Lost for 200 years, the Raeburn BURNS painting

 

Henry Raeburn’s lost portrait returns to Edinburgh

On 31 March 2025, a previously unknown painting of Robert Burns appeared at Wimbledon Auctions London, described as being in the ‘manner of Sir Henry Raeburn’. Estimated at £300-500, the painting was secured by £68,000 by William Zachs, a Burns scholar and director Blackie House Library and Museum Edinburgh. After a careful restoration at the Simon Gillespie Studio in London, it was brought back to Scotland. 

 

The painting’s attribution to Raeburn has been carefully assessed by several experts: James Holloway, former Director of the Scottish National Portrait Gallery; Dr Duncan Thomson, former Keeper of the Scottish National Portrait Gallery; Helen Smailes, Senior Curator of British Art at the National Galleries of Scotland; Lesley Stevenson, Senior Paintings Conservator at the National Galleries of Scotland; and Dr Bendor Grosvenor, art historian.

 

While the composition corresponds to Nasmyth’s original, this work is more than a simple copy. The painting is significantly larger than Nasmyth’s. Thomson noted ‘that wonderful freshness of observation that marks Raeburn’s work at its best.’ 

Stevenson has studied works by Raeburn in Scottish and American collections: ‘Raeburn’s expressive, seemingly effortless brushwork, the characteristic warm palette, soft, atmospheric lighting and sensitive rendering of the instantly recognisable Robert Burns’. “The subtle interplay of shadows and brilliant highlights resonates with Raeburn’s finest works. The background has changed, as has the format of the picture which is now contained by the rectangular edges of the canvas rather than a feigned oval.” 

 

HISTORY

Cadell & Davies stopped trading in 1840 and their archive was dispersed. Documentary evidence became available over subsequent years. Another letter among their papers contained crucial information:

Edinr 14th Novr 1803 -  Gentlemen

According to your order, transmitted to me by Mr Cunningham, I have finished a copy of Burns the poet, from the original portrait painted by Mr Nasmyth. I have shown it to Mr Cunningham, who thinks it very like him, and I hope it will also meet with your approbation. I am ready to send it whenever you please to order me.

[...] I am, 

Gentlemen, your most obedient servant,

Henry Raeburn

 

Here was the evidence that Raeburn’s portrait of Burns, painted seven years after the poet’s death, was based on the original by Alexander Nasmyth (1758–1840), the definitive image by which Scotland’s ‘heaven-taught ploughman’ is remembered. It was commissioned by the Edinburgh bookseller William Creech to be engraved by John Beugo as the frontispiece for the second published edition of Burns’s poems in 1787. 

 

Burns gave several sittings to Nasmyth and the two became friends. They were of a similar age and shared politically radical leanings. Nasmyth’s portrait spread across the world, through engravings, sculptures, painted copies and countless modes of reproduction from shortbread tins to stamps and even Coca Cola bottles. It has been one of the stars of the national collection ever since it was presented to the National Gallery of Scotland (today’s National) in 1872 By William Nicol Burns.

 

Lawyer Alexander Cunningham (1763─1812), and friend of Burns and patron of Raeburn, secured the commission for Raeburn. During his stay in Edinburgh 1786, Burns formed a friendship with Cunningham. Burns called for him on his deathbed. Cunningham spearheaded a fundraising campaign in support of Burns’s widow. He made the portrait accessible to Raeburn for copying. Another letter, now in the collection of William Zachs, Blackie house library and Museum confirms that the Nasmyth portrait was with Cunningham in Edinburgh in 1803. 

 

The differences William Angus observed between Fry’s engraving and Nasmyth’s portrait are here resolved. -   Raeburn looking at Nasmyth looking at Burns

 

Sir Henry Raeburn, Robert Burns (1759–1796), after Alexander Nasmyth, 1803, Collection of William Zachs, Blackie House Library and Museum, Edinburgh

II  What does Henry Raeburn’s painting tell us about Robert Burns?  Professor Alan Riach  The rediscovered now famous painting by Henry Raeburn was unveiled at the Robert Burns Birthplace Museum in Alloway The painting was lost for 200 years and has been on public display since January the National Galleries Edinburgh.

It was found in a house clearance in Surrey, England, and auctioned in Wimbledon in March 2025, starting price of £300-£500. The winning bid was £68,000. Its purchase was a triumph. Dr William Zachs, director of Blackie House Library and Museum in Edinburgh and long-term Burns scholar and enthusiast, was aware of its potential provenance, realising that it might just possibly be the portrait he had heard about which had been missing for centuries. Experts later confirmed that it is the lost Raeburn portrait.

 

It was commissioned 1803 for 20 guineas by the publishers Cadell & Davies, and was based on the portrait by Alexander Nasmyth, the most famous image of Burns. Burns himself sat for Nasmyth’s portrait. So Raeburn’s work was not from life, and yet the life that breathes out of the painting is immediately palpable. The light comes out of the paint.

 It was intended that Raeburn’s portrait should be the source of an engraving which could then be used as an illustration in future editions of Burns’s works, so it was sent from Edinburgh to London but thereafter dropped from sight. Lovers and scholars of both Burns and Raeburn had been scratching their heads across generations, worrying about where it could have gone)

 Bill Zachs’s munificence and his enlightened purpose is at the heart of the painting’s new history. It’s currently at the museum in Alloway thanks to the National Trust for Scotland. The intention is to take it on tour, to make it available to be seen across Scotland and internationally.

 

Perhaps there are only two ways to support the health of a nation’s culture – one is the provision of government. For that, you need enlightened politicians who really know the value of the arts.

Such people are thin on the ground in Scotland but this is the established way of most European countries, so here’s an example, loud and clear, of the value of the NTS.

 

III    ALAN RIACH

“I wasn’t quite ready for the power of its presence. Raeburn’s portrait of Burns has its own story of rediscovery and recovery for Scotland, but what does the painting itself say to us now, for its human immediacy? What makes it a great painting, what does it tell us about Burns that we don’t already know? 

 

The other is the work of enlightened, insightful and socially minded benefactors. Dr Duncan Thomson, former keeper of the Scottish National Portrait Gallery and curator of the last major Raeburn exhibition at the National Galleries, in 1997: “It is more than likely that Raeburn had seen Burns in his heyday in Edinburgh … and had observed that glowing eye that had so impressed the young Walter Scott. The result is a portrait that speaks in an entirely new way of the warmth, the sensuality and the profound intelligence that we find in Burns’s poetry.”

 

Alan Riach writes - “What does the painting capture and show us, that makes it so special? Why do we call Raeburn a great artist, and not so much Nasmyth? Give Nasmyth his due. His paintings are fine work and invaluable in their own ways. His documentation of the poet’s face and features and the landscape beyond him are vital records and meaningful evocations. But when I stand and look at the Raeburn, something else is happening.

 

It's ultimately about the potential of life itself, human vulnerability, the power living gives us, what it is to be alive, and what is lost when that gift is broken, squandered, or cut short. This is an understanding great art provides, and great tragic art, above all. It’s all about how we find value. Raeburn’s portrait of Burns is tragic in a way that Nasmyth’s is not. It is profoundly alive, speaking of an individual’s life and that person’s landscape, history and primal capacity for life, which our knowledge of Burns’s biography informs us was so badly curtailed.

 

In that regard, Burns is in good company. His fellow writers Robert Louis Stevenson dead at 44; Robert Fergusson dead at 24; or Lewis Grassic Gibbon, James Leslie Mitchell, dead at 33. Lives of lost potential, each of them. When I look at Raeburn’s Burns, something of the sorrow of that is present. And then, thinking of what might have led to his death, what dark currents start to swirl? Conspiracies of the establishment to cloud and collude against a political threat, a man whose work exemplified independent thinking?

 

 

Writing after the death of Leslie Mitchell to his widow Rhea from his home in Shetland on April 14, 1935, Hugh MacDiarmid said: “It is impossible in circumstances like yours to say or do anything that does not seem horribly helpless and irrelevant.

“I agree with all you say about the wanton cruelty and utter senselessness of such a bereavement – and personally I can accept that; it squares with my irrationalist philosophy of life – but what I do find absolutely appalling and unendurable is not that ultimate meaninglessness from any human standpoint, but the fact that within our human scheme of things it should be added to by readily preventable ills which are in so many ways still more immediately torturing and terrible. However brutally and unintelligibly the blind forces of nature cut across all that seems decent and reasonable, there is no earthly reason why to such unspeakable outrages on human sensibility should be added economic jeopardies and humiliation, and obligations of drudgery and anxiety superimposed on an irreparable loss.

 

“The latter – the thrust-back of the helpless victims into toil and need, and the intolerable savaging and neutralising of the best human hopes and efforts – is perfectly avoidable.

“In other words, I can face up to the unhuman cosmic course of things and have no religious belief of any sort or any consolation derived from a philosophy that relies on an ultimate good in any human sense of the term; but every fibre of my being protests to the uttermost against the needless degradations and difficulties that arise from a remediable economic system.”

How these words might apply to the writers I’ve named and to many others closer to our time, I need not elaborate, but simply indicate the hard truths that lie behind them, and the courage it takes to face up to them.

 

 

 

The Glenriddell Manuscripts

 

Libraries were to give access to all – The Glenriddell Manuscripts helped to set up the National Library of Scotland 1926. 

The Manuscripts were written to preserve Robert Burns’s chosen poems and letters, illuminating his creative process. Compiled between 1789 and 1793. 

Two Volumes – One of Poems and Songs. The Second Burns Letters. Such a Holy Willies prayer with explanations. Some are the only surviving manuscripts of some poems. They are held in the National Library of Scotland since its founding in 1925, 

 

The manuscripts are not merely important for their link to Burns and their contents, although this is undoubtedly a major part of their appeal. They are also intrinsically linked to the foundation and establishment of the Library itself and are here, in part, because there was a national library in Scotland in which to hold them.

 

The Glenriddell Manuscripts are one of the most significant collections of original Robert Burns material to be found anywhere in the world. They are considered one of the greatest treasures held by the National Library of Scotland. The manuscripts are important for their link to Burns and are also linked to the establishment of the Library.

 

Burns's comments on his poetry and prose offer a unique record of his earlier work, with insights into the poet's thought process for their composition and execution. Burns provided insights into his letters and as he often wrote a covering headnote with details about their contents or why he decided to include them in the volume.

Following Burns death, they went on an extraordinary journey before returning to Scotland. (Ralph McLean, manuscripts curator collections at the National Library of Scotland).

The two volumes stayed with the Burns family until his widow, Jean, loaned them to Burns's first biographer, James Currie, so that he could produce his edition of 'The Works of Robert Burns'.

 

Journey to the National Library of Scotland

Currie should to have returned the Glenriddell Manuscripts to Jean upon publication, but instead he kept them for himself. They passed through his family until his daughter-in-law presented them to the Liverpool Athenaeum Club in 1853. They remained there until the Club decided to auction them off in 1913.

However John Gribbel of Philadelphia who acquired the volumes, made the remarkable gesture to give them as a gift to the people of Scotland. He intended that they should go to a national library of Scotland. As no such body existed then, it was decided that they would alternate every five years between the Mitchell Library Glasgow, and the City Chamberlain's Office Edinburgh until such time as a National library was established.

 

Following the opening of the National Library of Scotland in 1925, the manuscripts were formerly handed over to the new institution in June 1926. On learning that they had found their permanent home, Gribbel wrote "If anything were necessary to complete the satisfaction I had in sending the manuscripts to Scotland, the institution of the Library would supply it".

 

Importance of the Glenriddell Manuscripts to current collecting

In the Glenriddell Manuscripts, Burns appears not just as a poet, but as a self-editor. The two volumes of poems, songs and letters contain his reflections, how he revised and reconsidered his writing. These manuscripts capture the circumstances of how they were made, from friendship and collaboration to the breakdown that interrupted their completion.

They offer a personal way into Burns’s world, inviting readers to explore further and encounter his work as he chose to present it.

Burns Love Life

 

Margaret Chambers

Burns love life is highly complex and complicated!  He wrote some of the most famous love songs ever written. He loved often. His first famous poem, written when Burns was sixteen was Westlin Winds for Peggy. 

As a teenager he fell in love often, after reading a book of French love letters given to him by mistake by his tutor John Murdoch! Burns’s first child, Elizabeth Burns was born to his mother’s servant Elizabeth Paton. 

There was the Mauchline Belles! Many years later when he was twenty two, Burns moved to Mossgiel farm near Mauchline in 1782, where he met his bonny Jean. She was a great singer and knew all the auld Scots ballads like his mother. 

At this time he also met his Highland Mary: after Jean suddenly left for Paisley. He pledged his love for her over a bible and later wrote the poems Highland Mary and To Mary in Heaven to her. Also – “Will ye go to the Indies, my Mary, And leave auld Scotia’s shore?” However Mary suddenly died in Greenock from Typhus, she had contracted from her uncle. Burns was devastated.  Machine was a crossroads town, with many travellers and walks fo life. 

Burns also greatly enjoyed educated, cultured women he met on his travels, who he felt a kinship with. First he met Margaret Chambers in Edina, a farmers daughter who was his equal in education and conversation. 

January 1787, Burns wrote to her, Dear Dr. Countrywoman. I know you will laugh at it, when I tell you that your playing and you together have played the deuce somehow, about my heart. I could sit down and cry like a child……’Personal attractions, Madam, you have much above par, Wit and understanding & worth, you possess in the first class. ‘   

 

Burns spent two more winters in Edina in 1787 and 88, and late in 1788 he met the elegant culture Agnes McLahose, his Nancy who was also well educated and a poet too.  He walked under Clarinda/ Nancy’s window. ‘tis the star that guards. My queen of poetesses empress of the poets soul. I gave her two wineglasses with the toast. ‘Long may we love, and long may we be happy.’ 

Clarinda needed the support of her uncle for her annuity. They wrote over 300 letters correspondence to each other from 1788 to 1791 – when he wrote his great song of parting for her Ae Fond Kiss. Clarinda was to leave and told Burns that he must go back to Jean, that there was not likely any future. Burns heart was broken. 

She left for the West indies.

After his Scotia travels (1786-1788) and his time in Edina having his poems published, Burns returned to Ayrshire and married Jean Armour in April 1788, when they moved to the Ellisland farm. They had three surviving sons. He wrote the poem I Love my Jean for her.  Also in 1791, Elizabeth Burns was born to Anna Park, a barmaid at the Globe Inn in 1791. Jean took her in and looked after her. 

Because of his education Burns straddled all walks of life, from the poor he met in Mauchline to the great and good of the Edina’s literati, the academics and the enlightenment writers.  

*In 1791 he was inspired to write one of the greatest love songs ever written, Red Red Rose.

O my Luve is like a red, red rose

That’s newly sprung in June;

O my Luve is like the melody

That’s sweetly played in tune.

 

So fair art thou, my bonnie lass,

So deep in luve am I;

And I will luve thee still, my dear,

Till a’ the seas gang dry.

 

Till a’ the seas gang dry, my dear,

And the rocks melt wi’ the sun;

I will love thee still, my dear,

While the sands o’ life shall run.

 

And fare thee weel, my only luve!

And fare thee weel awhile!

And I will come again, my luve,

Though it were ten thousand mile.

 His stay in the Edina resulted in lifelong friendships - with Lord Glencairn and Francis Dunlop (1730-1815) 

who became a mentor and sponsor and with whom he corresponded. 

*      *      *      *      

Farwell to Clarinda, the mistress of my soul,

The measured time is run

The wretch beneath the dreary pole

So marks his latest sun.

*      *      *      *      *

 

My Peggy’s face, my Peggy’s form,

The frost of hermitage might warm,

My Peggy’s worth, My Peggy’s mind,

Might charm the first of human kind,

I love my Peggy’s angel air,

Her face so truly heavenly fair,

Her nature grace so void of air,

And I do love my Peggy’s heart.   RB

 (Published 1802)

 

A Letter from Mrs Dunlop - She feared I might loose being this ‘rustic bard’ in Edina. She wrote such high praise, and told me, I was the best bard ever to have adorned my country. 

I wrote to her, ‘I have long studied myself and I think I know pretty exactly what ground I occupy, both as a man and a poet….Poets are such outré beings, so much the children of wayward Fancy and capricious Whim, that I believe the word generally allows them a larger latitude in the rules of Propriety, than the sober sons of Judgement and Prudence. ‘ 

 

I Love My Jean

Of a' the airts the wind can blaw,

I dearly like the West;

For there the bony Lassie lives,

The Lassie I lo'e best:

There's wild-woods grow,

and rivers row,

And mony a hill between;

But day and night my fancy's flight

Is ever wi' my Jean.

 

I see her in the dewy flowers,

I see her sweet and fair;

I hear her in the tunefu' birds,

I hear her charm the air:

There's not a bony flower that springs

By fountain, shaw, or green;

There's not a bony bird that sings

But minds me o' my Jean.

RB

 

 

Robert Burns Art influences

 

Robert Burns and other poets wrote with Scots Voices. In the 1700s many worked to write down and collect the old Scots songs.  

At a time when mainly Tory unionist voices were being heard - no other writer has done more to keep Scots voices and language alive than Burns. 

I was taken aback at the new Scottish Art galleries Edinburgh on my visit in October 2023, that there was only one mention of Robert Burns – with regard to his “Hunt” poem in an Edinburgh tearoom painting. I felt Burns legacy was a deliberate forgetting. Did his writing influence Scottish art? The main focus in the galleries was on the works of Walter Scott. 

 

Burns was influenced himself when he met many of the major enlightenment figures in Edinburgh in 1786, particularly James Hutton - whose theory was of the whole earth as a living organism. Burns explored the symbolism and spiritualism connections between the natural world, the creative fires and the established church teachings from his father – where dance was frowned upon.  

 

Burns thought of how he might fuse all these new ideas together in his poetry. Later in 1794, he wrote My luv is like a Red Red Rose - ‘ I will love you still my dear till all the seas gang try and the rocks melt with the sun.”  Burns collected and rewrote many of the auld Scots ballads.

 

Burns most famous narrative poem Tam O’ Shanter, was about warlocks, witches, faeries, demons – of the struggles between Old Spunkie’s creative fires and the church teaching - Tam O Shanter. He wrote this poem after a dream, on his walk along the River Nith at Ellisland farm. The Scottish painter Lachlan Goudie and his father were inspired to illustrate a book of the scary ghosts and witches in Tam O’Shanter. 

It was wonderful to see the new Scottish galleries in 2023. 

I realise Scott lived in Edinburgh but Burns was there for quite a few months in 1786 ad 1787. And was greatly influenced by his time there. He visited the men’s social clubs – Fencible Chronicles down Anchor Close. He visited William Creech’s bookshop and publishing house at the Tollbooth near St Giles cathedral and the Mercat Cross, where each day the great and the good met. 

 

He met the great love of his life here, late 1787, Agnes McLahose (or his Clarinda) – who he wrote many letters to, and his great parting song Ae Fond Kiss.

 

**Scott may have been read widely worldwide in the 1800s, but to my mind (and most Scots) Burns is our national hero and bard. He was painted by his good friend Alexander Nasmyth on their walks to Rosslyn. I realise Scott did write memorable books and poems – but his books seems one-sided and narrow of a mythical Scotland that is lost and gone forever. Of a Tory unionist Scotland, that is only part of Scotland.

 

As I walked around the Scottish art galleries – I thought ‘which’ Scotland are we emboldening and remembering here? After the first section covering the romantic period, I entered the brighter more modern period, with the windows open to the east Princes street gardens views and which display some of Scotland’s great impressionist artists – The Glasgow Boys, James Guthrie, John Lavery, William Macgregor: The Scottish Colourists, John Peploe, John Fergusson, Francis Cadell, Leslie Hunter. A memorable display.  

 

Burns was influenced by the Ossian poems of James MacPherson, as the first Scots bard – and also by the other great Scots poets. Burns was writing and collecting Scots poems before Scott, in fact he met a young sixteen year old Walter Scott at an Edinburgh literary party, after which Scott wore about Burns. 

*     *     *     *

 

 

Burns words, images and narratives are all pervasive, whether its his emotive love poems, his love of nature, his voice for all the people with his Socts a Hae and Mans a Man. His poetry has a big impact worldwide on authors in America and on Russian Burns clubs. Steinbeck’s 'Of Mice and Men' and J.D Salinger’s ‘Catcher in the Rye’.

Burns is the most significant Scotch image, heritage, word and song. We should be very proud of his legacies!

Revival Scots Language

 

I attended a talk last week by the Scots poet Len Pennie at Dreamworks Bookshop Milngavie

Pennie’s poems have more lilting lyrical musicality than her English poetry. Her poems pack immediate emotional directness and punch. She says it was all the grandmothers who kept the Scots voices and language alive. 

 

Welsh Labour are proud of Welsh Gaelic and the Welsh flag. We cannot say the same of Scottish labour, would they stand in front of the saltire and speak in Scots Gaelic or Scots? There’s been a long story of religious divisions in Scotland – the divide and rule tactic of the empire elites.

 

She suffered dreadful trolling online abuse. For many years the Scots language has been treated as a ‘pretendy language’ and oddly often by hostile Scots, it’s a centuries old saga. Yet Scots have been historically influenced by their connections and trade to Flanders and Ireland. 

II  Back when James VI held a clan gathering on Iona, he insisted that the clans had their eldest son educated in England, and taught to speak ‘correct English’. This practice continues to this day, with the private school accents. All the assimilation, repression of cultural difference. In the 20^thcentury English managers and middle class professionals came to Scotland – and Scots speaking workers were treated as second class citizens in their own country. 

 

The opposite was true back after union 1700s though – the Scots were the workers of the British empire, when after Reformation many Scots were highly educated and there were more ancient universities in Scotland – 

 

So what changed?

During the 1700s several poets wrote to keep the scots language alive  - Allan Ramsey, Robert Fergusson and notably Robert Burns. Burns wrote in English, the language of his education in books. But it was when he read the Scots poems of Fergusson he was inspired to write in Scots, the language closest to his heart. His mother knew and sang all the old Scots ballads. Burns collected, added to and edited the auld Scots songs from his many Scotia travels. 

 

English is of course the global language after the spread of the British empire. But crucially cultural diversity matters so much – both back in Burns day and today. We can have global trade and connectedness AND also have our own voices. We can have both. Why must it be either or?

 

For decades Scots children were rapped over the knuckles if they spoke with a Scots accent or belted if they used Scots words or dialects. Broadcaster Lorraine Kelly was initially told she must tone down her Scots accent if she wanted to be successful - and she thought why should I? 

 

In the 1950s most radio and tv presenters spoke with a clipped Oxford English. Today we have many accents – yet worryingly Scots students attending Edinburgh university continue to be mocked for speaking with a Scots accent – and told to ‘speak more correctly’ by English private school students. When I travelled across Edinburgh on the top of the bus I heard English accents of students in brightly coloured blazers and thought, where are they from? Around 25% of Edinburgh students attend private schools. This creates an unhealthy two-tier society which holds many children back.  

 

At Celtic Connections there are many hauntingly beautiful Gaelic singers 

When Scots writer Billy Kay gave a speech in Scot in the Scottish parliament, he was ridiculed by many Scots. The usual Scots versus Scots. In Switzerland they can speak both local and high German languages – the two languages sit by side by side and not in opposition to each other.

 

Why must Scots chose a side? Religious wars are now centuries old – while the British Constitution of 1688 continues to dominate. Why cant we have English and Scots and Scots Gaelic alongside each other?

 

The Scots language is not merely a side issue – its crucial to our Scots identity and unique voice. Diversity matters. 

 

**The Scots language has been recognised on Spotify – Iona Fyfe

 

Scots is now taught in Scottish schools. 

Lindsey Hilsum Poetry in Times of War EIBF 2025

It’s the Poetry we’ll remember

Channel four foreign news correspondent gave a talk at Edinburgh international book festival 2025, on her book I Brought the War with me, about her poetry in times of war. She always carries a book of poetry with her. After her horrific experiences of fighting in Rwanda, she felt she needed philosophical more than psychological help.

 

She says that people remember the great poets of the world wars, and not the journalists reports. 

When in Ukraine in 2022, at a town called Izium, she stood beside an apartment block split apart by a missile. Fifty four people had been killed in the Russian attack six months before. 

 

"Purple and yellow wild flowers were growing in the rubble that filled the chasm between the two parts of the block. It is not the houses. It is the space between the houses,” I thought. “It is not the streets that exist. It is the streets that no longer exist.” 

She then thought of James Fenton 1981 poem A German Requiem, about selective memory in the second world war. 

 It is not your memories which haunt you.
It is not what you have written down.
It is what you have forgotten, what you must forget.
What you must go on forgetting all your life.

“The idea that the spaces between the houses symbolised gaps in memory, and that forgetting might be essential if people were to live together in peace, 

Poetry helps us see parallels with the past, and puts up a mirror to our fears.

 

Hilsum spoke of her often traumatic experiences covering many foreign wars over her 40 years of experience…” Many journalists are resilient, and – at least for now – I would count myself as fortunate in this regard. Witnessing the suffering of others, surviving danger and experiencing grief are all profound experiences, to which nightmares, anger, tears and bouts of despondency are all normal, human responses. They are not necessarily signs of a clinical condition.”

She explained that Poets don’t have the answers. But they may help us understand our own actions and reactions and find a way through the darkness.  

She got into reporting via aid work in Central America in the 70s. ‘I didn’t really know that war was brewing across the region – my concern was social justice, and, at 20 years old, I just wanted to have an adventure and change the world. (I succeeded in the former but not – needless to say – in the latter.) In 1982, I moved to Kenya to work for the UN International Children’s Emergency Fund, Unicef.

She realised her main skill was to pivot to journalism. “Reality overcame the illusions I harboured. Nearly every country neighbouring Kenya – Uganda, Sudan, Somalia, Ethiopia – was going through civil war… I found that while reporting on people in war zones was at times upsetting and occasionally terrifying, it was also rewarding and exciting. I felt that I was living through history as it happened. Later, I was lucky enough to get a job with Channel 4 News, based in London, and while I have never been exclusively a war correspondent, I have spent a lot of my career reporting conflict”

She spoke of the great war poets, and said that many war poems are written by women. “I am drawn to what Wilfred Owen described as: “The pity of war, the pity war distilled.” 

Hilsum, was handed a rose in Velyka Novosilka, eastern Ukraine, by Oleksiy, who was cycling across town to see his friend, at the start of the Ukrainian counter-offensive in June 2023.” 

“ journalism is ephemeral. We rarely read the stories written by reporters who covered the first and second world wars. We do, of course, read the poetry. They focus on what is critical now – this village taken, that truce broken, a new atrocity by occupying forces. But poets through the ages have turned the horror of war into transcendent works of beauty and meaning.

The late Irish musician Frank Harte said: “Those in power write the history; those who suffer write the songs.”

 This is an extract from I Brought the War with Me by Lindsey Hilsum, which is published by Chatto & Windus on 19 September (£16.99). 

II  Extract from her memoir, she explains why her own words were not always enough    

My TV news report reflected some of this, but it did not have the allusive power of the poem.

“In my nearly four decades as a foreign correspondent, I have always carried a book of poetry with me. While the images we show have great impact, I feel that journalistic language sometimes fails to convey the intensity of the experience. Maybe Fenton’s poetry resonates with me because he was a war correspondent as well as a poet – he sees what I see but has found a more compelling way of expressing it, as if he is working in three dimensions while I am stuck in two. We journalists pride ourselves on the clarity of our prose and on making complex stories simple. That’s our job – to explain why terrible things are happening and to challenge the euphemisms used by politicians and military spokespeople. We also try to convey the thoughts and feelings of the people we meet, and a sense of what it feels like to be on the ground. Yet we may lose the deeper meaning, the universal import of what we have witnessed or the contradictory emotions that war engenders.”

She got into reporting via aid work in Central America in the 70s. "I didn’t really know that war was brewing across the region – my concern was social justice, and, at 20 years old, I just wanted to have an adventure and change the world. (I succeeded in the former but not – needless to say – in the latter.) In 1982, I moved to Kenya to work for the UN International Children’s Emergency Fund, Unicef."

”She realised her main skill was to pivot to journalism. “Reality overcame the illusions I harboured. Nearly every country neighbouring Kenya – Uganda, Sudan, Somalia, Ethiopia – was going through civil war… I found that while reporting on people in war zones was at times upsetting and occasionally terrifying, it was also rewarding and exciting. I felt that I was living through history as it happened. Later, I was lucky enough to get a job with Channel 4 News, based in London, and while I have never been exclusively a war correspondent, I have spent a lot of my career reporting conflict”

War gives your life purpose and meaning… the colours are brighter and the mountains clearer

She spoke of her personal reporting of war zones – “The lives of those who have had war visited upon them, the children, conscripts and civilians, are desperate and miserable. But those who visit war – aid workers, journalists, military volunteers – share a secret. War gives your life purpose and meaning."

 Suddenly you believe you know what matters and what can be dismissed as unimportant. The colours are brighter and the mountains clearer. You live in the moment.” 

This is an extract from I Brought the War with Me by Lindsey Hilsum, which is published by Chatto & Windus on 19 September (£16.99).