Author Archives: AnMór Studio

Between Acrotelm and Catotelm | A Peat Invocation

PUBLISHED: March 25th 2022

Pre-orders taken from 24th February

Limited Specialist Collector’s Edition of 50 signed, numbered copies only.

FORMAT: A5 Loose leaves / unique binding on finest Tintoretto Gesso art paper. Translucent slip cover, translucent cover sheet, black belly band, A5 essay-booklet, 3 double-sided fine art images with unique incantations on reverse, Binding – 2 x silver fold-back clips

PRICE: £15.00 + £3.00 P&P (UK)

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Part of The Land Incanted archaeo-mythic journey into a deeply ancient, lost ‘proto’ language, locked deep in the peat sediments of the Scottish Flow Country around Sutherland and Caithness.

This project takes as its focus the poetic notion that language might speculatively be preserved in peat, in much the same way as all other organic materials. The unique alchemical characteristics of peat have the ability to compress and preserve fossils, pollen, seeds, even human bodies (bog-bodies) over many millennia, and here I invite you to visualise the remnants of ancient chants and incantations in the form of an oblique linguistic notation, suspended deep in the earth’s strata..

“..Earth-memory is sedimented. Language has been locked into successions of decomposing striae. Deprived of light, the earth acts upon all matter, a slow sequence of acidic alchemical exchanges that transform and preserve.
Life is suspended, entombed. Forms compressed. Breath exists only in the dreaming of it. Unfixed and interminable margins afford life a transcendent prospect.
Edaphology suggests earth interaction – each action a re-action of that which preceded as the boundaries between epochs merge, and each merging writes its subterranean tale…”



ASSOCIATE EDITORS – Martyn Hudson, Emily Hesse


FORMAT: A5, Perfect Bound, 120 PAGES.

PRICE:  (SOLD OUT) £11.50 + £3.00 (UK) postage and packaging

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PILOT EDITION currently SOLD OUT. Please come back and visit us soon.

Edition 1 Still available

Please remember to include your postal address, and any specific instructions with regard to delivery. Please expect a wait of 10 – 14 days for delivery during busy periods


Visit our Journal Overview page here for more information on our work and aspirations. 

You can also purchase online/ bookshop at Little Toller Books HERE 

Italian customers can purchase direct or visit our gallery project partners at: Galeria Artemisia di Belinda Guerriero HERE

AnMór are a group of writers with a passion for promoting and disseminating creative works informed by landscapes lost, abandoned, forgotten, & mythic



What colour might there be, one wonders, that does not already grow on some hillside, or in some wood, or in a distant corner of the sky?

Louise Kenward – 68 WINDOWS

Up here, the highest landmark for miles, there is an acute awareness of all my senses. The wind makes its presence known by its call. It slams at the glass, at this tower, over and over. And yet I don’t shake. The lighthouse stands firm. 

Jon Woolcott – THE MEMORY PIT

The Hill was a constant presence, a reminder of the wild-on-the-doorstep, an escape route, a playground. It was our memory hoard.


Overall, Harvie recorded over three hundred and fifty plant species on the bings – more than can be found on Ben Nevis – including eight nationally rare species of moss and lichen, among them the exquisite brown shield- moss, whose thin tendrils loft targes to the sky like an army in miniature. Over the space of a half-century, these once-bare wastelands had somehow, magically, shivered into life. 

Martyn Hudson – THE LAND OF NOD

Most of the prehistoric rock art to be found on the moorland was excavated here, above the sea, as if to lock a shaman into grave with spells, with whorls and lines, and bells and fire.

Anonymous (10th Century)  – THE RUIN


This was not a landscape for lidos, holiday camps, or transistor radios, but an evocation of something intrinsically English reflecting and defining national characteristics through soil and scenery…

Dominic Cooper – THE OPEN PLACES (two excerpts)

A faint flaring of memories from out of our past, a vague awareness of ourselves as nothing but part of the wheeling processes of eternity, forever changing yet forever changeless… 

Alex Woodcock – THE SKY AT BAYHAM

I wonder if places like Bayham aren’t disruptors of linear time in some way, a marbled whirl of different moments held in partial, crumbling form? A place of alchemical transformation where pasts and futures are untethered and unstable, a fixed monument to perpetual change? A mirror, indeed, to the clouds? 


As an artist, my interactions with earthly matter are frequent and significant. I have learnt to visualise other worlds through the material of clay. 

It is not the formation of such worlds I am interested in, but the worlds that exist within our own, the worlds of time past being the way in which we can imagine worlds of future. 

Bran Graeme Nairne – ISLANDS IN MIND

It is perhaps a kind of atavism that I see the ancient past as a thick black smoke, drawn into the body in wisps and veils, into lungs and veins, a smoke, heady with the scent of primordial peat that carries within it the whisper of ancestral voices, lost words, and the rhythm of ancient song.


The ice floes are disappearing to the north, hell has frozen over, the berserkers are not at rest. There was one hand of Grendel on the beam of the hall, two towers in Drogheda, three sheep on the garden wall, four spuggies on the hawthorn hedge, five stars on the burial howe, six, seven, eight, nine, ten, eleven, twelve slave women hanging from the line of Odysseus. 

Jeff Young – 17 TREES

Swirls of light wind their way through the seventeen trees, turning a negative into positive. 

I lie down in the dirt and make a falling of myself into the earth, a memory of climbing down through tree-root, into memory itself, the mulch of autumn.


Like first steps,  the eye is trained to see the ghosts within the moor’s compass, scouring the land through narrow waists of rock, skirting the hare-paths, shaking the hollows free of dissolved peat and wild weather. 


Limestone, water and bone

Past present and future

Stone mother

Bone mother

Ice mother sing

Ring through blue air

Splinter of stone and chill of bone

Dr Lizzie Fisher – SCHWITTERS

Schwitters found an easy equivalence – a notion fundamental to his theory of Merz – between art and nature in these surroundings, conjured with stippled paint surfaces evocative of the wind-ruffled surface of a lake or the texture of bark (used frequently in assemblages to stage tensions between the surface and what’s underneath) or in the elegant simplicity of a painted stone. 

Deborah Westmancoat – ANCIENT SCENT

The Well spoke with a quiet, clear voice, the right place to be.  

The stick used to guide the paper to the inner recess beneath the cairn was collected for the poet, a jar of well water collected for a future painting.  

Birds singing, trees sighing, waters pooling.  An ancient place of veneration and calm.  A quiet prayer to the waters. 


The slipping through cracks time 

The time of forgotten forgottens and non-remembrance  

Opposite attraction


Nothing but distraction and moments of faultless pleasure

The cartwheeling fall from grace

Laura Harrington – FIELDWORKING

We view a blade of grass swaying in the wind differently than if we watch a person doing the same, even though both are responding to the same forces, and I was interested in questioning that divide.