Solar Bones. Mike McCormack
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Shanamanragh
the land that time forgot but
well known to us as it’s
near Mairead’s home place and we have driven there many times, particularly so in the early years of our marriage when Agnes and Darragh were young and we would take them to visit their grandparents for their summer holidays, pack them into the car and drive north, the journey itself about sixty miles but one which crossed into terrain so different to this part of the world a few miles north of the small village of Mulranny at precisely that point where the N59 twists its way under a single-arch stone bridge set among blazing rhododendrons, the bridge always marked for me that complete change of terrain from the hills and drumlins of South Mayo to the open and more desolate expanses of the north, this bridge always affected something deep in me because every time I passed beneath it, with Mairead beside me and the kids in the back, I would experience that subtle shift within me which I always imagined was my soul flinching in the landscape that opened up beyond that bridge, where, within a few miles and with a sudden thinning of the light the mountains withdrew into the clouded distance and the world levelled down to that open bogland through which the road wended its way towards Ballycroy and Bangor and out onto Doohoma Head where Mairead’s parents lived on a small farm which had come down on her mother’s side and where Darragh and Agnes would run wild through the fields of hay and tillage which stretched in a neat stripe from the gable of the house to the shore for a couple of weeks of every summer and
this is how you get carried away again
in memory of
swept up in that sort of reverie which has only a tangential connection to what you were thinking of, in this case the collapse of our banking system and the economy, a collapse so sudden and comprehensive that one year later it still threatens to have a domino effect across several linked economies, fully capable of undermining banking systems across Germany and France, not to mention crippling our neighbour’s export trade to this country, the collapse of a small bank in an island economy becoming the fault line through which the whole universe drains, the whole thing ridiculously improbable, so unlikely in scale and consequence it’s as if
something that never was has finally collapsed
or revealed itself to be constructed of air before eventually
falling to ruin in that specific way which proved it never existed even if all around us now there is that feeling of something massive and consequential having come asunder, as when certain pressures exceeded critical thresholds to admit that smidgen of chaos which brings the whole thing down around itself so that even if we believe this collapse is essentially in some adjacent realm there is no denying the gravitational pull we feel in everything around us now, the instability which thrills everywhere like a fever, so tangible you have to wonder
how come we never noticed those tensions building
were we so blind to the world teetering on the edge that we never straightened up from what we were doing to consider things more clearly or
have we lost completely that brute instinct for catastrophe, that sensitivity now buried too deep beneath reason and manners to register but which, once upon a time, was alert to the first whining vibrations radiating from those stress points likely to give way first, that primal faculty which lies in the less evolved, reptilian part of our brain and which we credit to
dogs and vermin and birds as
their ready reflex to flee or take flight en masse just before the ground or the tree or the building beneath them begins to shudder, their primal attunement to danger stampeding them in droves from buildings and structures before they come crashing down around them, a sensitivity we have lost apparently, a faculty which has atrophied through the softening circumstances of our ascent because
collapse is never far from an engineer’s mind
and
as ever
and ever again
any image of collapse or things coming apart, always summons up memories of my father – not the ragged shambles he would become at the end of his life, but the quick man with the large hands and ready laugh I knew from childhood, the man who was such a deft touch at dismantling things and putting them back together again – harrows, ploughs and scufflers – not necessarily because of any fault or redundancy in the constructs themselves, but because there was in him that need to know how these things held together so that he could be assured his faith in them was well placed and
one of my first memories dates back to a day in childhood when I stood beside him in the hayshed and he had one of those implements dismantled across the concrete floor
the harrow, the plough or the scuffler
one of those robust constructs that slept standing at the far end of the hayshed, dreaming their iron dreams through the winter months – implements which, even if they had not essentially evolved since the medieval period in which they were perfected, were still in use on our farm as on many others right up to the 1980s
harrows, ploughs and scufflers
implements from a more solid age when the world was measured out in lumpish increments, like pounds and ounces, shillings and pence
standing at the far end of the hayshed during the fallow months of autumn and winter, all tempered blades and forged spikes, held together with iron-banded timber and biding their time as if they were the very embodiment of their own names and were indeed instruments of torment
harrows, ploughs and scufflers
names so clearly evocative of torment that years later, when I attended a conference on bridge construction in Prague or, as months later Mairead would cry in a broken howl
fucking bridge construction
I found myself browsing through the Museum of Torture near the Charles Bridge and was shocked to recognise in scale and material the exact same principles of construction echoed in those instruments of torment standing in the murky light of that dilapidated exhibition, baleful assemblages which were the persuasive tools of various judicial and ecclesial authorities, all dating from a time when the world was ever mindful of its sinfulness but sure of its judgements and had, by way of engineering, gone to some lengths to prise, screw, and pressurise the truth into the light so that they stood now in their shadowed gloom
the maiden, the rack and the wheel
and they too were all banded timber and spikes, blunt constructs held together with bolts and dome-headed rivets which, at that crucial stage of their forging, would have glowed white hot, contraptions so evocative of pain and torment in the tenebrous light of the museum that gradually my mood sifted down within me to an anxious shame as it became clear from their craft and complexity that these machines, with their screws and gearing mechanisms were, at a time when the level of engineering was at its lowest point in the Western world since antiquity, the highest technical expressions of their age, the end to which skilled minds had deployed their gifts, this wretched end such an ignoble instance of the engineer’s vocation that I felt sorrowful for although I was young at the time I already had a keen sense that engineering was a high and even noble calling, firmly on the side of human betterment where it stood with a host of other values loosely grouped at the social democratic end of the political spectrum as I understood it then, so that
lost in these thoughts, I wandered through the exhibits, among the shadows and brocade until I realised or, had to admit to myself, that I had been stalking an auburn-haired woman in a quilted anorak whose face was burnished red from the sub-zero temperature which crippled Prague in February of that year, and which was causing her to sniffle into a tissue as she moved past the exhibits, dwelling on each one in turn before ticking them off in a scraggy catalogue and her allure was not merely her looks nor the methodical way she went about the exhibition, but the fact that we were the only two people present on that winter afternoon and in our separate solitude had now come together in a kind of intricate courtship dance with and against each other, a delicate gavotte around the exhibits and down through the golden age of mechanised agony till we finally came together and stood shoulder to shoulder before a