Iona Glen is an aspiring writer based in London, working in museums’ visitor services. She loves writing about women artists, nature, memory, and people’s relationships to their environments.
Her creative non-fiction has been published by DearDamsels’ (SEALSKIN | Iona Glen explores her changing relationship with the skin she exists in. (deardamsels.com) and her analysis of Margaret Tait’s film Blue Black Permanent was published by Girls’ on Top's blog Read Me (Selkie Song: Female Creativity in Margaret Tait’s Blue Black Permanent — Girls on Tops (girlsontopstees.com).
She recently launched a newsletter called ‘natural longings’ on substack, exploring humankind’s complex relationships to the natural and non-human world. Her most recent essay, ‘Earth-born companions’ was about the appeal of wild animal-human companionship narratives (Earth-born companions pt. 1 - natural longings (substack.com)).
Dorothy Wordsworth’s journals shine with moonlight and rain-washed landscapes, but did her later illness inhibit such vision? No, writes Iona Glen, who, when considering the poetry and criticism of Polly Atkin, sees Wordsworth’s creativity flourish in her periods of ill health.
Iona Glen reflects on Celia Paul’s memoir, Self Portrait, the significance of the British Museum and Bloomsbury to the artist’s work, and her subversive vanquishing of “muse-dom” and patriarchal conventions through painting.