Cramond Island: between the teeth of the sea and the sand
As I told thee before, I am subject to a tyrant, a sorcerer that by his cunning hath cheated me of the island.
William Shakespeare, The Tempest, Act 3 Scene 2
The concrete pylons surveil me as I cross the causeway, sentinels on shore leave from a brutalist Easter Island: decaying teeth of the sea, chain of totems holding the island thurible at its proper arc from the mainland. I feel like I'm poised in the jaws of some primordial leviathan. And make no mistake, it's a treacherous business crossing from one realm of place to another. I have genuine psychogeographer's bruising to prove I only just survived the experience, flat on my back and the breath knocked out of me. Sometimes it's the ground beneath your feet which drifts.
To the west, Eagle Rock eyes me from a safe distance on this early morning, its subterranean portal itching to open for me, but not today.
Casting a fond glance back at civilisation and Cramond village, I commit to the slippery march onwards. Time is the enemy here though, and there is a limited window of a few hours of low tide to explore and return high and dry to the mainland. Sometimes, for the unwary fiction becomes fact.
The mile-long causeway is slick with seawater and the green of algae, the tide recently having receded to a safe distance. Cramond Island is one of only 17 that can be walked to—when sun and moon and gravity permit—from the Scottish shoreline. That number initially struck me as high until further digging told me there are almost 800 islands dotted around the coast of Scotland. But Cramond Island, which is really an islet since it's just a third of a mile in length and about 19 acres in total area, is only properly an island at high tide with its northernmost part—the curiously-named The Binks—permanently within the waterline.
And that forbidding chain of stanchions chaperoning my crossing was installed as part of the Firth of Forth coastal defences during the Second World War, to stop small vessels passing to the south of the island. They were originally linked by concrete shutters which slid into grooves on each side, and the remains of some of these can be seen littered at the base of the stretched pyramids.
There were also anti-submarine measures, in the form of floating nets, deployed from the northern side of this island, to the island of Inchcolm, and from there to Charles Hill on the further Fife shore.
Tidal islands like this one are often attended by an innate sense of otherness or are somehow imbued with the sacred. Witness the grandeur of places like Mont Saint-Michel in Normandy and St. Michael's Mount in Cornwall. Whilst its scale is less imposing, Cramond Island has the feel of a place that has tasted the numinous in its millennia of existence. The air has the scent of another realm.
In 1941, while the Army were building the various defensive structures here, they apparently discovered an early Medieval long cist burial chamber on the west of the island, which would tend to suggest people had been living—and, of course, dying—here for hundreds of years. Regrettably, but perhaps unsurprisingly since they no doubt had other things on their minds, the soldiers failed to record where the burial chamber was found and its discovery was only reported second hand in 1957. Its location has never been known since.
What else lurks beneath the bracken and the soil in this place? What secrets might this relatively remote location be hiding? The air crackles with a hidden electricity as I pass from the realm of the obvious to that of the occluded.
Ahead lies the first structure to hit the visitor's eye on the island.
This redbrick structure sitting atop an area known as the Knoll is one of a number of ruined and abandoned wartime enclosures on Cramond Island: a rather workaday looking gun emplacement. Down some steps behind the structure sits the housing for the searchlight which would have illuminated targets for the gun.
It's apparent even from this early point in my exploration that the buildings of the island have become canvasses for graffiti artists of varying abilities.
Fighting off the wave of vertigo, I clamber down the steep steps to the searchlight enclosure. It feels like a Dantean descent to a fresh circle, with no idea of what or whom I'll find.
Each time I enter one of these structures, peering into the dark corners, I expect to be accosted by—what?—the flickering, half-seen/half-unseen wraiths that guard them? It feels that way sometimes. The uninvited are also the unwelcome.
Despite its bijou size and rudimentary furnishings, you can't knock the view.
I move on up the hill, a strange congregation of stones bidding me good day as I pass them. It's difficult not to impute some significance to their placing in this location and their prominent view out over the Forth.
The mainland looks insignificant from up here, a thread of green on the verge of being swallowed by sand and sky.
From this point onwards, the going becomes rougher and a great deal muddier. I shake off the notion that Cramond Island submerges in its entirety when no one is paying attention, rising from the roiling waves afresh each morning like some inverse Atlantis.
I head east along a barely formed desire path that leads through the undergrowth towards the north of the island.
At the end of the path, I come across the first of the buildings installed by the British Army in 1941 on this northern part of the island.
This one still has some of its metal shutters, although they are eaten by rust and the vandals have done their worst on the fabric of the structure. The rooftop garden is lovely, though.
Inside, there are odd trenches cut into the concrete floor, as though some form of mechanism was housed here, and it's likely this building was an engine house containing generators to power the searchlights, guns and other buildings on this section of the island.
I'm reminded a little of the images of Crowley's ruined and ruinous Abbey of Thelema in Sicily, and wonder what doomed rituals have been conducted here since the place was abandoned.
The largest concentration of war defence buildings occurs on this northern portion of the island. And an acute sadness hangs in the air, whether from the overwhelming sense of abandonment or because of the brittle nature of a different reality, one in which the anxiety of invasion was paramount, is unclear. But it's there all the same.
Further to the north are three scattered small, lozenge-shaped buildings that I learn later were searchlight emplacements. Originally, there were five of these, casting their rays out across the Forth. From a higher elevation they look like modernist sepulchres, their concrete surfaces decorated with the gauche art of the edgeland.
A larger, round-fronted building has the remnants of its curved metals shutters strewn around it; this was the mechanism whereby its searchlight could be focussed on particular targets by sliding the shutters across the front of the enclosure. The Canmore site has an older picture, with the shutters still present on the front. In the distance, the caret mark sails of the new Queensferry Crossing suggest that something is missing here, something forgotten or erased in error.
On almost every available wall and ceiling space, the art brut of the graffiti artist holds dominion and various languages and non-languages are represented.
Down at the water's edge, a line stretches into the waves. This is apparently the remnants of a jetty built using local stone, which sources on the internet suggest could be medieval in date.
I see it again through the searchlight window of one of the small tomb-like enclosures further into the main part of the island. Perhaps that mushroom-like metal endcap was connected with the anti-submarine nets which were in place during the Second World War from here across to the other islands. It certainly doesn't look particularly medieval from this vantage point.
The searchlight buildings are again adorned internally with all the colours of the spraycan, and what appears to be a warning.
In one of the largest structures on the island, which is reached from a steep flight of steps, I can’t decide if the colourful walls lend a less oppressive air to the place, or just render the cowering spectres more Cormanesque in their aspect.
Again, there are odd trenches in the floor, signalling another engine house perhaps, but here they're filled with stagnant, black water and I don't venture too close. Something could be down there.
On the wall above, barely discernible amongst the babel of tags, is the legend Island of Junk. One can only speculate at its myriad possible meanings.
Looking out of the shadows of the interior, the Forth shimmers in the distance and I hasten out of the darkness into the light.
I've seen a couple of other people on my visit, but they don't appear to have made it to this side of the island. Here, in the relative solitude, there's an expectancy in the wind, and in the vegetation a brooding quality that's ochre or rust coloured, a decay of the mundane that lets in the otherness. I have this overwhelming sensation of being watched, but all the searchlights are dim and I'm not singled out as a target. Nevertheless, I'm unnerved by the surrounding evidence of human manufacture combined with the absence of anyone to share my walk, and my scalp prickles with a sickly anticipation.
On the threshold of each of the wartime buildings, I pause, sometimes for minutes at a time. The quality of the air becomes heavier, denser, itself a formidable gateway to be pushed open. One of these thresholds I can't even bring myself to cross: the claustrophobic enclosure beneath the northern gun emplacement.
Its door, half-open and half-closed, warns me back, backwards into the sunlight.
Peering through it, the guardians sigilised on its far wall are enough to persuade me that I don't need to see inside this one any further than this point. Humans will / Human swill.
It's not just the hands of the clock that are moving me, pushing me to retrace my steps and leave the island. The loneliness and pervading sense of watchfulness are quite oppressive. Odd to think of a place where, unless you decide to set up camp and stay overnight, a visitor is afforded only a brief, time-limited glimpse of the whole, a snapshot that fades as the hours progress.
I move around to the western side of this part of the island, but there's little to be seen now. There used to be a garrison here for the troops stationed on Cramond Island but aside from some concrete remains it's no more. And this ruined structure is the remnant of the Duck House, a tiny enclosure once used as a holiday shooting let.
Now it proudly proclaims its status as an outpost of a different empire, and soon its stones will crumble onto the rocks on the beach as nature plasters over the cracks and blemishes with her even hand.
Curious that you'd choose to advertise a novel in such an unpopulated spot...
With time against me, I never do find the ruined farmstead, abandoned since the 1930s, which has sat in the middle of the island since at least the middle of the nineteenth century. There's always the next visit. It's in the woods somewhere, waiting.
I decide it's better to retrace my steps and head back the way I came, although some people, choosing alternative avenues of escape, clearly weren't so cautious. I wonder if they made it.
I pick my feet more carefully back along the causeway this time, mindful of my earlier slipup. There are people everywhere now. A cyclist on the beach just below the gun emplacement and families and dog-walkers galore between here and the mainland.
Back on the mainland, an old friend, the gasholder at Granton, gestures to me from afar. Its Aegean Sea blue circumference signals the drift turning full circle. And those teeth behind me smile widely, in an only slightly less-than-beatific grin.
Further reading: the always excellent Canmore site, the online catalogue to Scotland’s archaeology, buildings, industrial and maritime heritage, has fairly extensive information and some older photographs of the coastal battery emplacements on Cramond Island.