Holmes why am i here

The camera is low and a tracking shot through a blackened woodpile features three points of movement: the man, the camera, the black lattice of the foreground.

The eye of the camera here is restless, searching, even as the man is. Even as he is hunted. It is as if the earth itself is chasing him down, attempting to claim him. There are huge blank spaces, as if something is missing or occluded. There is a consistent use of negative space and off-centre, elliptical compositions. This is a film about someone who is missing and being missed. Natural light colours the Irish landscape beautifully. When the sun is out in this country, it really does look gorgeous.

The sheep's wool snow then moves us into the realm of magic realism, the found footage echoing the colour palette of the film beautifully. Mystery piles upon mystery. Is he lost? Is he amnesiac? Is he dead? Is this heaven? Who are the watchers and what do they represent? It is the sense of realisation that he has made it home. He can rest. The shot with all three figures the mother's back, the father in the mirror, the son in the window is a masterful use of space and a fantastic way of breaking up the screen, containing each of them, like a triptych.

They are separated momentarily until the next scene brings them all together. The watchers melt back into the forest, their ancestral photos glimpsed through the windows: the psychopomps have done their duty. He has been delivered. I Am Here is a lovely work. Part 2 is headed 'Fiddle Playing and Dancing' and includes 53 excellent tunes.

Part 3, 'Other Traditions', includes mumming as well as sport, Shinny and Hurling in particular. This is a brilliant piece of work with highly-detailed, erudite song notes and references and superb photographs which are further enhanced by a lovely selection of sketches and woodcuts. Len Graham, singer-scholar-collector has done Joe 'full justice' with this tour-de-force. Len too, relates his own personal memories conjured up by the inclusion of pieces within the book, all of which adds an extra relational dimension to each … the inspired collection of musical material succinctly delivered by Len Graham, is one many fiddlers, those aspiring to be so and those who just love the tradition will undoubtedly treasure', Claire Savage, Coleraine Chronicle July Words and melodies in staff notation of over eighty songs, and of dance music, take up the majority of pages, nicely decorated with old woodcuts, but Graham also gives us a social history of the traditional music scene from Antrim to Kerry', Books Ireland September The song section, taking up two thirds of the book, is a real delight.

There is great serendipity in this … [this book is an] affectionate portrait of a man at the centre of a living tradition', Peta Webb, English Dance and Song magazine Spring Related Titles. Authors' Area.