One of my projects I’m working on at the moment is a reimagining the Norse Myths and involving my favourite Trickster folklore. I’m focusing on the god Loki and the events recounted in the myths leading up to Ragnarok.
I’m also fascinated by the roles of Odín and his selection of the best warriors fallen on the battlefield and how Freyja, goddess of desire takes the other half the best fallen warriors and is a leader of the Valkyries.
My love of Trickster folklore and legends includes one of my favourite Australian Trickster figures, Crow. Together with Loki, there’s a new story added to those known in the Norse myths.
In remaining ragnarok in a new way, I’ve ncorporated Icelandic and Australian-esque natural landscapes to create a new version of a mythos of ice and fire with tales from the Australian Alps to the desert heart.
I have been writing a new short fiction work inspired by the liminal folklore in some Inuit cultures. The liminal folklore I was interested to explore are closely linked to the harsh environment of northern Canada, from the permafrost and sea ice, where the risks from exposure and isolation are very real. The First Nations are the indigenous peoples of Canada and the Inuit “the People” occupy the traditional northernmost lands- called Inuit Nunangat, encompassing the northwest territories, northern Labrador and northern Quebec, consisting of 35% of Canada’s landmass and 50% of the coastline. To the Inuit, the land, water and ice are vital parts of the whole.
In a landscape of treacherous sea ice, blizzards and permafrost, traditional stories are told throughout generations to provide warnings for the dangers in disobeying laws and customs which are often closely tied to the history and landscape. There are several different beings in Inuit folklore that prey upon those who stray from the camp, children who become lost and the disorientating danger of the permafrost. Among these are the Taqriaqsuit or the “shadow people”, beings who are invisible or half-seen, who are heard but not seen but where a veil must be crossed between our world and their own. Beings also exist beneath the the sea ice, the Qallupilluk are child-snatchers who prey on children who stray too close to the dangerous frozen waterways and pack ice.
My latest short fiction work has been an interesting endeavour to explore unforgiving natural environments and internal psychological upheaval where the liminal world of the Taqriaqsuit and the Qallupilluk merges with the eerie north Canadian landscape and half-seen beings of folklore become a new reality.
I recently finished writing a flash fiction story inspired by European Neolithic stone circles and folklore. Common to the folklore of standing stones is an aspect of temporal planes, the shifting of time connecting the Fae to disappearances, madness and re-appearances many years later. In my own short fiction, a liminal temporal plane joins Europe in the 1940s to the Neolithic connected by the standing stones. I explored the effects of warfare on the European landscape where in the present day, traces of that destruction are still in evidence from trench warfare tactics. I was interested in accidental time travel where folklore often links the unintended passage of mortals into the fairy realm often at heightened emotional or astronomical times. The story focused on fleeing pursuit through an unrecognisable landscape scarred by war, the liminal connection between times linked by the standing stones allowing a successful escape into the Neolithic and the newly constructed stone circle.
In early September 2019, I visited Iceland as part of my writing research into Norse mythology, Viking Age history. The role of the landscape has been important in shaping the Icelandic legends and I was fortunate enough to see some of the archaeological and cultural history as well as those in the natural landscape. On a tour of the unique southern Icelandic landscape, I visited iconic waterfalls, glaciers, black sand beaches, glacial lagoons and rode Icelandic horses.
Jökulsárlón is a glacial lagoon for Breidamerkurjokullon, the tongue of Europe’s largest ice cap, Vatnajökull glacier. Jökulsárlón lagoon is located between the southern Icelandic town of Hofn and Skaftafell nature reserve. While visiting Jökulsárlón, I took one of the boat tour of the lagoon (only offered in warmer months) to get a closer look at the icebergs formed from the glacial melt, which creates the lagoon.
The icebergs of Jökulsárlón lagoon are part of the glacier that, as it melts break off into the lagoon and are washed out into the ocean. Within Jökulsárlón are a surprisingly diverse marine life. There were several species of sea birds, gulls and other large water birds who frequented the lagoon outlet where the icebergs flowed swiftly into the ocean. These birds were remarkably savvy at navigating the swift currents to avoid collision with the icebergs. There were also several species of shy seals who avoided the boats but were frequently seen observing our passage from the beneath the shelter of nearby icebergs.
The clear divide between the waters of Jökulsárlón lagoon and the glacier beyond, the waterline of the lagoon contained some larger icebergs that had clustered along the edges.
The icebergs that break off the glacier into Jökulsárlón and pass through the lagoon were stunning to behold the clear layers visible to the eye as the boat manoeuvred around them.
The view from near the ocean, looking back along the lagoon outlet from Jökulsárlón with the glacier in the background.
“Diamond beach” is a popular site among many photographers for the iconic images of the icebergs that pass from the lagoon outlet of Jökulsárlón to where they meet the ocean.
The large icebergs were an amazing sight as they were buffeted by the waves coming into shore. It was surreal and beautiful to experience such a unique landscape.
The black sand beach was scattered with icebergs in various stages of melt as the fresh glacial water they are formed from dissolved rapidly in the warmer salty ocean temperatures.
Walking along diamond beach was one of the most spectacular places I had ever visited. It was pleasure to be there and witness such a natural but phenomenal landscape.
In early September 2019, I visited Iceland as part of my writing research into Norse mythology, Viking Age history. The role of the landscape has been important in shaping the Icelandic legends and I was fortunate enough to see some of the archaeological and cultural history as well as those in the natural landscape. On a tour of the unique southern Icelandic landscape, I visited iconic waterfalls, glaciers, black sand beaches, glacial lagoons and rode Icelandic horses.
Reynisfjara beach is located southwest of Vik on the southern Icelandic coast. The popular site was busy when I visited despite the incoming autumn storm. Reynisfjara beach has the iconic black volcanic sand of Icelandic beaches and the larger stones frequently washed ashore from volcanic eruptions and subsequent floodwaters carrying debris from the coastline into the ocean. Reynisfjara is also known for the large basalt stone pillars off the coast, remnants of ancient cliffs before sea level changes over millenia have eroded them into current form. These pillars and the nearby cliffs are associated with many Viking Age legends and myths.
The unusual basalt pillar-like formations of the cliffs on Reynisfjara beach are a popular attraction. These distinctive columns have such a uniform appearance that it is hard to remember they are created by natural geological processes and not by human hand.
In many Icelandic legends and folklore, the caves at Reynisfjara beach were thought to be the work of the dark elves (dwarves), and mark the entrance to undergournd passages where the Hidden dwell. Seeing the distinctive cliffs and caverns for myself, I can readily imagine how such caves would be an entrance to Svartalfheim itself.
The Reynisdrangar sea stacks are large basalt pillars located off the shore of Reynisfjara beach. One of the legends surrounding these twin pillars is that they are actually trolls who were wading out into the ocean and caught by the sun’s rays. In Icelandic folklore, trolls are unable to tolerate sunlight and are immediately transformed into stone. These twin stone pillars represent two trolls who failed to return to the sea cave before first sunlight.
On the opposite end of the Reynisfjara beach is another of the unusual sea stacks, this one is furthest from the coastline at the southernmost tip of the Arch of Dyrhólaey. This stone formation has another legend, also about an unlucky troll transformed to stone. In this folktale, the troll was late returning from a sea voyage and has been caught by the sunlight while still hauling his boat onto the shore. Both the boat and the troll have been turned to stone, forever petrified in place.
One of the most striking things about Reynisfjara beach was the unpredictable ocean. For visitors, there are warning signs about the dangers of wave surges onto the shore which are unpredictable and have been known to drag groups of unwary tourists out into the freezing waters which are dangerous with rips and strong currents. On the day I visited, a storm was blowing off the coast and the surge of the waves was unpredictable which only increased the unusual sense of wildness about the place. A magical part of Iceland but one requiring great respect and vigilance.
In early September 2019, I visited southern Iceland for a week. As part of my research into Viking Age history, the legends and mythology, landscape has been important in shaping Icelandic legends. I was fortunate enough to see some of archaeological and cultural history of National Museum of Iceland in Reykjavik, ride Icelandic horses, visit several iconic waterfalls and tour the some of the unique Icelandic landscape.
Southern Iceland boasts stunning waterfalls, glaciers and volcanoes. The largest glacier in Europe, Vatnajökull is located within Vatnajökull National Park which contains the largest and most active volcanoes in Iceland. On the southern side of Vatnajökull, the glacier completely covers the volcano beneath. Known as Öræfajökull, the glacier enveloping the volcano is also the highest peak in Iceland with the mountain peak, Hvannadalshnúkur reaching 2, 000 m above sea level. Although peaks in Iceland are not high but European standards, the entirety of the huge glacier Vatnajökull, envelops several active volcanoes. The size of Vatnajökull is impressive with the Ring Road skirting the edge of the glacier along the coastline from just east of Vik and continuing past Hof which was the furthest extent of our tour.
A closer view of a southern outlet glacier of Vatnajökull and the tallest peak Hvannadalshnúkur visible on the left with the glacier spreading across the flatter meadows below the mountain ridges.
The path of the outlet glacier from Vatnajökull as it spreads across the landscape below, an impressive thick wall of glacier.
A clear image of the passage of the glacier has carved through the mountain ridge with the peak of Hvannadalshnúkur obscured by low cloud in the background.
A smaller, glacial outlet carves a path through the basalt rock, the slow progression of the glacier and force required for the rock to be worn down or moved over time is incredibly impressive.
Myrdalsjokull, is the fourth largest glacier in Iceland and located further west toward Reykjavik than Vatnajökull but the outlet glacier, Sólheimajökull is popular for glacier walks and all-year tours with frequent monitoring of the nearby active Katla volcano located beneath the distant ice cap of Myrdalsjokull. The outlet glacier Sólheimajökull is easily accessible via sign-posted valley entrances off the main the Ring Road along the southern coastline with a 20 minute hike to a glacial lagoon.
The 20 minute hike to the Sólheimajökull glacier includes traversing the edge of the lagoon formed by glacial melt. Each year the size of the lagoon increases with warmer global weather influencing the temperature and extent of thawing and glacial melt each year. In Iceland, the constant volcanic activity means that the glaciers are often streaked or covered in volcanic ash and these are known as “dirty glaciers” due to their black streaked appearance from frequent volcanic eruptions. The lagoon is also formed from volcanic sand and large pinnacles of volcanic ash are common on the glacier surface.
Sólheimajökull glacier where it meets the lagoon is visibly streaked with volcanic ash revealing the older glacier layers of pale blue beneath.
A closer example of the height of the glacier itself as we hiked across the front edge and the volcanic ash that covers the surface of the glacier.
An example of a large cavernous opening in the glacier used by experienced climbers for tours. A large mound of volcanic ash is obvious in the foreground.
A narrow crevices visible while walking across the glacier surface also shows how freely melt water flows through the glacier and the entire structure is constantly changing form.
This stretch of the Myrdalsjokull continues another 22km toward the pole. In the near distance, a large pinnacle of volcanic ash with the uneven glacial surface covered in ash typical of the “dirty” glaciers.
The expanse of the glacier continues toward the basalt mountain ridges but the passage the glacier has carved through the surrounding rock is impressive.
A good view of the observable layers in the glacier with the alternating ash deposits and glacial layers
Contrast between the surrounding mountain ridges of the valley and the glacier outlet as it progresses through the landscape
The surrounding mountain ridges have numerous waterfalls which empty into the outlet glacier, the larger expanse of Myrdalsjokull also extends across many of the surrounding mountains behind where we were hiking
View from the surface of Sólheimajökull glacier tracing a narrow crevices extending back toward the ice cap of Myrdalsjokull
As we headed back from the hike, it began to rain. The rain began to quickly melt the glacier carving these flowing tunnels into the surface of the ice we were walking across.
The final view looking back to Myrdalsjokull as the weather closed around the glacier and lagoon, rain and light snow obscuring much of the way back we had come.
A short video on Solheimjoskull glacier showIng some of the surrounding landscape filmed despite the incredible strength of the erratic wind across the glacier threatening to knock me down if not for the crampons holding fast in the ice.
I visited Iceland in September 2019 as part of my writing research for novel-in-progress Ragnarok Dreaming. Part of my Icelandic experience was the National Museum of Iceland, riding tour outside Reykjavik on the iconic Icelandic horse, exploring glaciers, black sand beaches, glacial lakes which influenced the Viking and Icelandic culture.
Gljúfurárfoss
Gljúfurárfoss is also known as its translation “dweller in the cave” referring to the large boulder that blocks the front of the waterfall, almost enclosing the waterfall itself and making it accessible only by the narrow cleft in the rock and by crossing the rivulet.
A large basalt boulder encloses most of the waterfall, leaving the freezing water of the Gljúfurá river as the only entrance and exit to the cavern and Gljúfurárfoss itself. The stepping stones are difficult to navigate but provide a narrow path along the edge of the slick and uneven cliff walls to where the cavern expands at the base of the waterfall.
Gljúfurárfoss drops from the height of 60m to the cavern floor. Another large basalt rock is positioned directly adjacent to the base of the waterfall. The cavern is freezing where the icy spray cascades from the waterfall and is trapped within the rock confines of the cave.
The view of Gljúfurárfoss where the Gljúfurá river cascades over the edge of the cliff, the rock surface covered in the dense moss and lichen. The Gljúfurá river has its source in the Tröllagil (Troll Gorge) as a spring-fed river before it passes through a marsh and along the northern edge of a lava field formed by Eyjafjallajökull glacier.
The moss and lichen covered rock surfaces of the upper part of the cavern and a view of the boulder (called Franskanef) that is suspended above the waterfall, hiding it from view on the outside and giving it the cave-like appearance.
Foss á Síðu Waterfall
Foss á Síðu is a small waterfall located in southeastern Iceland not far from the Ring Road, located between the larger settlements of Vik and Hof.
The river Fossá drops from a height of 30m over the basalt cliffs before continuing toward the Atlantic Ocean. At the foot of the Foss á Síðu waterfall is a farm inhabited since the 9th century and associated with local folklore legend of a curse, a ghost dog named Móri who cursed the family living on the farm (which is actually called Foss á Síðu), thereby cursing the family for nine generations.
Foss á Síðu is also the location of another Icelandic folklore. Located opposite the waterfall are basalt boulders called Dverghamrar or ‘dwarf rocks’ are believed to be the dwelling place of some of the ‘Hidden People’ of Icelandic folklore.
Seljlandsáfoss
Seljlandsáfoss is located 750m from the Ring Road in southern Iceland and only 29 km east from the popular Skogafoss waterfall. One of the most iconic Icelandic waterfalls, a deep pool of water at the base and sheltered space behind the waterfall itself provides a unique experience.
Seljlandsáfoss cascades over the ancient sea cliffs, falling from a height of 65m into a deep pool of water at the base of the waterfall called Kerið or Fosske.
A large cavernous space behind the waterfall provides some shelter from the drenching spray and allows some magnificent photography.
Seljlandsáfoss has its source in the Eyjafjallajökull glacier and during the warmer months, the glacial melt swells the Seljalandsa river, making Seljlandsáfoss one of the more powerful Icelandic waterfalls.
I visited Iceland in September 2019 as part of my writing research for novel-in-progress Ragnarok Dreaming. Part of my Icelandic experience was the National Museum of Iceland, riding tour outside Reykjavik on the iconic Icelandic horse, exploring glaciers, black sand beaches, glacial lakes which influenced the Viking and Icelandic culture.
Írárfoss (Irish River Waterfalls)
The Írárfoss waterfalls are located in southeastern Iceland, where the river Írár flows from its source in the nearby Eyjafjallajökull glacier. The largest of three waterfalls from the Írár river, the Írárfoss waterfall is not considered among the more famous of southeast Iceland’s waterfalls with the larger and more spectacular Seljlandsáfoss waterfall located 10km west of Írárfoss.
As with many of the waterfalls in Iceland’s southeast, the source of the main rivers lie higher in the glaciers in the surrounding volcanic mountains. The rivers descend into the lowlands below via waterfalls, where rivulets and brooks are numerous throughout the lush meadows.
These glaciers and volcanic landscapes are also responsible for the black basalt rock that lifts above the lowlands meadows which are often suited for grazing horses and sheep.
Skógafoss Waterfall
Skogafoss waterfall is one of the most visited waterfalls in southern Iceland and is easily accessible just 500m from the Ring Road. Located 6km from Selfoss waterfall, the Skogafoss is one of the most powerful and impressive waterfalls in southern Iceland.
The Skogafoss is also associated with a legend of buried treasure by a Viking Age sorcerer, Þrasi Þórólfsson, who was responsible for directing the flow of two rivers during a great flood which is also associated with the volcanic eruption of in the Mýrdalsjökull Caldera. The legend of the artefact known as Þrasi’s ring is believed to be part of the treasure buried behind Skogafoss waterfall.
I was fascinated by these stone formations protruding from the front of Skogafoss. These reminded me of the Icelandic folklore about the trolls who become stone if caught by sunlight. These oddly shaped, moss and lichen covered rocks somehow seemed like figures to me, sitting beside the waterfall in the castoff from the spray.
Skogafoss is only 62m high and 32m wide but the strength of the waterfall is impressive with the view from above as waters plunge dramatically over the mossy edge, the rising spray and circling sea birds adds a drama to the small but powerful waterfall.
The view from the top of Skogafoss waterfall, the hiking track continues toward Þórsmörk, following the river Skogar upstream between the two glaciers, Eyjafjallajökull and Mýrdalsjökull and past numerous lesser waterfalls.
A view from the top of Skogafoss waterfall of the opposing cliffs overlooking the lowlands and the abundant farmlands that now occupying the fertile meadows where the sea once was. In the distance, the current shore of the sea is just visible, now located about 5 km from Skogafoss waterfall.
The vista from the top of Skogafoss of the lowlands and a distant remnant of the former sea cliffs that is now an isolated promontory in the middle of the lowlands.
The view opposite Skogafoss waterfall shows natural and untamed landscape with the cliffs consumed by passing low cloud as the autumn storms pass out to sea.
The cliffs surrounding Skogafoss are rugged and formed into striking rocky pinnacles and natural stone formations reminiscent of fantastic landscapes.
After the Skogafoss waterfall, the river Skogar continues to flow across the rich black sand beach at the base of the waterfall and out through the lowlands toward the sea.
Skógafoss waterfall is now located less than 5km from the sea but the black sand coastline has receded over time, with these former sea cliffs now isolated promontories rising above the lowlands.
The river Sokogar forms into many rivulets with the lowlands covered in black pebbles and black sand, the remnants from previous volcanic eruptions and the annual glacial melt. These natural changes to Icelandic landscape are visible on such a massive scale throughout southern Iceland and are some of the most memorable landscapes I’ve ever seen.
In late August 2019, I visited the western Alpujarras, in the southern Spanish region of Andalusia, where I traveled from the city of Granada to the small town of Lanjarón, about 50km southwest of Granada. Lanjarón is famous throughout Spain for the local spring that is historically purported to have healing properties and which provides the basis for many local spas, health resorts and provides the bottled water sold throughout Andalusia. Lanjarón and many of the towns along the steep hillsides of the Alpujarra are nestled against the towering slopes of the Sierra Nevada Mountain Range above. You can read about my visit to nearby city of Granada here. Las Alpujarras are distinguished for the steeply wooded hillsides and narrow gorges, with naturally-occurring mountain springs providing water for orchards and farmsteads, and where the larger valleys provide shelter for the small villages that are dotted along the hillsides. The white-washed houses, half-hidden among the steep cliffs and accessible only by narrow, twisting roads are typical of the region and part of the reason for its settlement.
In 1492, the Castilian army of Queen Isabel of Castile and Ferdinand of Aragon finally took the city of Granada, the last stronghold of Moorish rule in Andalusia and the end of the Nasrid emirs and their dynasty. To the largely Islamic population who remained in Granada the occupation of the city by Castillian forces meant the enforcement of Christianity as the only religion. Those among the Moorish population of Granada who refused to convert to Christianity fled into the nearby hillsides and harsh terrain of the Alpujurras. Once within those steep gorges, the remaining Moorish groups refused to convert to Catholicism and through harnessing the mountain springs and building irrigation networks as they had done with Granada, the rebellious Moorish communities became self-sufficient amid the harsh hillsides, aided by largely inaccessible slopes and the network of trade routes that crossed the Alpujarras and the Sierra Nevada Mountains. Eventually, much like the remainder Andalusia, Las Alpujarras fell under the dominion of the Catholic Spanish kingdom but the Moorish past is imprinted on the landscape and irrigation systems are still used by local farmers today.
I had the great opportunity and pleasure to revive my long-neglected horse riding skills again. I organised a trek for several hours, riding one of the local Andalusian horse breeds through the Alpujarra above the town of Lanjarón.
Following my guide across the steep hillsides, I had a wonderful view of the expanse of this section of the western Alpujarra and the daunting height of the rocky slopes of the Sierra Nevada Mountain Range continuing above me.
The trek followed the twisting and half-obscured Moorish mule tracks, the trade routes once used to connect the inland city of Granada to the Mediterranean coastline and for many hundreds of years later, still served as passage between inland Andalusia and the coast. These mule tracks are still be used today and traverse the hillsides of Las Alpujarras before climbing into the higher reaches of the Sierra Nevada Mountains. There are some horse riding treks and hiking treks that still follow these age-old routes to cross the Sierra Nevada Mountains and down to the coastline of the Mediterranean Sea.
Bangarra Dance is a premier Australian Dance company bringing the powerful, but often unfamiliar, indigenous Australian legends from the Dreaming to international audiences. Bangarra have developed a unique and celebrated style of contemporary dance, combining powerful and evocative movements in indigenous Australian dance with the continuing traditions of indigenous Australia for storytelling through dance.
In 2018, Bangarra launches the international premiere of dance production, Dark Emu, originally a celebrated book of the same title by indigenous author Bruce Pascoe who through historical records and indigenous legends, showed the inaccuracies of early records during European colonization in understanding the cultural adjustments, technologies and modifications indigenous Australians had developed over thousands of years of continual occupation. The result was an under-estimation of the necessary changes within indigenous Australian culture and the gradual changes over time to the natural landscape.
Corroboree was a popular production spanning many years and international tours highlighting the origins of life by retelling three key indigenous Australian legends from the Dreaming when animal spirits roamed the land and humans were not yet created.
Terrain was a production evoking the rich connection between the indigenous Australian cultures and the land, exploring the respect for country, using the dry-flood patterns of Lake Eyre as a powerful reminder that humans are reliant of the land.
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