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• W240190057 abstract "[1] Cuween, a small Neolithic cairn, perches on top of a hill on Orkney Mainland. A flashlight waits in a bucket by door, and visitors crawl on hands and knees, one by one, into pitch-black interior. After savoring a degree of darkness rare in modern life, they direct beams of light up tapering walls to marvel at skill of stonemasons. It is impossible to resist impulse to clamber into chambers and crouch where bones once lay. Green and smooth, Maeshowe, another Orkney cairn, rises enigmatically from field where it has stood since around 2700 BC. The designation of this monument and surrounding Neolithic structures as a UNESCO World Heritage Site (WHS) in 1999 significantly increased tourism to area (Card et al. 429), so while visitors may still enter Cuween unsupervised, access to much larger Maeshowe now requires a timed ticket, bought in advance. Throughout year, thousands of visitors, bending uncomfortably low, shuffle through tunnel-like passage entry, making physical journey from light to dark and a more psychological journey from present to past. Exploring any of Neolithic sites in Orkney is to bridge time, to feel kinship with those who built them. [2] Without doubt, a major reason Maeshowe attracts so many people is its symbiotic relationship with its environment. Most famously, at sundown during December solstice, winter sun lines up with door of tomb, shines down passage, and focuses its rays on stone wall within. Interest in this phenomenon, moment when light stabs darkness, is so high that Historic Scotland provides web-cam coverage, but Maeshowe fascinates others besides tourists and solstice celebrants. Whether they are vacation visitors, archaeologists, anthropologists, or poets, explorers experience sites differently, applying their own intellectual tools and imagining Neolithic lives from their respective points of view. Leslie Riddoch has written that these are Stone Age marvels which inspire and astonish, and Simon W. Hall expresses experiences of many when he refers to the profound impact of entering a (160). They imply that to enter a cairn is to become one with it, to undergo a transformation. Maeshowe, which can now be experienced only under regimented conditions required by Historic Scotland guides, clearly retains extraordinary power to inspire. Indeed, this ancient mound has attracted a great deal of literary attention from both noted and obscure writers. Considering these cumulative interpretations, rather than relying solely on work of archaeologists, opens up a more comprehensive, textured, and, indeed, gendered understanding of ancient history and our commonality with Neolithic peoples. [3] George Mackay Brown, Kathleen Jamie, Myra Schneider, and Dilys Rose are four of more prominent authors for whom Maeshowe has proven inspirational. They have experienced tomb through a doubly imaginative process: first by reading it as they would read a poem and then by expressing that interpretation in writing. While Brown was an Orcadian, living most of his life alongside Neolithic sites, Jamie, Schneider, and Rose, all of whom have Scottish roots, experience Maeshowe as tourists, drawn across Pentland Firth to enter passage and travel into darkness. Significantly, all three of these more contemporary writers are women. Hall, in his valuable survey, The History of Orkney Literature, contrasts use of prehistoric by female Scottish writers with that of their male counterparts, stating that it is less political, that women authors take the opportunity to reestablish place--and, significantly, inner lives of women in prehistoric or early historical northern landscape (162-163). I would argue, however, that their work also engages public world to a greater extent and is more ideological than this statement implies. …" @default.
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• W240190057 date "2013-09-22" @default.
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• W240190057 title "Reading Maeshowe: Recovering the Feminine in a Neolithic Tomb" @default.
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