I was. I had studied no engineering at any point in my schooling. Not only did I struggle with mathematics, but I loathed it. I could just about cope with rudimentary physics, but chemistry was pretty much beyond me. I remember vividly an introductory lecture on Vector Analysis. I did not know what a Vector was, and the professor did not feel it necessary to start with such basic explanations. I had no idea how to use The University Library, and only went to The Reading Room in order to ogle haughty girls from fee-paying schools.

When, after the Christmas break, I went to see someone called The Adviser of Studies, to ask what I should do about my course, having crashed in all but one of my first term exams, he said ‘My advice to you, son, is to leave.’ So I did.

There were jobs in those days, and I quickly became a Commercial Apprentice (i.e. Trainee Clerk) with The British Steel Corporation. I stuck that for two years, licking my wounds, until the boredom got to me, and I set off to College of Education to train as a primary school teacher. Only then did I learn how to survive in higher education, and when I was qualified, I started further study with the newly formed Open University.

I can only hope that there is more preparation and support available to the new students of today than existed back in October 1966, but even if some of them struggle, as I did, to make sense of their experiences, I would reassure them that there are always ways forward, even after initial disasters.

Acting My Age

It was only when I began to commit time to writing, after my retirement, that I realised just how many other people there are similarly engaged. As I became increasingly familiar with the world of small magazines, e-zines and writers’ organisations, I couldn’t help but notice that much of the published work I saw, and a large proportion of editors and organisers, came from the same generation as myself.

Now, although I am an enthusiastic writer, and ambitious to have work published, whether online or on paper, I have tried not to set myself goals unlikely to be achievable. I don’t expect to be the next Rowling (!). I do, however, work hard at my writing, and seek advice and support wherever I can, as much as age and mobility difficulties permit.

Therefore when I came across a Facebook site called ‘Autumn Voices‘ which stated itself to be ‘a community forum for anyone interested in creativity in later life, interested in posts about events, initiatives, topics of interest, photos, quotes, books and reviews that can be shared among later creatives,’ I was immediately interested.

The organisation runs free writing competitions, offers opportunities on its website to showcase creative work, enables one-to-one links between subscribers, and supports many other activities aimed at sustaining a community discussing and promoting creativity in later life.

If, like me, you feel that Autumn Voices is likely to be of interest and value to you, why not check out their website at:

I signed up (for free) a few weeks ago, and have already submitted a short memoir that was published online as part of a current Flash Memories Project. You can read my contribution below.

Crowning Moments

The very first time that I remember being annoyed with my mother was when, without preamble, she announced: ‘Our British soldiers are the best at marching. They’re that smart. None of they foreigners can match them.’

What did she know about soldiers? When I played soldiers, it was a boys game. Not girls, not mothers. Yet here, in front of the new television that my father had bought specially for The Coronation, with money he’d won on the fixed odds coupon, we watched rows of faint figures on the tiny screen, parading through London streets, and my mother’s voice soared with pride as if she was personally involved.

The room was full of women. We had the first television in the street, and to celebrate our good fortune my mother had invited all the neighbours in, to watch The Queen . They were packed into the tiny living room. They brought their own chairs, and, once seated, it was impossible for them to move. My mother had borrowed cups in advance, and early in the proceedings, a dangerous serving of tea had taken place, during which a teapot was passed around, and cups filled to overflowing. Milk and sugar (bottle and packet) followed, less likely to cause accidents but even more prone to spillage.

No other children were allowed, although from time to time waifs would knock at the door and whine for admission. The responsibilities of motherhood were abandoned for the day. The callers were told: ‘Away you go and play. Your mother’s busy.’ I was the only child watching the spectacle. For what seemed an interminable time, I sat on my mother’s knee admiring the matching men, the cavalry, the carriages with their oddly-dressed passengers, the excited onlookers, the falling rain.

When my patience evaporated, I was dumped on the floor to explore the dark forest of chair legs, nylon stockings, worn leather shoes and grubby slippers, with their strange miasma of feet. Occasionally, there were fascinating glimpses of suspenders and naked hips, mysteries of femininity that have haunted my dreams through subsequent years.

[First published (online) in Autumn Voices Blog, September 2020]

Anthems For Doomed Union?

After intervention by PM Boris and probably by the BBC’s new director-general, Land of Hope and Glory and Rule Britannia will be sung as well as played at the last night of the Proms this year. Traditionalists, including many Tory backbenchers, were outraged when it was suggested that the singing of these ‘patriotic songs’ should be cancelled to avoid possible spreading of virus by flying saliva. Some seemed to think it was really a vile plot by political malcontents to detract from the celebration of Britain’s glorious imperial past.

As someone who, despite enjoying classical music, cringes at the annual community singing fest of English self-glorification, (let us not be kidded by the presence of a few saltires, when they sing of Britannia, we know what they really mean), I would have been quite happy to experience the melodies without the flag-waving. At least this year’s performance will be delivered by a limited number of professional singers, or so we are promised.

This does not mean that I am hostile towards my southern neighbours, but only that there is a certain kind of nostalgic yearning for the days of Empire that goes along with a narrow minded refusal to accept the facts about Britain’s Imperial past. Sir Edward Elgar himself was said to have loathed the lyrics that were written in 1902 for his Pomp and Circumstance March No.1 byA.C. Benson. In 2020, who can still reasonably foster the hope that ‘God who made thee mighty’ will ‘make thee mightier yet’?

It may be, of course, that establishment voices wished the songs to be performed as part of the current campaign to convince the dissatisfied among the population of the value of remaining in a United Kingdom. If this is so, it demonstrates a complete lack of understanding of why the majority of Scots have indicated that they would, in any future referendum, vote for Scottish independence. It is not for dislike of the English, but rather showing realisation of the unbalanced nature of political power wielded at Westminster, and in particular the glaring incompetence of the government currently in charge there.

Keeping Active


Like many others, having retired from paid occupation, I am constantly alert to the possibility of sinking into mental decline, now that the daily delight of working for a living has been removed from me. Momentary lapses, such as forgetting the name of a politician, or being unable to provide the answer to a question on a TV quiz, can send me into a panic.

In an effort to ward off such anxieties, I have for several years now made use of FutureLearn and Coursera, online organisations giving free access to short courses at universities around the world. These courses are clearly designed to provide ‘tasters’ to attract paying students, but for an old buffer like me, they offer up-to-date information, either in familiar subject areas, or in new fields. I am convinced that the study will do my brain the world of good.

My other retirement project has been to engage in writing for publication, and so the courses I have chosen to study over the past 10 years have tended to be literature or arts based, including some designed to assist aspiring writers to develop their skills. Such writing courses, I have discovered, also refresh the enthusiasm when it flags, as may happen at times of fatigue, pandemic or paucity of ideas.

A couple of years ago, I took part in one such online writing workshop in which participants were encouraged to seek images from nature and use them metaphorically in a poem, exploring an aspect of the human condition. I had a bash at the task and filed away the end product. From time to time, looking over unpublished work, I revisited the poem, tweaking a phrase here and there, adjusting lines to alter their rhythm, cutting out what did not ring true. I did not seek publication.

Then,earlier this year, I noticed on social media a call for submissions from the magazine Here Comes Everyone, which publishes both in print and online. They were looking for writing on the theme Green (to be interpreted in whichever way the writer chose). I remembered my workshop piece, and sent it off.

I was delighted when the poem was accepted for publication online, on the magazine’s website. You can read it by clicking on the address below.

A Discovery: Elizabeth Bishop


Bishop, when at University


One day last week, on my morning gallop through Facebook, my attention was caught by a post from John McCullough, an academic and writer. Expressing his admiration for poet Elizabeth Bishop, he wrote:

When asked the nightmarish question of what one quality every poem should have, she replied: ‘Surprise. The subject and the language which conveys it should surprise you. You should be surprised at seeing something new and strangely alive.’ I’ve kept those words close to me for many years.

I was intrigued by this quote, and found Bishop’s name vaguely familiar, but knew nothing about her. As on many previous occasions, I had to acknowledge to myself the vast extent of my own ignorance, and set off to do some research. I was even more embarrassed to discover how highly regarded this American poet was.

Elizabeth Bishop (1911 – 1979) served a term as Poet Laureate of the USA, won a Pulitzer Prize, a National Book Award and gained great critical acclaim.

Her childhood was spent with various relatives after her father’s death and her mother’s mental illness. A successful academic career followed, but she abandoned her original intention to be a musician, and instead focused on literature.

Financially independent by dint of an inheritance, she was able to travel widely, and lived for periods in France and Brazil as well as America. Although friendly with poet Robert Lowell and his contemporaries John Berryman and Ann Sexton, she did not adopt the ‘confessional’ approach to poetry for which they gained notoriety. Her poetry tended to look outward, with detailed and objective description, and use of formal constraint, making only veiled references to her private life.

Her reticence was understandable. Her childhood was unhappy, and she suffered abuse by an uncle. Her physical health was never strong, nor was her mental health. Throughout her adult life she battled with alcoholism, writer’s block and depression, and experienced only relatively brief periods of happiness in her relationships with other women. In a letter to Lowell, she wrote, ‘When you write my epitaph you must say I was the loneliest person who ever lived.’

Bishop was not a prolific poet, publishing only 101 poems between 1927 and 1979. Of these, 72 can be read at

I have gained great pleasure from reading these (for me) newly discovered works. If she is new to you, give them a try and send me your comments.

Professor Douglas Gifford



It was with great sadness that, at the end of June, I learned of the death of Professor Douglas Gifford.

A fine obituary by Professor Alan Riach in The Herald newspaper gives a full and accurate account of his many-faceted academic career, and his significance in the development of the study of Scottish literature.(

I was fortunate enough to meet and get to know Douglas in the early 1990s, when I worked in the same department as his wife, Anne, at Craigie College of Education. I was at that time trying to extend my grasp of Scottish literature, and was so impressed by his knowledge and charismatic enthusiasm that I signed up to study for a part-time MPhil, a course which he directed at Glasgow University.

For the next three years, I experienced not only his inspirational teaching at the regular study days, and the superb distance-learning materials he provided, but also the encouragement, help and kindness of the man. I know that I speak for very many others, at Strathclyde University and at Glasgow, when I say that he had that rare capacity to make students feel that they were sharing in a wider project, to give the literature of Scotland its rightful place in the academic world.

He combined these qualities with a wit and good humour that made involvement in his classes always a pleasure.

He will be much missed.

In Other Words . . .



Since the start of the pandemic I have listened to so much broadcast news that I feel guilty. I should make better use of my time. After all, the news comes so regularly that, were I to skip the bulk of the day’s output, it would be easy to catch up. However, it is not only events that grip my attention, but also the language used to relate them.

We have had to acquire new vocabulary in order to follow the progress of the virus: its name, the discourse of virology, descriptive terms for medical procedures; but just as interesting has been the rise in frequency of use, and the shift in meanings, of other terms not previously associated with public health.

I cannot help being drawn to signs of linguistic change in action, and am much taken up at present with the repeated and conspicuous use of ‘nuanced’ and ‘mitigated’ in the utterances of politicians, commentators and news presenters. These are not neologisms. But the contexts and shades of meaning when they are used seem to be shifting. The words seem to be somehow more fashionable, when in the past simpler vocabulary might have been chosen to say the same things.

We are perhaps most familiar with ‘mitigated’ in the context of criminality, where excuses are made to reduce severe judgement on the perpetrators of unacceptable behaviour (‘in mitigation’). Now it is being more commonly used to describe where steps have been taken to reduce the harm caused by the virus.

‘Nuanced’ has usually been applied to descriptions, explanations or performances, indicating where a fuller or more sophisticated version has been offered for a topic elsewhere regarded as simple or straightforward (‘a more nuanced account’).

These less familiar usages caught my attention, and made me wonder why those communicating to a wide audience were choosing to abandon simpler, more common structures. Did they feel that the words had connotations of more serious thought and understanding? Did speakers and writers using them think they thereby sounded more knowledgeable or more believable to the general public? Or was it simply a case of linguistic fashion – that these words sounded, in some way ‘better’ and therefore had caught on?

For all the attention I gave whenever I heard the terms in the media, I could not identify any particular advantage. ‘Nuanced’ was most often used as a term of approval, indicating where the complexity of an issue was being granted appropriate consideration.’Mitigation’ was most often used as an explanation (or excuse) for some action by the authorities that was being questioned. Neither had become a ‘dog whistle’ term, attracting hostility; neither had become a politician’s cliche indicating the superiority of their own party. Neither aided the avoidance of truth.

However, once language starts to change, nobody knows where it will end up. I am keeping my eye on these words in their increasingly common currency. If you notice them acquiring further new shades of meaning, let me know.

Rage and Retrospect


For those of us interested in politics, keeping up with the current state of things, through the prism of 24 hour news can become obsessional. In an attempt to find something else on TV to distract my attention, I stumbled across an episode of Andrew Marr’s History of Modern Britain.

I have mixed feelings about Marr’s work. In interviews, he can make life awkward for dissembling politicians, and his Start The Week on BBC radio 4 sometimes brings together groups of experts who can not only speak eloquently on their own subjects, but can interact in a way that enhances all contributions. (At other times, the show can be a demonstration of the chattering classes at their worst.)

However, it was not so much Marr’s presence on the screen that held my attention during the TV episode, but the cavalcade of clips from the past that he had assembled to demonstrate events dominating news in Britain between the televising of Up The Junction in 1965 and the end of Edward Heath’s leadership of the Conservative Party in 1975. I know, it was still politics; but being so far in the past, it almost counted as nostalgia.

At the present, with the entire world in turmoil, and Britain seemingly drifting towards economic and governmental chaos, it was almost reassuring to be reminded that we managed to survive a decade that took us from post-war gloom, through the optimism and growing liberalism of Harold Wilson’s first government to the industrial collapse that opened the way for the Thatcher years.

I was still a schoolboy in 1965. By 1975 I was married with a family and working in a primary school. Over the decade I had attended, and been thrown out of, Glasgow University, worked in the crumbling British Steel Corporation, qualified as a primary school teacher, started degree studies with The Open University and been thoroughly politicised.

Those were the years of the Vietnam War, the devaluation of the pound, the three-day week, conflict over joining The Common Market, and a gradual drift to the right by a large proportion of the electorate. Wages were low and The Trades Unions battled with employers and governments of both persuasions. Political debates became poisonous.

Watching the TV footage after all these years brought back memories which ought to have been depressing, but in retrospect, events did not enrage me as much as they did at the time. I found myself wondering whether 10 weeks indoors had deadened my critical responses, but the late night news and newspaper reviews had me, once again, swearing at the ineptitude of The Westminster Government, and the glaring bias of the British press. Clearly the passage of 50-odd years had merely taken the edge off old anger.

Could it be that today’s youth will be able to look back in 50 years time with a philosophical eye on the events of 2020? It may be an old man’s pessimism, but I fear it is unlikely.