Such an Air (IV) GEORGE SUFFERED too from this shivering thing, and hadn’t believed Ian would make it back here. He’d long been physically sick as well, with TB, but had got away at last, via Newbattle, and Muir, and now the university. Whatever he did later, the
Such an Air (III) WEDNESDAYS IN Kirkwall were half-day closing, and the other week Ernest had asked Ian along to the Cathedral. He was keen to tell him more about the plans already in progress for a plaque to be installed there in Edwin's honour, lying as
Such an Air (II) JOCK WAS out early to see to his creels, then fetched the lorry from the yard at the pier. The Shapinsay boys had taken care of yesterday's delivery, including extra road lamps—wee buggers, you find them everywhere, halfway up the cliffs—and a
Such an Air (I) THE SEA AIR, the sea spray, the unbearable cabin, the long hill of the island coming closer and closer, rearranging levels, shapes, becoming itself. Sooty-black hilltops that so resembled Nolde's painting in the book Janet gave him that Christmas. All coalescing as though
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“As soon as I could, I went to Orkney, where I started to write poetry.” Ian Hamilton Finlay, c.1965 HE HAD DREAMED and spoken about it for months, for years. But at last, one evening in early March 1959, the 33-year-old writer and playwright Ian H. Finlay
Bibliography Yves Abrioux, Ian Hamilton Finlay: A Visual Primer (revised edition) (Edinburgh: Reaktion Books, 1992) Stephen Bann, “‘The Horizon of Holland’: A Poetic Prelude to Ian Hamilton Finlay’s Gardens”, in Stephen Bann (ed.) Interlacing Words and Things: Bridging the Nature-Culture Opposition in Gardens and Landscape (Dumbarton Oaks: Washington,
In connection with something I'm writing about his relationship with Orkney, I've been thinking lately about IHF's 1960 collection The Dancers Inherit the Party. The title of one poem in particular, "Orkney Interior", struck me as being quite painterly in its implication—
This is mainly a re-posting of this (slightly updated) flyer, but readers may be interested to know that following the presentation of the double bill, concrete as an ART form at The Space, Rousay (Orkney) on April 11, screenings of the film are scheduled to take place at the
The Boat in the Writing Room: retracing the origins of Stonypath, Little Sparta Written and presented by Alistair Peebles | Directed by Michael Lloyd flytingfilms and Brae Editions, 2025 (57' 12") Screened 28 October 2025 at the Pier Arts Centre, Stromness, Orkney A review by Brandon Logan LITTLE SPARTA,
The third part of this exploration has been unavoidably delayed, but these photographs are offered meantime as evidence of continuing activity. The Pier Arts Centre's centenary exhibition of work by Ian Hamilton Finlay closes on Saturday, and the loan to the gallery of a set of three ceramic