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Poems: 'Above Ickornshaw, Black Huts', imagery

SA_Walking Home/1
In 2010 Simon Armitage spent 19 days walking the 256 mile Pennine Way as a 'modern troubadour'. This online resource presents archive material relating to the walk and creation of Walking Home, held by Special Collections.
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Simon Armitage describes writing 'Walking Home'
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SA_Walking Home archive materials
A summary of the Walking Home archive materials
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Armitage Harmonium proposa
Details of book proposal 1
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Armitage Walking Home Proposal doc
Details of book proposal 2
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SA_Walking Home Red Notebook
introduction to the red notebook
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Walking Home SA/8
prose diary entry for day 0
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Walking Home SA/13
prose diary entry for day 1
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SA_Walking Home/126
Prose diary entry for day 15
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SA_Walking Away/162
red notebook poems introduction
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SA_Walking Home/18
first draft of the poem 'Cotton Grass'
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SA_Walking Home/31
second draft of the poem 'Cotton Grass'
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SA_Walking Home first proof/287
second draft of the poem 'Cotton Grass' continued
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SA_Walking Home_74
blank page entry headed 'fell ponies'
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SA_Walking Home/130
Comparison of three types of writing referring to black huts.
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SA_Walking Home/134
Notes on the changing imagery of 'Above Ickornshaw, Black Huts'
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Armitage Notebook Black Huts
Notes on the importance of landscape for the poem
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SA_Walking Home/108
Notes on the importance of poetic influences
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Walking Home SA_162
writing themes listed at the back of the red notebook
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SA_Walking Home/Glossop Audience
introduction to the Walking Home photograps
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SA_Walking Home/slug088
Walking Home photographs as visual narrative
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SA_Walking Home/digital_image/21
Walking Home: poetry as travel guide
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writing themes listed at the back of the red notebook
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Further reading material for Walking Home.
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In the notebook paragraph headed 'Ickornshaw Grouse Shooting Huts' and in the first drafts of the poems, the word for a Nazi-Germany prison camp - 'Stalag' - is repeatedly used. The huts are equated with 'prison camps, stalags, numbered huts' and described as 'every shed / a numbered stalag'. The darkness of the huts here is conveyed as a moral as well as a physical darkness, and this is continued into a second notebook where a hut becomes a 'death chalet'.

In later drafts and in the final version of the poem this focus has changed. Instead, the perception of the hut as a 'beach hut on the coast of the moor', which also appears in the first descriptive paragraph, has been developed. Outside 'tarred pavillions or lodges' 'locals sit [...] / on deckchairs'.

The final version of the poem retains a darkness, but one which is uncanny rather than political. Freud described the uncanny as 'unheimlich' or 'unhomely', something that is unnerving precisely because it derives from what is (or was) homely or familiar. In their deckchairs, locals wait for 'shipwrecked souls / to crawl / from the moor's sea'. The imagery here (the moor and the deckchairs) are familiar, but the events unfolding are not and the poem's conclusion is ambiguous. Are the locals observers of their landscape or protectors? Will they extend a helping hand or will they shoot on sight?