The Gaelic Garden of the Dead - Softcover

MacGillivray's poems come at us with one language wearing the pelt of another, and in the affray that follows it is hard to tell whether dead or living mouth carries the fiercer bite. Blood-boltered, thrawn and unco, her work is a Samhain of unexorcised historical memory, ventriloquised with the `cognition of bone'. Here the blasted landscapes of the pre-forgotten present give way to the richer patternings of the tree alphabet, all under the sovereignty of our highland Orpheus, the executed Mary Queen of Scots. Not since Sorley MacLean hymned the woods of Raasay have the ghosts of the Gaelic past bestrode the present more imperiously. -- David Wheatley "Violent and formal" - the phrase is John Berryman's - in a language both lupercal and arboreal, MacGillivray's The Gaelic Garden of the Dead is magnificent. It is neither violent or formal for its own sake, but rebels against complacent, lyrical histories in voices compressed to a haunting and haunted diamond precision. What vivid strangeness, for instance, to hear again the unsung recusant poet, Mary Queen of Scots, in our secular millennium? The chromatic lines balance splendidly on the razor-edge between imaginary and real time, making her a high modernist in the tradition of her great voice-walkers and forebears Burns, Scott, and MacDiarmid. You are holding in your hands a spell of sibylline leaves -- Ishion Hutchinson Occulted, fire-warped, close-stitched in freshly butchered skin, MacGillivray's keening rant is prophecy, hot and plain. A sequence of cards dealt in the wake of shamanic seizures that happen, and happen again, only because the poet insists on their ghostly witness. Here are songs of fierce tenderness and subtle cruelty. They sting in salt like a Highland curse. I relish every breath of the fall and crush. -- Iain Sinclair

The Gaelic Garden of the Dead is three Books of the Dead bound as one. This trilogy comprises an alphabet of trees, ten dream pattern poems and thirty-five death sonnets deconstructed to Mary Queen of Scots. Saturated with the languages of arboreal myth, magic and folklore in Gaelic culture, the first book, The Gaelic Garden of the Dead, is a forest quartet whose letters enunciate the imagery of their own form and function, drawing on the traditional Scots Gaelic alphabet of trees. Among reflex-men and co-walkers are corpse measuring aspen rods, the pine hanging tree and the poison yew. As a meta-narrative of ecological preservation and a comment on ancient language culture, The Gaelic Garden of the Dead is a grove of observation: `Love's eyes are colourless: a motive for moving through underworlds.' A Crisis of Dream, the middle book, is a sequence of ten dream diagrams. Many of the dreams delineated in the second book inform other parts of the trilogy. The third book, In the End Is My Beginning: 35 Destroyed Sonnets to Mary Queen of Scots, consists of thirty-five Petrarchan sonnets for each of the steps Marie Stuart descended to execution. Composed on the anniversary of her death at Fotheringhay, the sonnets were then chewed for the fifteen minutes her lips were said to move after decapitation. Their delicate reconstruction becomes a moving meditation on Mary's brutal demise: `Once, my heart had a skeleton.'