Anna Taylor

I. At Sea

Attic points towards the edge

a calling and connecting of places or things

Outside and incoming, internal and far

A distance set but with travel between 

<< Comfort >>

A lighthouse had been assembled

and one at lower level 

Fixed on the higher ground and moveable on sand

enabling boats to navigate the dangerous inshore passage. 

<< Foghorn sound >>




(This channel is no longer there, but was formed of the sandbanks which are constantly shifting).







Sea, moon, strobe, sound  (imagine)

Danger at sea, ships in dark water

stillness and

the dark, 

rough water



Revolutions of scanning light 

seen from the attic window 

How far the light travels

Speckle grain getting weaker, powdering into nowhere 



Visibility alters as vapour settles

a dullness of shining pieces << aerosol >> touching ground





The danger familiar



Lie under a low padded ceiling 

Room beneath the eaves, 

Of angles and insulation,

Nestle into the distant drone



Core rumble. Low internal hum, 

bed and rooftop, peace and sound 



Ship sternum under

An oily darkness strewn with silver moon light shoals

fragments rippling untraversable

Far into unimaginable cut off distance



Try to name the possibility of being lost, stuck, in 

Continuity, fluid and rolling


To hear is to be close to land

Or learn you are too close, or know 

the thickness of the night sea and 

the lonely strung-out straying 

of farthest ships 

Is close to your bed, to your walls, to your window. 






(Overlapping text in print or sound)

A dormer window looking out,


Single panes 

fit loosely. They 

rattle in the wind 

And let in snow (water / ice)

Which collects on the sill. 

The triangular side panes are pulled across with two thin pink curtains

like flags, their shape-giving nylon curls as they hang.

Through the glass (left) 

The way the eyes slide to imagine, 

town, harbour, lighthouse

And horns blown

from other ships and land

And on windy nights when sound carries

The clink of slackened ropes and pulleys against the masts. 

The curtains have been made to match 

The ceiling, pale pink to coordinate with 

wallpaper in rosebuds. 

The wall is fragile in its reinforcing insulation

To keep the outside out and the warmth within and

Behind this paper, is layered 

Foil and foam. 

From the beginning, every knock is remembered

Notched with accidental inverting proximity 

And torn at by enquiring fingers 

Picked down to the silver. 

A panelled board painted gloss white

Is held level with the wall by two turning catches.

It is packed behind with insulating fibreglass 

that would be dangerous on our skin 

So we should leave this shut, 

but (in any case), to open this hatch would be to fall out of the tall side 

and into the vertical night.

Murmuring into the space, 

Ears and bones thrum with 

A message sent out to sea 

That connects the fluid ear

Or sinus caverns 

With the carrier’s lilt in the dark 

And the deep slicing trundle of moving through water

queuing the channel to pass through the town 

This echo might be muffled by insulation

But the gaping window and thin glass speak with it 

And the glass is cold to touch.

Pools of condensation peel paper at the joins

II. Overlap

Pale land strip of lessening forms 

that is covered, uncovered 

As though it stays still but 

Has moved and is moving 

Year on year the edge got closer 

Ground not ground enough and bases,

Even high ground 

Falling and eroding 

Become the bed beneath 

A damp pressed sand bed, 

Sea washing over and back

Covering, uncovering, encroach and recede, 

A changing distance, still and mixing 

Slope that connects 

to underneath

<< heavy water >>

A shelf the feet won’t reach 

That lowers and lowers

Lie down on the beach 


Suddenly awash! 

Cavities and sinuses

Bone flushed with fluid,

A basin filling 

Over and over.


rubbing the sand off our skin 

And shaking from our carried things

that when it sticks

Migrates back to keep us awake

woken, with gritty friction 

Folded into sheets and into the hair line

Emptying in piles like weighing out sugar as we undressed

Next day ever finding 

that where we had been had been washed flat, smoothed

And sometimes losses 

of holes or their inverse

a new level surface 

Where the grains weren’t jumpy 

But the sea had crawled up bleeding 

flooding over our environment 

And we were always underwater 

In the times between

III. Contained 

Descending ledges without solidity beneath

Vacuum mouldings 

lead down to a limited well

Sunken within the floor and filled

Spearmint like the walls. 

Ascend on the reverse side,

A concertina fans down and out

Fluid motion of  transitioning receivers 

Meet their guides to lever 

And leave a new body 

to return 

This circuit of hosting frames  

Began and ended

The carpeted cover now pulled over

Dense matted fuzz of ashen soil, felted and wrapped over corners 

Of the supporting frame

Bare feet trodden 

Dry, then wet

And heavier outdoor shoes. 

IV. Flood 

An upstairs panelled room 

Chairs named of a sequence, numbered

every wooden surface communes

High windows where the light pours downwards

Morning dust tunnels 

summon anticipation 

A bare whining floor that echoes with the shifting weight 

furniture carried and stacked now clear 

A space, be seated 

call and wait

<< ... >>

Invited, it rolls 

through every surface and flushing out to sea

And here, they be flooded in that upstairs room! 

Rained on by a rising tide 

Living water flowed, 

Through chairs stacked, sail and


bodies on the floor,

Channelling through them

And left, with the spirit still on them. Walking, crossed the bridge and they sat upon the sand, still immersed but stirring and watched for signs that this had passed.

V. Partition

The town in two (Fig. 5)

Sea spreads into inlets, filling 

Harbours, basins and 

salt marshes further inland

Over it, a bridge that carries

Main route (a)cross(ing) lays in two. 

Alternating lights and bell sounds to raise 

this proxy foundation 

as an active object, 

parting as it heaves on hinges 

And folds towards the sky. 

Solid streams for live and weighted transit

Somersault like foetal memory, float in walls 

contained and turning, 

this mechanical inversion of stomach, head and principal routes

Re-diverts towards a vertical axis

A tall void between 

Body lengthways (a ship) 

toes down touching << … >>

and corrugated sides. 

Slippy growth overlaying,

slime accumulation and inset rungs.

Drop within this harsh container,

guiding passage,

<< Hull >> 

Blunt sides plunge down blindly, holding channelled force.

And is passed through 

<< the body >> 

hit head on 

ploughed through unstoppingly, horn sound blow

and obliterates

on contact, atomising 

into the silver 

Become the slow surrounding mass,

solid and vapour