Evie's poetry and short stories appear in literary journals, magazines and anthologies including Beatdom Literary Journal, Decanto Magazine, CUT UP! (Oneiros Books - Paraphilia Magazine), O Ecuador das Coisas, Network Ireland Magazine, Eat my Words (Gumbo Press), Scraps : A Collection of Flash Fictions (Gumbo Press) and Elsewhere Literary Journal. Her poem, 'The Elephant is Contagious' is now a short film.

Evie lives and works at Cullenagh Farm in County Waterford


Tuesday, 31 January 2017


Wedged into burrows
across a blue shale
the hinged shell
hides its soft form

© 2017 Cartophile's Log
As sailors lament
over selkie threads
on gold dusted shores

 © 2017 Cartophile's Log

An ocean's stories
are stored in its stone
in its shapes and shadows
in its pirates' lore

Pirate's Brew
 © 2017 Cartophile's Log

Shanties are woven
from rockweed
clinging to the shore
from brutal and brutish
the daggers and crosses
lying across its floor

 © 2017 Cartophile's Log

Nets are adrift
and sea whistle slips
between the desert cays

White Lace of the Moon
© 2017 Cartophile's Log

The compass is set
needle balanced on its pivot
now, to learn the points
and, on waking
to cast the sounding line

© 2017

© 2017 Cartophile's Log

© 2017 Cartophile's Log
© Cartophile's Log

 © 2017 

Sunday, 29 January 2017

The Sea Horse

Following a path back through time where horses once raced along its shoreline while echoes of an earlier tragedy reverbate across the rocks and dunes, we navigated the marshlands of the Cúl Trá at Rhineshark Bay.

© 2017 Cartophile's Log

In 1816, the Sea Horse transport ship carrying 260 soldiers and their families home from the Napoleonic wars floundered in nearby Tramore Bay. 363 men, women and children perished in the tragedy, one observed from the beach by a gathering crowd helpless to assist. January 30th marks the 201st anniversary of the Sea Horse tragedy.

© 2017 Cartophile's Log

In 1853, the old racecourse was built on 263 acres of reclaimed land at Rhineshark Bay; however, by 1911, it too had succumbed to the ravages of the sea, and meetings had to be abandoned for higher ground.

During low tide, the remains of the racecourse are visible as are the remains of the neighbouring old military barracks, which rises from the water and stretches like sharks' fins across the lagoon.

© 2017 Cartophile's Log

© 2017

Saturday, 28 January 2017

Abandoned Mines

An archipelago of silver lakes, phosphoresecent rain puddles stretch like stepping stones along the cliff edge. Thinly traced lines link old mining villages of the Copper Coast. Fringing steep precipices above the Atlantic, we nervously edge past mine shafts and crumbling walls. Rumours of an ancient church keep us searching for imprints upon stones tumbling towards the sea.

Imagined lakes
of copper and silver,
 scattered fragments
frozen in time

rain puddles at Bonmahon
© 2017 Cartophile's Log

Shallow tunnels
to vanished worlds,
whisper in colour 
as light drowns earth

© 2017 Cartophile's Log
© 2017 Cartophile's Log
© 2017 Cartophile's Log

(Images from a walk along the Copper Coast, County Waterford, Ireland where a metal mining industry flourished in the mid 19th century)

© 2017

Friday, 27 January 2017

Sacred Ground

On the approach of the anniverary of Yeats' passing, there was an invitation to share thoughts on 'He Wishes For The Cloths of Heaven' during a walk along the Cúl Trá in County Waterford.

Weaving together myth, memory and divinity in 'He Wishes For The Cloths Of Heaven', the poet's longing conjures an internal and external landscape rich in colour and texture, a landscape that we may find ourselves within, a dreamed up world spread beneath our feet.

HAD I the heavens' embroidered cloths, '
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half-light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams

William Butler Yeats

© 2017 cartophile's log

© 2017

Art Undone

there's been a single blue line of crayon drawn across a wall in every house....

© 2017 cartophile's log

Several years ago, a team of psychologists led by Takahiko Masuda analyzed artwork from across East Asian and Western cultures, with particular focus on pantings created between the 16th and 18th centuries. Masuda was looking to measure something in particular - the height of the horizon line. What emerged was that the horizon line in East Asian art was repeatedly higher.

Masuda maintained that the placement of the horizon in a piece of art is a doorway to exploring the social constuction of the artist's culture. A high horizon line means that the field of information is deep, with greater room for contextual details. The visual layout of Western art allows for less background space and the arrangement of one or two objects in the foreground, indicating that Western culture is more marked by logical thinking and analytical reasoning. This points to a culture placing responsibility for the creation of events in the world in the hands of its individuals. The visual layout of East Asian art highlights a holistic reflective style. In sharing more background elements, East Asian art is less focused on one or two particular objects, indicating a belief that various external forces beyond the control of individuals are reponsible for the occurance of events within society.

The same team of psychologists took their reasearch to schools in both Canada and Japan and asked children to create a piece of visual art. The experiment reflected the team's earlier findings - Japanese children's (and adult's) art is more context rich while the art of their Western counterparts focuses more on singular objects in the foreground.

collages by Japanese (L) & Canadian (R) children


Senzaki, S., Masuda, T., & Nand, K. (2014) Holistic versus analytic expressions in artworks: Cross-cultural differences and similarities in drawings and collages by Canadian and Japanese school-age children. Journal of Cross-Cultural Psychology, 45(8), 1297-1316

Masuda, T., Gonzales, R., Kwan, L., & Nisbett, R.E. (2008) Culture and aesthetic preference: Comparing the attention to context of East Asians and Americans. Personality and Social Psychology Bulletin, 34(9), 1260-1275

© 2017

the boundariless domain

Historic Saintes Maries de la Mer is the sacred festive ground for the annual veneration of Saint Sara, saint of the nomadic peoples. This little seaside town in the Camargue region of Provence, France welcomes pilgrims from the four corners of Europe and beyond to venerate the Black Sara during the last week of May each year as well as the Sunday closest to October 22nd.

Romanies, Manouches, Travellers, Tziganes and Gitans fill the streets with music and colour, culminating in the procession to the sea on foot and horseback to celebrate the arrival by sea of three very important saints who are deeply embedded in the life of Saint Sara - they are Mary Magdalene, Mary Salome and Mary of Clopas.

The bearers go into the sea to symbolize the arrival of the Marys. Some stories tell of Sara seeing the Marys arrive by boat. The sea was rough, and the boat threatened to founder. Mary Salome threw her cloak on the waves and, using it as a raft, Sarah floated towards the Saints and helped them reach land by praying. Other stories tell of Sara being a collector of alms who worked for the Three Marys.

After blessings and to the accompaniment of music and the set of bells, the Procession returns to the church. Later that day, there is a ceremony of bringing the reliquaries back up to the 'High Chapel'.

Violins, guitars, dance and singsong light up the evenings at Saintes Maries de la Mer. A multitude of small candles are lit during the festival and children held up in front of the statues as prayers are recited.

The music, colour, artistry and reverence contained within the celebrations reflect the spirit of the nomadic peoples, eternal pilgrims on the world's roads (many are fervent travellers of El Camino de Santiago). Indeed, within the world of art and literature, the Gypsy has for centuries represented the artist's nomadic soul, their connection with the spirit world and their resistance to imposed boundaries and materialism.

This free spiritedness undoubtedly attracted the attention of writers and artists such as Hemingway and Picasso who were visitors to Saintes Maries de la Mer. The painter Augustus John fell in love with Provence, which he claimed "had been for years the goal of my dreams" as he did with the Gypsy and Romany culture. John relinquished much of his worldly pleasures to pursue a nomadic lifestyle and learn the Romany language.

Taking the sturdy Camargue ponies through the wetlands of Provence and along the streets of Saintes Maries de la Mer, hatless (unrecommended, though understandably in keeping with an ancient tradition), there was the feeling of physical and spiritual freedom - the boundariless domain of the nomad and the artist.

© 2017
Encampment at Dartmouth by Augustus John


Thursday, 26 January 2017

When the Way governs the world, the proud stallions drag dung carriages. When the Way is lost to the world, war horses are bred outside the city.

© 2017 cartophile's log