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Jim McCrory

A Penny For Your Thoughts

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Edited by Jim McCrory, Wednesday 15 April 2026 at 19:26
 
 

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A Penny For Your Thoughts

Most mornings begin the same way: a quiet hour spent walking along the beach, the tide either retreating or returning, never quite the same twice. It gives me something to write about, though I rarely set out with anything particular in mind. There is always the faint hope of stumbling upon something remarkable; a small, unexpected discovery that carries a story with it. I sometimes think of the man on the Isle of Lewis who uncovered the Lewis Chessmen, as though such moments might still be waiting, half-buried, for an ordinary passer-by.

This morning offered no such treasure, at least not in the way I imagine it. Instead, there was a dead gannet lying awkwardly in the sand, its wings splayed in a way that suggested interruption rather than rest. I found myself wondering how it came to be there, perhaps struck by a plane descending toward the nearby airport, a collision between the wild and the mechanical. Not far from it lay a scatter of mussels, clustered together as if they had only just realised, they were no longer at sea. Likely lost from a fishing boat in yesterday’s high winds, they seemed out of place, their quiet presence hinting at disruption elsewhere.

Earlier I met a university lecturer. Biology was his subject. He spoke of short stories he dad publish , but, in the drift of the conversation I forgot to ask where I could read the stories. Well, the Owl of Minerva flies at disk as the saying goes.  

Further along, I noticed a woman standing still, gazing out over the water. There was something in her posture—unhurried, absorbed—that made me pause. “A penny for your thoughts,” I mused to myself, not out of nosiness, but from a simple curiosity about the interior worlds people carry with them. I have often asked strangers about their happiest childhood memory, and it rarely startles them. More often, it invites something open and unguarded, as though the question gives permission to return, briefly, to a gentler place.

While we were talking, a balloon lay tangled in the seaweed nearby. “16 today,” it read, the letters still bright despite its journey. The wind must have carried it far. I found myself wondering about the person it belonged to; what it might feel like to wake up and be sixteen now. It is a different world from the one I remember at that age. At sixteen, I carried a quiet anxiety about the future, a sense of standing on the edge of something vast and unknowable. The shape of life ahead seemed uncertain, and the expectations—both my own and others’—felt heavy.

What is ordinary now would have seemed strange then, just as my past might seem distant or even incomprehensible to someone turning sixteen today. Our “normal” shifts without asking our permission. It changes with time, with circumstance, with the slow accumulation of experience. Walking along the beach, I felt that distance keenly, not as something to regret, but as something to recognise.

It brought to mind the quiet lesson of Rip Van Winkle, that peculiar dislocation of waking into a world that has moved on without you. Though we do not sleep for decades, life has a way of altering itself just enough that we sometimes feel like strangers in it. The landscape is familiar, but the meaning has shifted.

The beach, as always, held its fragments of story: a fallen bird, a spill from the sea, a stranger’s thoughts, a drifting balloon marking a milestone. None of it extraordinary in itself, yet together they formed something worth noticing. Perhaps that is the real discovery, not the rare, remarkable find, but the quiet accumulation of moments that remind us how much changes, and how much remains just beneath the surface, waiting to be seen.

 

 

 

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Jim McCrory

Marching Mystery

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Edited by Jim McCrory, Friday 3 April 2026 at 19:11

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The Lewis Chessmen: British Museum

Marching Mystery

It is April 2026, and once again I find myself wandering the busy halls of the British Museum. I have been here many times over the years, yet something draws me back, as though there are things still waiting to be understood.

I stand before these small, carved figures—these sorrowful little characters—and linger longer than I intended. There is something in them that resists a passing glance. The queens sit with their heads in their hands, burdened in a way that feels strangely familiar. The kings sit upright, rigid, almost defiant, their swords held close, as if readiness itself were a kind of comfort. Around them, warriors remain poised for action, caught forever in a moment before movement.

The Scottish songwriter Dougie McLean once wrote a song titled Marching Mystery. It feels like the right name for these figures. They were discovered in 1831 on the Isle of Lewis, in the Outer Hebrides of Scotland—found, it is said, in a sandbank at Uig, as though they had come ashore from another world. One can almost imagine them rising from the sea, silent witnesses to centuries long forgotten. How they came to rest there remains unknown, and perhaps it is better that way. Some things seem to lose their meaning when fully explained.

They are carved from walrus ivory and whale teeth, materials that speak of colder places—the Arctic, the long northern waters. Experts suggest Scandinavia, perhaps Trondheim in Norway, as their origin. And yet, wherever they began, they have ended here, behind glass, far from the hands that shaped them.

What holds me is not their history, but their faces.

Each one is different. Some seem anxious, others stern, and a few carry something close to humour. There is a humanity in them that feels too deliberate to ignore. It makes me wonder whether these were ever simply game pieces at all, or whether they were always meant to say something more. Somewhere between craft and storytelling, the line begins to blur.

I find myself returning to the queens. Their hands press against their heads—not in thought alone, but in something heavier. Grief, perhaps. Or a quiet resignation. I wonder what the craftsman had seen, or known, to shape them this way. Was he remembering something? Or someone?

Grief has a way of echoing across centuries, finding its own reflections in unexpected places. It leads me, unexpectedly, to a memory that has never quite left me.

It's 1973 and there is an image making front page. Phan Thi Kim Phuc—a young girl, no older than nine, running along a road near Trảng Bàng in Vietnam. Her village had just been struck by napalm. She had torn away her burning clothes as she fled. I remember seeing this image in 1973, when I was seventeen. I remember the shock of it, the helplessness. I remember feeling like crying.

And I find that I am no different now.

I think of her parents—of the weight they must have carried, the kind of grief that has no language. I imagine them, at times, holding their heads in their hands, just as these carved queens do. Across time, across cultures, the gesture is the same. It seems to belong to us all.

War leaves behind many things—ruins, stories, names—but also something quieter, something that settles deep within the human heart. A shared sorrow, passed from one generation to the next.

And so I stand here, looking at these figures, aware of the movement around me—people passing, pausing briefly, then moving on. Most do not linger. Most do not see what I think I see.

But I cannot look away so easily.

Because in these small, silent faces, I do not just see history. I see something enduring. Something unresolved. A reflection, perhaps, of ourselves.

And the mystery remains, not of where they came from, but of who we are.

Note

Photo reproduced for non- commercial use: Visitor guidelines and conditions of entry | British Museum

 

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