Local Literature of Clevedon: Peter Gibbs poems

When filming the Spring Tide at Clevedon we met Peter Gibbs a local resident who often walks along the shore and composes poems about his local landscape. Inevitably the tides and seascapes the often feature in this work. See Peter’s website here.

Here are two poems Peter has kindly given permission to reproduce two poems here.

Harvest Moon 

Moon across the Channel
Competing with the dawn
Golden lantern in the sky
As the new day’s born
Reflecting in the waters
Round painted bobbing boats
Pink tinged the east horizon
As o’er the sea she floats
All too soon she vanishes
This mistress of the tides
Gone to seek the evening
As up the brash sun glides.


Rainbow Over Clevedon Pill

Steadily the tide comes in
To meet the shore again
Crossing ‘neath a shining arch
Where sunshine paints the rain
The mud that lines the hidden creek
Is soon to disappear
As water fills the channels
And anchored boats swing clear
Across Black Rock the curlews sound
Their haunting clarion cry
As egrets pace and herons watch
And gulls take to the sky.



BBC Radio Programme; Why the Moon Luke? About Bristol based artist Luke Jerram; tides feature as an inspiration

Programme here (only available for a while)

About the programme from the BBC website

Luke Jerram is that rare bird, a genuinely popular yet acclaimed contemporary artist. And he’s obsessed with the moon. So he’s made one: seven metres wide featuring 120dpi detailed NASA imagery, and he’s taking it around the world. This is his story, as well as the moon’s..

Every day Luke Jerram cycles to his studio across the river in Bristol and watches its dramatic changes. It has the second highest tidal range in the world and it’s the moon that makes this happen. Luke’s become fascinated with finding out everything he can about the cultural, artistic and poetic significance of the moon, and the latest scientific developments around it. It both reflects our culture and inspires it.

Being colourblind he’s interested in all forms of light, and moonlight is fascinating and has very particular properties. The fact we see ‘the man in the moon’ is a perceptual and optical illusion. But again, different cultures see different imagery – in China they see the Hare in the Moon.

Luke presents his own story of making these works and hearing people’s responses to them, woven in with the new soundtrack he’s commissioned from composer Dan Jones. We talk to fellow contemporary moon obsessives James Attlee and Jay Griffiths, but it’s all filtered through the very particular consciousness of one artist and his imagination, and the hard slog of his creative process.

“Tidal Village” by Luci Gorell Barnes; Purton; Mid-Severn Estuary – high tide; 23 09 2017



This is exploratory work by  Luci Gorell Barnes at Purton ; Mid-Severn Estuary – high tide; 23 09 2017

“We walk along the narrow path edged with blackthorn down to the water’s edge. The tide is coming in fast and I quickly chose a place to site my 3 houses. I like working with the stuff of childhood and am reminded of playing by the pond when I was little, but this water has a current that sweeps in with enormous force. The smallest house is picked up and carried to the end of its anchor line. The two taller houses capsize, and I make notes for moderations and useful things to bring next time – like a spare memory card for my camera and a long stick.

I think about flooding, about Bangladesh and how we may all end up being sucked into the rising tides. I remember the cut paper dolls in the bottom of my basket and drift them into the water, which is already starting to recede. My houses come to rest back on the mud and I pick them up by their anchor lines and carry them up to the car. We go to the pub for cider and crisps, and sit looking out across the estuary where water and land shift so fast they seem interchangeable.”


Wrack Zone: Call for Papers, Panels, and Other Presentations; ALECC Biennial Conference

Via Michelle Bastian on EEHN

Hello all,

On behalf of the local organizing committee for the 2018 ALECC conference, being held 20-23 June 2018 on the traditional lands of the Songhees and Esquimalt people at the University of Victoria, I’m pleased to launch the CFP for our conference! We’re grateful to the ALECC executive that we will have this opportunity.

Our theme for 2018 is “Wrack Zone,” and our submission deadline is September 20, 2017. Please help to distribute the CFP widely: I’ve pasted the full text under my signature line below (and attached a PDF that I suspect the listserv will strip away, in which case please email me for a copy if you’d like one).

We encourage submissions from any and all disciplines and discourses, taking the terms “wrack” or “wrack zone” either literally or metaphorically: biological inputs of seaweed to coastal ecosystems; fiction whose action takes place in or near the sea; sites of pain resulting from cultural flux; the ebbing and flooding of political systems or poetic genres….

Individual submissions are of course welcome, but we encourage potential attendees to consider reaching out to potential collaborators you may or may not know. I’ve always found members of the broad ALECC community ready to be generous with their thoughts and time, so please don’t feel isolated even if this would be your first ALECC event. (And if you’re looking for suggestions about who to contact and how, please feel free to check in with me, and someone on the organizing committee will try to help.)

As with past ALECC conferences, the Friday afternoon will be devoted to field trips of various kinds. Accommodations are available on campus, though we will have a conference hotel downtown as well. Finally, we intend to provide only vegetarian food service during the conference, though other options will be available from the university’s many food outlets.

I should note that our conference website is not yet live, but we anticipate that it will be within the next couple of weeks: our conference email address, though, is ALECC2018@uvic.ca. Stay tuned, and we look forward to hearing from you and to hosting you in June 2018!


Richard Pickard, Ph.D.

University of Victoria

Assistant Teaching Professor, Dept. of English


Wrack Zone

Call for Papers, Panels, and Other Presentations

ALECC Biennial Conference

20-23 June 2018, University of Victoria

Traditional lands of the Songhees and Esquimalt peoples

Association for Literature, Environment, and Culture in Canada

Wrack (n., v.)
ruination, destruction, subversion (e.g., “wrack and ruin”) items washed up from the open sea (e.g., “wrack zone”): kelp, plastics, feathers, bodies -ed with guilt, pain, sobs (e.g., “nerve-wracking”): affect, emotion  

The phrase “wrack zone” refers to the shifting region just above the high-tide line, where seaweed, woody debris, and floating objects of all kinds are deposited by waves: the collective noun for all those objects is “wrack.” (“Wrack” is also sometimes used for similar collections washing up in rivers and lakes, and on agricultural lands for weeds, vegetable refuse, roots and similar materials.)

The ocean’s wrack zone is where things wash up from elsewhere, but while this might imply a sort of ending, in fact the wrack zone is a profoundly vital site of ongoing materiality. Biologically, for example, wrack is an extraordinarily valuable part of shoreline ecosystems, supporting up to 40% of a beach’s invertebrates, which are a crucial food source for virtually all shorebirds. The wrack zone, as well, is where the detritus of global traffic ends up and takes on ambivalent forms, and represents a philosophically and aesthetically generative space.

With this in mind, the 2018 ALECC conference invites submissions that respond thoughtfully to the term “wrack,” be those submissions practical, creative, theoretical, scientific, or critical.

Behind all of our thinking about this conference theme is the idea of something like transformative resilience amid the ruins of capitalism. However, we are mindful that—as Kate Driscoll Derickson has recently argued—“resilience talk directs our attention toward a social formation that is uninspiring in its emphasis on enduring the effects of the very processes we ought to be focused on transforming” (City 20.1, Feb. 2016). After all, sustainability of the current system cannot be desirable for or desired by those who wish to build more equitable global human and ecological relations: hence, wrack and transformation.

We have elected not to provide the traditional list of diverse areas of interest related to the theme. Instead, although we welcome individual submissions, we encourage potential attendees to seek connections with each other both before you submit proposals and after the final schedule is released. It is our preference that as many presentations as possible will speak to each other, so that it becomes both an interdisciplinary and a collaborative event focused on collective learning.

Although past ALECC conferences have tended to emphasize literary and cultural questions, we are actively seeking presentations from multiple disciplines and discourses. Our local organizing committee contains representatives from Geography, Law, Writing, and Environmental Studies, along with English.

To propose an individual paper, creative or other work, including a reading (20 minutes), please submit a blind (no name included) proposal that includes a title; a 250- to 500-word abstract; your preference for a scholarly, creative or mixed session; and any requests for audio-visual equipment. In a separate document, please send name, proposal title, current contact information, and a one-page curriculum vitae (used for funding applications).

To propose a pre-formed scholarly panel or creative session (three presenters for a 90-minute session), please submit as a complete package the following:

  • session title
  • 200-word session abstract
  • one-page curriculum vitae and contact information for the session organizer and each presenter
  • 250- to 500-word blind abstracts for each paper/presentation.

To propose some other kind of format or presentation (e.g., workshops, roundtables, exhibits, performances), please contact the organizing committee in advance of the September 30 deadline to discuss proposal submission requirements.

Proposals should indicate clearly the nature of the session and all requests for audio-visual equipment and any other specific needs (e.g., space, moveable chairs, outdoor location, etc.). We ask that panel organizers attempt to include a diversity of participants (e.g., not all from the same institution).

Proposals must be submitted by September 30, 2017, to ALECC2018@uvic.ca.

Official submissions should include the word SUBMISSION, the abstract type (panel, paper, other), and your (or the panel proposer’s) name in the email subject line: SUBMISSION paper Gayatri Spivak, for example, or SUBMISSION panel Jon Gordon. We will acknowledge all submissions within 3 days of receipt.

Any general questions or queries for the organizing committee should include the word QUERY in the email subject line: QUERY accommodations, for example, or QUERY allergies.