The Covid lockdowns of 2020 and 2021 led many people to reassess their relationship to places. This article attempts, during this time of restricted movement, to imaginatively deep-map an island in the mouth of the Shannon in west Clare where my grandmother was born and raised. My deep-mapping of the island is by necessity virtual, assembled piecemeal from memories, daydreams, family recollections, historical fragments and that powerful, semi-enchanted sense of co-presence that can be found online. Unable to make a physical journey, I rely on the accretive and associative techniques of contemporary place writing. The article uses montage, juxtaposition, thick description, dense detail, imaginative reconstruction and the essayistic blending of undisciplined bits of knowledge, all of which do some of the work of conventional linear argument. As in place writing, the micro-study of a small, special place becomes a way of thinking more widely about our relationship to the earth in a time of environmental and public health emergency. The article is both my own experiment in place writing and an argument for the fresh perspectives that place writing can bring to cultural geography.

2020 年和 2021 年的 Covid 封锁导致许多人重新评估他们与地方的关系。在这个行动受限的时期，本文试图以富有想象力的方式绘制出我祖母出生和长大的克莱尔西部香农河口的一个岛屿。我对岛屿的深度映射必然是虚拟的，从回忆、白日梦、家庭回忆、历史片段以及可以在网上找到的那种强大的、半迷人的共存感中零碎地组装起来。无法进行物理旅行，我依靠当代地方写作的增值和联想技巧。文章使用蒙太奇、并列、厚实的描述、密集的细节、富有想象力的重构以及散文式的知识点的散文混合，所有这些都做了一些传统线性论证的工作。与地方写作一样，在环境和公共卫生紧急情况下，对一个小型特殊地方的微观研究成为一种更广泛地思考我们与地球关系的方式。这篇文章既是我自己的地方写作实验，也是对地方写作可以为文化地理学带来的新视角的论证。