Semiosis // Stephanie Robinson

Semiosis // Stephanie Robinson

journal
semiosis // Stephanie Robinson

Photo: Bog Sky in the City by Stephanie Robinson

The bog-sky
Reflected in innumerable small pools,
Into which the fingers of mossy stars seep,
While bog-blankets creep,
Toward dim outlines,
On the horizon.
A thousand moons undulate,
Verdant shadows spectate.

In this damp air sound travels.
But the sky is so peaceful it deafens.
Midnight-tinged amethyst abyss
beckons.
A sky so deeply lilac as to be afire.
The urge to scream,
how definitively serene
and embracing
this bog-sky is.
This, home is.

Disrupted.
A heel through the face of the moon.
A people that never existed,
Because people only exist,
Where there are roads.

Burning torches,
The paintbrushes dipped into the wrong water,
Now irreversibly charcoal smoke tainting
The colour of the firmament.
Town-skies can never be lilac, can never be loud,

Towns don’t acknowledge.

After this day,
Not a glance for the sky, subdued,
Huddling, in the corner of the room.

Arrows embroider.
Stitch me into the seam of the earth.
Bog smothered, mud mothered,
Draw down violent sleep,
Century deep.
No sound from the bell that tolls
From the Otherworld.
Only the dread resonates.
Heralds a speck, a spore…
Inoculates nocturnal substrate.

Heartbeat slows.
Welcome weight, sounds abate.
Preserved in vacuum shackled cloying caress.
Behemoth sentience stirs, observes.

Primal machinations turn,
Judgements pass; inscrutable law,
Extends, attempts accursed salvation,
Yawns maternal apex maw,
Draws delicate mortal,
Limb by limb
across
Liminal portal.

Blind impetus impotent.
Imposing mutual benefit,
Carves biological niche from flesh,
Without finesse.

The promise of Anastomosis*,
Is not this yet.
But as contact and a choice are made,
As enzymes dismiss the myth of distinction,
So fruiting bodies are furnished
With a mouth.

Symbiosis without precedence,
Yet in isolation, death.
Co-operation compelled
By a vital quality offered each;
For the human, endurance,
For the mycelium, speech…

Semiosis; an action or process involving the establishment of a relationship between a sign, and its object and meaning.

Adaptive murmuring Semiosis.
Relevance is relative;
Amidst an anchorless paradigm
Logic, with no gravity, turns over and over.

A sign is-
Not all communication is language.
A susurrus of impressions press,
Impress upon, scorch the senses, in the absence,
Of salience.

Urgent impulse, signals flicker,
Biological imperatives bicker,
Spasm, roll eyes, stretch strain.
There could be pain,
But signals won’t connect,
Can’t affect.

A sign cannot function until-

Who defines relevance in the Umwelt?
Perception deaf if not significance felt.
What currency used in conceptual trade?
Signs meaningless until meaning made.

Adaptive murmuring Semiosis;
Arise multitudinous echoes,
Eons lapse, galaxies strobe,
As bridging cross-cognition
Sentience slogs.
A litany of stimuli and response.
Until each can deduce,
Each sign has use,
and at last…
a truce.

Finally arriving, in the body always inhabited.
The tumult of information has ceased,
In its wake, uncanny peace.

Gases mingle, vapours twist,
Hybrid fingertips twitch.
Emerge to scratch existential itch.

Awareness permeates.
Fills the chasms between head and heart.
Asking
How many times was shock mistaken?
Forgiveness or permission, taken?
Gently drawing attention,
To the meaning of each sensation.
Only now realising
The utility of desire,
The utility of ire.

Teeth like acid.
Tear holes in the validity of imposed reality,
Eat the bedrock to which misconception clings.
The antidote to misinterpretation,
To become so alien,
That one requires closer consideration.

Or, with Changeling gifts,
Move amongst them,
Ready.

Awareness permeates.
Fills the chasms between head and heart.
Asking

Who am I now? Are there others, like me?

Echoes reverberate.
Following roots and rumours,
Earthly filaments encounter
Lichenous likeness.
In comforting darkness,
A balm.

A bitter aftertaste.
Of wilt and wither.
Molecules whisper
Chemical laments,
For aberrant nutrients.
Mutually enforcing,
Mutually exhausting;

Identity, and reason for being.

Purpose, with no gravity,
Turns over and over,
Until
Drawn to a North
No compass can point to,
Along a path,
No maps can show,
Something stirs.

Resolves itself.
Absolves itself.

Begins.

A cursory glance could never glean,
The magnitude of altered being,
Now clawing the muck, in every cell imbibed…

A curse that sets you free.

 

*In mycology, anastomosis is the process of fusion between branches of the same or different hyphae to form an interconnected network, which is the foundation of the fungal colony (mycelium).

Katie Furmston

Katie Furmston

artists
Katie Furmston

Aerialist specialising in aerial hoop & PhD Candidate in Sustainable Furniture

Five Questions

01

Who are you as an artist and can you tell us a little bit about your art practice?

I am an aerialist specialising in aerial hoop. I have ADHD, dyslexia, dyspraxia, FND and fibromyalgia which makes life a lot to deal with! I am exploring how I can use the hoop, not as a way to be a professional, but as a method of channeling my pain and frustration and energy into something physical and beautiful. I am qualified to teach aerial hoop as I wish to help other with difficulties similar to mine, but I am currently working on different ways of learning and understanding as a first step.

02

why is your practice important to you?

It is my way of feeling free and in control. When I’m upside down it’s like nothing matters and my overactive brain is quiet! Aerial hoop gives me a few moments of peace and joy.

03

What was it like to do this photo shoot

It was incredibly empowering and helped me to actively see the joy and freedom that I feel. The distraction of the water as well made me forget all about the camera and just have fun! 

04

Can you tell us about how you came to find out about this practice and how long you’ve been doing it for?

I started pole dancing qhen I was in my second year of university, but after I left I couldn’t find the right style of teacher. At one of the pole studios I tried they also had an aerial hoop set up and I saw some women practicing before the pole class. I thought “that looks fun” but didn’t have the courage to give it a go for a few years! Once I did try it I fell in love instantly!! I’ve now been doing aerial hoop for about 7 years.

05

What other practice are you doing at the moment? 

Currently I am undertaking a PhD that is looking into making fast furniture more sustainable at the consumer end. I want to take my love and passion for furniture design and help others learn to have a more sustainable way of life with their furniture in a way that is accessible to as many people as possible. Sustainability isn’t supposed to be something that you can only do if you can afford it!

I love you I said // Gemma Abbott

I love you I said // Gemma Abbott

journal
I love you I said // Gemma Abbott

I love you I said
And he said nothing
And I know this about myself
That I have so much love
That where I see a vacuum of it
I can always find some to pour in and fill the space.
But this singularity that has opened up

inside of him is yawning wide

I love you I said
And he said nothing
As I tried to fill that

hollowness with that love

As I filled it with tears
After all these years
I still love you I said

And he said Nothing

He just sat there like a stone
With no cracks
To help to try and prize him open
With no breath inside
No oxygen to ignite
Not even a tiny spark
And begin to light up

what was there before

 Because it was

There

Before

I love you I said
Even as this stone might seem a stranger

I could still see him in there
And I could see him

searching my eyes

To try
To try and see himself

I love you I said

And he said

Well he did say

I love you too

But he sat there so silent
That he might as well have said

Nothing.

Written by Gemma Abbott for Magical Women

Photograph by Polly Alexandra

Making friends with Miss Havisham // Gemma Abbott

Making friends with Miss Havisham // Gemma Abbott

journal
Making friends with Miss Havisham // Gemma Abbott

Imposters and loss

Laid low by my former love

We promised ‘til death and

Very nearly etched it into our beings

But his well ran dry early

Perhaps being as

The beginning of this end has

Felt like a hundred excruciating deaths

He is no oath breaker after all

And this impostor of a man

Who wears my husband’s skin

Now holds another in those “other” arms

While the wife in me

Lays starved to death in the corner

Photograph by Christina Rivers

A hollow vessel I must now give up

Miss Havisham raises a dusty glass

And we sit there together

This corpse bride and I

In the blazing remains of what we once

Might have called home.

I lost him some time around Lisbon, if not before. He reckons later but I can see he is still deceiving himself in many ways. He tells me off for trying to see into his soul but I am not any more. I don’t like what it is that I find there, this impostor in the shape of my husband.

The impostor in his arms already.

I can only stare at him with wide sad eyes, like looking at a photograph on the front of a funeral programme. I am excruciatingly aware of what he has cast aside.

And he has killed twice this year. He has killed the man that was my husband inside of him, a sudden and selfish death. He has also killed the wife in me, without my consent and much to my anguish. I loved being a wife. I loved being his wife. The space on my finger where the ring should still sit feels numb, pining for that little golden symbol that once made it shine like a star.

Written by Gemma Abbott

Photograph by Polly Alexandra

We honour Daisy Gatson Bates, complex and unconventional #blacklivesmatter // Elinor Rowlands

We honour Daisy Gatson Bates, complex and unconventional #blacklivesmatter // Elinor Rowlands

journal
We honour Daisy Gatson Bates, complex and unconventional #blacklivesmatter // Elinor Rowlands
Magical Women honours survivor Daisy Gatson Bates. Bates was a complex, unconventional and largely forgotten Driving Force of the civil rights movement.

A Survivor from Birth

Bates was born Daisy Gatson in Huttig, Arkansas, in 1914. When she was an infant, her mother, Millie Riley, was killed by three white men. Terrified, her father, John Gatson, fled town and left her in the care of their friends Orlee and Susie Smith. Nee Gatson, Bates attended the local segregated schools in her youth.

An activist who broke racial and gender/sexual orientation barriers Bates would spearhead one of the most significant moments in the Civil Rights Movement. Bates played a central role leading the desegregation of Little Rock’s Central High School. Her actions and persistence shattered barriers forcing a ripple to grow into a metaphorical earthquake that would shake Little Rock and the rest of the USA. 

Bates is a Magical Woman because she confounds the expectations of femininity where society prefer their heroines to be modest or in shape, form and reflection that they can accept, agree with and understand as a “change-maker” because of the way they look and should behave.

Bates was challenging as a woman

Like many Neurodivergent females, she was criticised as being ‘pushy,’ ‘ambitious,’ ‘aggressive,’ “challenging” – qualities for which men in leadership roles are praised; traits that make men powerful.

Yet, by possessing these precise qualities, Bates was able to have a significant impact on her community and wider afield.

 

 

In 1968, Bates moved to Mitchellville, Arkansas, a majority black town that was also impoverished and lacked economic resources. When Bates arrived, she used her organisational skills to pull together residents and improve the community.

 

But Her Speech Was Written by a Man

She was the only woman permitted to speak, though not for long, and not in her own words. After being introduced by march organiser Bayard Rustin, who was a Gay Civil rights leader, Bates delivered the 142-word “Tribute to Women.” 

Whilst her statement was brief – women in this day were timed as well as censored it seems – as the speech she read out was written by a male staffer.

However, Bates’ writing shows she was far from unable to speak up for herself and others. A powerful orator and writer, she put her words to print in the newspaper she owned with her husband.

She created empowering spaces for herself where she could write uncensored and her words could be read. She was a journalist who persisted and it was those very traits that make men powerful and are so often used to silence, exclude and so often fire women, that drove her to create a (metaphorical) earthquake across the country to force change in the law.

How she became a Tour De Force

When the Supreme Court ruled segregated schools unconstitutional in 1954. When the national NAACP office started to focus on Arkansas’ schools, they chose Bates to plan the strategy and she became the driving force in enrolling black students into all white schools.

She organised the Little Rock Nine: choosing nine students in 1957 to integrate Central High School in Little Rock. She worked tirelessly to ensure they were protected from violent crowds. She also advised the group becoming their mentor and even joined the school’s parent organisation.

She picked them up in the mornings and drove them to school and picked them up from school at the end of each day.

She refused to accept the all white schools attempts to deny them and other blacks entry. Bates used her newspaper to publicise the schools who didn’t follow the federal mandate and highlighted their prejudices.

Violence Against Women

Bates and her family were often a target for intimidation. Rocks were often thrown at and into her home several times and she received bullet shells in the post. These threats forced the Bates family to shut down their newspaper.

Bates’ Legacy

After the success of the Little Rock Nine, Bates worked on improving the status of African Americans in the South of the USA. Her influential work with school integration brought her national recognition.

She published her memoirs, The Long Shadow of Little Rock in 1962. Eventually, the book would win an American Book Award. 

Bates died on 4th November in 1999. Her work was recognised by the state of Arkansas who proclaimed the 3rd Monday in February, Daisy Gatson Bates Day. In 1999, she was posthumously awarded the Medal of Freedom.

We hope that our sharing of Daisy Bates’ legacy, offers Magical Women readers and participants, contributors and allies hope, that you can grow here, you can find empowering and relaxed spaces to speak, to share and to grow, where you can attend to your art and writing practice without fear of being silenced, excluded, corrected or shut down.

Here, you are offered an environment where you can think for yourself as yourself.

Magical Women’s mission is to remove the risk found in mainstream systems, structures and neurotypical understanding around “equality and diversity” offering instead an empowering space because you are empowering it, and we are empowered by you.

We need more Daisy Bates’ and more black Magical Women.

Please go to ‘About Womoon’ on our website to read about our paid call outs for poetry and opinion pieces that centre around the themes “Rage” and “Persist”.

We need your voices. We need to grow. Please contact us. (info [at] magicalwomen.co.uk)