Isle of Mull – The Letters of Ivor Punch by Colin MacIntyre

Usually after I finish reading a book, I know exactly how I experienced it. Sentences and scenes can stay with me for days. With The Letters of Ivor Punch by Colin MacIntyre I wasn’t sure of my ‘final judgement’. It was such a mixed bag. I thoroughly enjoyed some parts, but struggled with others. And it’s hard to summarise in a few lines what the book is about, which can be a good thing.

Ivor Punch is an old man and former policeman on a small island in the west of Scotland. He doesn’t speak much. But when he does, he throws in the word fuck every few lines, a habit that I found utterly annoying, because it made him come across as an imbecile, and it halted things, I didn’t see the point of it. But what Ivor does do really well, is write loads of letters (which, again, he peppers with countless fucks). The letters are revealing, touching and very true, and are the framework of the story. All those letters are linked to island stories, to the people who live(d) on it, including multiple Punch generations. Fiction and facts are liberally mixed up.

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Isola Tiberina; a ship built of stories

Sometimes an island pops up in an unexpected spot.

In the hectic city centre of Rome, the Tiber splits in two to create space for an island: Isola Tiberina. Just as in the rest of the Eternal City, this islet is steeped in legendary anecdotes. It abounds in spectacle and horrors that dull its true history.

Isola Tiberina is moored like a ship in a bend of the river, the concrete stem riveted to one of Ponte Garibaldi’s piles.

Myths speak of Tarquinus Superbus as the central figure of the island’s genesis. Farmers threw their corn harvests in the River Tiber, furious at the iniquitous policy of their ruler. However, the stream of the river did not carry away the corn, but held it in one place and thereby formed Isola Tiberina. A more bloodthirsty version describes that not corn was thrown in the river, but the body of Tarquinius. Sludge and plants stuck to the corpse, which grew into an island.

The truth is not as sinister. Like all of Rome, the island consists of volcanic rock.

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Erik Orsenna – Deux étés



Erik Orsenna – Deux étés

Original title and publisher: Deux étés – Paris : Librairie Arthème Fayard, 1997

The first sentence of Deux étés is made up of no less than 175 words. After reading it, I was somewhat discouraged and put it aside, at the bottom of my ‘must read’ pile. After a week or two, I picked it up again for a retry and found myself reading it in one go. And since then I can not help but wonder why this book was never adapted for the screen.

Place of action is an idyll : île de B., a Breton island,  ”deterring the clouds; they keep their distance, as if they’re attached to the mainland. An irresistible smooth sky, it must be the caress of a sidetracked Gulf Stream. Flora from different climates, aloes, mimosas, palm trees, a piece of Sardinia in in the middle of the Channel.” Orsenna’s visual and colourful language makes you experience the blue of the ocean, the green of the trees and the variegated flower splendour.

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Transit Island

People in transit wrote a large part of the history of this urban island. Refugees, immigrants, newcomers, departees, fortune seekers, expatriates, pipe-dreamers, visionaries, castaways, outcasts, illegals, emigrants, wayfarers, wanderers and exiles, they all left a story behind.

Migrants from all over Europe travelled to Antwerp between 1873 and 1934 for the crossing on one of the Red Star Line ships, that docked in the Rijnkaai. Because the shipping company had to pay the return voyage for emigrants rejected on Ellis Island, the immigration law was strictly controlled (“no idiots, cripples, infectious sick persons, criminals and pregnant women”). In what is now the Red Star Line museum, the medical checks were carried out. Off to the promised land or otherwise stay behind in the the dregs of society.

‘t Eilandje used to be called Nieuwstad (‘new city’). It’s located between the Scheldt, Kattendijk and three large docks. If all bridges and locks are open, it is still an island.

The island spells its own poetry. I do not mean the ‘Kaaiengedicht’, a poem written by Antwerp dwellers about the river Scheldt that runs along the quays like a typewriter ribbon. This new poem writes itself. While walking, you travel through unfinished urbanity. Temporariness on the move. As a current visitor you are not a tourist, but a discoverer of painted images, of buildings and destinations under construction. They come your way unprepared, you can’t know them from any travel guide, and this rough version will only remain for a while. You connect the many street artworks. Today’s Antwerp island is at odds with the one of the past.


The island itself has also been in transit during the centuries. The district began its existence in the 16th century as an ingenious, impoldered part of the harbour within the city walls. It grew into a flourishing port until the beginning of the 20th century, moved from the 1960s towards abandonment and decline, and blossomed into new prosperity in the 21st century.