Why would You Write a Journal?

“One’s first diarist,” suggests psychotherapist and essayist Adam Phillips, “is one’s mother who links facts for one, holds the pieces together.” Forget the priest’s confession booth or your mum. There are more places than ever for confessionals today. Social media is a constant flood of inner thoughts memorialised. Still, the art of keeping a diary continues, despite a technological and social revolution that mean that both writing by hand and private introspection are fast becoming things of the past. Keeping diaries is an ancient tradition that dates back to 10th century Japan.

I found an old diary of mine recently. I had filled its pages about ten years ago, when I first met my husband. How young I seemed then. What a mix of embarrassment and wonder to rediscover who I was. I’m not a daily journal scribbler. I have a journal on my bedside table and use it when my head feels busy. It helps to spill my thoughts onto the page. I have no rules about what goes into it. I use it to hold myself to account with goals and for story ideas, which are starred and filed away in their proper place later. I remind myself to write a list of things to be grateful for, which I find really helpful to reread on the days I have had a disappointment and have lost my perspective. I have found myself journalling more this year in Switzerland, finding many trusted conversation partners far away.

So what is it that leads us to write diaries? There are some who say diaries are the preserve of the troubled. Once the seas are calm, the diary is relegated to the back of a drawer. A diarist its someone, who is self-important and secretly hopes to be read, who wishes to control, or who does not have the courage to voice their thoughts in conversation. S/he is someone who does not live in the present, who is fascinated by their own history.

Photo by Steve Loya

Photo by Steve Loya

While some truth may be found in the reasons above, it would be a shame to dismiss the benefits of journalling out of hand:

▪ Clarity. You can off-load and clear confusion by articulating your thoughts.

▪ Honesty. No-one has to read your journal but you. Your words are unfiltered, a stream of consciousness. You can strengthen your sense of self, show yourself in your wholeness, rather than the separate facets of ourselves you present to the world. You can say the unsaid.

▪ Presence. Too often, we get caught up in the needs of others and go through the motions of our established routines without self-assessments, but is the tiny adjustments to our evolving needs that leads to greater fulfilment. With a diary you are making time to pay attention to yourself.

▪ Freedom. There are no rules with journalling. It doesn’t have to be daily or grammatically correct. It doesn’t matter how long or short the entry is. Crossing out is just fine. Doodle. Leave a thought mid-sentence if that’s what you want.

▪ Creativity. Experiencing your unfiltered self in all its glory is disconcerting. For a writer especially, it can be wonderful material for a fictionalised character. Oscar Wilde once said, “I never travel without my diary. One should always have something sensational to read on the train.”

Photo by Magic Madzik

Photo by Magic Madzik

▪ Reexamine. Work through difficult episodes. Write down your dreams and explore fantasies. The page is non-judgemental.

▪ Accountability. Track what is important. Map out your goals and progress. Keeping a diary reveals patterns of behaviour and builds self-knowledge.

▪ Recall. We process such a huge amount of information daily. Our lives are crammed full of experiences. It has become the norm to have hundreds of friends we keep track of in different ways. Is it any wonder we are forgetful? Our brains keep only the most important information. There are also physiological reasons why we might only remember the broad strokes of certain events. Take childbirth, for example, where there is good reason to remember the bonding with your newborn over the intensity of the pain of delivery. Use a journal to remember the details.

▪ Destress. The mental health benefits of journalling have been well-documented. It is therapeutic.

▪ Practice. It can be a good warm-up, in the style of Julia Cameron’s morning pages as detailed in The Artist’s Way. W.H. Auden once described his journal as “a discipline for laziness and lack of observation.” For writers journalling is a way to keep our instrument in tune.

Screen Shot 2015-02-23 at 01.25.01Wonderful published diaries include those of Virginia Woolf, Anaïs Nin, Samuel Pepys, Anne Frank, Abraham Lincoln, Frida Kahlo and Sylvia Plath. Other famous diarists such as Evelyn Waugh and Philip Larkin burnt theirs. Whether you write regularly or not, in a leather-bound journal or scrappy exercise book, in ink or on an app, what happens in the pages of your diary is completely up to you. If you do not want yours to be discovered by someone other than you, just remember to keep it somewhere safe.

Let a Grassroots Writing Movement Give you Some Rocket Fuel

20141101_103827October has drawn to a close, signalled by the advent of All Hallows’ Eve with its ghosts, ghouls, black hounds and masked children asking for sweets at the doors of strangers. Next up November (where did this year go?), and you know what that means. It’s National Novel Writing Month (Nanowrimo), when writers of varying abilities take their dreams of being a novelist firmly in their hands and attempt to write a novel from start to finish of 50,000 words or more. Technically, today is day three of Nanowrimo, but don’t let that stop you joining in the fray. This is the month that word wizards can do anything!

I’ll be honest with you, I’ve never reached the finish line with Nanowrimo, but plenty of people have. Last year over 300,000 people from across the globe took part. They dipped into the lively forms, tracked their stats in fun graphs, received free pep talks and they wrote. And wrote. This year Veronica Roth and Chuck Wendig are mentors. For me, it means writing fast and not overthinking. Because perfectionism can be the very thing that stands between you and finishing your novel. Participating in Nanowrimo means a word count boost and it means that for the month of November, there are people out there who are toiling towards the same dream. The lonely writer in the attic becomes instead a group of writers on an island.

It is magnificent. And never more so when magic happens, like the fact that Hugh Howey’s Wool began as a Nanowrimo novel. Or that Erin Morgenstern’s The Night Circus did too. Especially Morgenstern’s Night Circus. I fell head over heels for the vivid colours of Le Cirque des Rêves, descriptions that appealed to all the senses, the layers of melancholy and hope in a fantastical setting, the whimsy and eccentricities of the world she created. Summit Entertainment and David Heyman, producers of Harry Potter series, have bought the rights to adapt the novel for the big screen. A quick search of Etsy reveals how many products it has inspired, from purses to prints and Kindle sleeves. A new voice, a sprawling fan base and a whole industry sprouting from a seed planted in an internet-based writing event. That is what words can do.

Most of us can only dream of Hugh or Erin’s success, and I remember reading that Erin reworked her novel significantly after Nanowrimo. But here’s the thing. I’m not promising that you can write a masterpiece in the next thirty days. What you can do is get those words on paper. Pull them out of your head and deposit them there. Give birth to your first draft. It’s ready. And so are you.

Why I Write

I’m it! Thank you Graham Milne for asking me to take part in the ‘Why I Write’ blog hop and for providing a balm for me on what had been a tough day with your honeyed words.

For those of you new to Graham’s writing, check him out on Twitter, at his blog or Huff Post. Sometimes in the blogging world, you find posts that don’t really touch the sides. Not so here. Graham’s posts tend to be long form. They are thoughtful, honest and he’s not afraid to address topical issues. He’s a feminist in the vein of the UN #heforshe campaign, and one of the original group of people who made me feel welcome on Twitter.

I’m it then. Did you play tag when you were younger, or stuck in the mud, kiss chase, cat and mouse, all those variations on chasing games that were so exhilarating as a child? I usually laughed as I ran, my lips pulled wide apart by the wind and my mirth, my bottom tucked in awkwardly lest someone be near enough to tag me. There’s not much that brings that sense of abandonment. Being tickled as a child, perhaps. Or being thrown up in the air by your dad, the strands of your hair lingering in the sky as you make your decent into his embrace. Or riding a rollercoaster and laughing despite the pain and fear.

Life grounds us. The longer our feet stay on the earth, the more roots come twisting out of it to bind us. Responsibility beckons with each passing day of our childhood. We become distanced from simple pleasures, like the crunch of an apple, the feel of springy grass between our toes or the fizz of a lolly on our lips. Writing reconnects me. It allows me to forget the bills, the illness and yes, the wars, and cocoons me in a world where anything is possible. Is that what writers are? Anarchists, egotists, foolish God impersonators?

Let’s stick with the it analogy. I’m trying to remember when I decided that physical exercise wasn’t for me. It was in my pre-teen years, I think, when I felt clumsy and ungainly. Now, I look at athletes and dancers, honed gym bunnies and yogis with a sense of awe, not so much for their physique but for the strength, radiance and litheness their bodies retain.

Power. We all seek it in different ways, don’t we? Over our bodies, in the workplace, the petty wars at the water cooler or with our neighbours, the respect and submission we seek in our relationships, the beliefs we impose on others, the money we seek to fill our wallets with, the bombs we rain down on foreign soil. Me, I seek it with the pen. With a pen in hand or my fingers flying over the keyboard I feel like The Bride in Kill Bill: poised, vulnerable, uncompromising, in charge of my destiny. That’s why I write.

Spoken words I sometimes find tiring; written words are for me a source of energy and understanding. I can take the time to weave intricate sentences or get the nuance just right without worrying that it is already someone else’s turn to speak or that I have bored my listener. I can examine a thought carefully, tangibly, without it slipping through the fog of my brain like a wandering child at a funfair.

I write because in this world of constant change and fleeting lives, it comforts me to leave a record of my thoughts. The physical act of writing, the tap of the keyboard, the soreness of my fingers after a long day’s work, the crease of the page and the glare of the screen that blurs my vision are satisfying. They mean I have done an honest day’s work. Fiction may be a lie, but writing is truth. It helps to write in a world that often feels destructive. It helps to create, imagine and make sense of the confusing. It’s a tool for self-insight and healing. It’s the closest I’ve come to magic.

There you have it. That’s why I write. I’ve seen lots of fantastic posts for this blog hop. If you’re still nursing your cuppa take a look at Joanne Blaikie’s, Mark T. Conard’s and Siofra Alexander’s responses. For now, I’d like to invite B.G. Bowers and Natasha Ahmed to tell us why they write. B.G. Bowers has just completed the first draft of her novel and is a blogger and poet. I was blown away by this recent piece of hers. Natasha is a blogger and novelist. Her novella Butterfly Season is on my to read list. Read about the origins of it here. Blog hops and awards can be time-consuming as Paula Reed Nancarrow discussed in her excellent post this week, so ladies don’t feel pressured to pick up the baton if you can’t manage it. Look forward to your next words whatever form they take.

Can Micro-Fiction Ever have the Impact and Appeal of the Novel?

Ever since @amicgood founded #FridayPhrases last year, many of us have been spending a large part of our Fridays crafting and reading micro fiction. For those of you new to the phrase, micro fiction is a very short story, usually prose.Although Twitter has helped it gain in popularity, micro fiction has in fact been used imaginatively and effectively for close to a century. It is said, for example, that Ernest Hemingway wrote ‘For sale: baby shoes, never worn.’ Why is it then, that very short fiction still has a whiff of being a gimmick? Is it capable of rivalling traditionally recognised forms such the novel?

An evolving form

Sales of micro and flash fiction collections currently amount to a tiny fraction of book sales but who’s to say that they won’t become a firm fixture in our reading lives in the future? We operate in a fast-paced world, in which our attention spans appear to be shortening. Meandering thought is often seen as irritating rather than desirable. Smartphones have become the norm in the West, increasing the demand for information that is succinct and easily digestible. In developing countries, smartphones are accelerating access to news and literature, improving education and opportunities. In this climate, it makes sense that micro fiction should flourish alongside longer works.

The author Julian Gough wrote, ‘My generation, and those younger, receive information not in long, coherent, self-contained units (a film, an album, a novel), but in short bursts, with wildly different tones. (Channel-hopping, surfing the Internet, while doing the iPod shuffle.) That changes the way we read fiction, and therefore must change the way we write it. This is not a catastrophe; it is an opportunity. We are free to do new things, which could not have been understood before now. The traditional story (retold ten thousand times) suffers from repetitive strain injury. Television and the Internet have responded to this crisis without losing their audience. Literary fiction has not.’

Abandoning a false dichotomy

But let’s not set up a false dichotomy. I don’t know about you but my reading tastes are varied. My bookshelves are home to poetry, history books, atlases, short story collections, critical essays, children’s books, travel literature, craft books, biographies, joggers manuals (that never did work out), art books, genre fiction, literary fiction and books that I simply liked the look and feel of. Cinema and theatre exist side by side; likewise, television and radio. There is room for different art forms alongside each other.

Still, if we are going to ensure that reading continues to have mass appeal a recalibration of the hierarchies of literature is important. To instil a love of reading in the young, both creators and sellers of fiction need to be open to change and innovation. In recent years there seems to have been a resurgence in the popularity of short fiction. In 2013, for example, short story writer Alice Munro won the Nobel Prize for Literature, and ebooks have allowed short fiction to flourish when previously it may not have been a financially viable option. It would be foolish to write off a very short fiction as a gimmick prematurely. If we are to encourage love of the written word in younger generations, who communicate in new ways, we will need to dispense with our condescension of non-traditional forms.

A genre with unusual merits

Fiction now competes with multiple forms of entertainment, and while I will always be an advocate of the long form, we cannot deny that the world is changing. More interactive forms of entertainment are popular with the young, such as computer games and social media. It could be that micro fiction’s greatest strength is that it is interactive, and above all, accessible. Compared to other forms, there is less investment in crafting micro fiction, which is perhaps why those precious about the sanctity of art are sometimes disdainful of it. For me, micro fiction is a door into creativity. A pupil in a school library will pick up War and Peace and wonder whether she has the stamina or intelligence to read it. The same pupil will read a few lines of micro fiction without a second’s thought and be inspired to write some of her own.

This innate accessibility has other advantages too. Novels – forgive me, as a reader and writer they remain my form of choice – are too clunking to react quickly to other creative works. Their very length prevents immediacy. It takes years for the links between novels to transpire, usually because the author is still in a writing cave in the depths of Minnesota transcribing his soul. In contrast, using social media as a platform, micro fiction suddenly has the opportunity to interact in real time. Take the #FridayPhrases community, for example, where there is cross pollination between authors and you can almost feel the creative synapses sparking across the ether. Or when a world event occurs, such as the death of a public figure or the Olympics and suddenly timelines are filled with micro fiction honouring those events.

The art of reading and writing micro fiction

You may wonder whether it’s worth writing a couple of lines of very short fiction, but micro fiction is by its very nature memorable. The writer Grace Paley noted that very short stories ‘should be read like a poem, that is, slowly.’ Some of the #FridayPhrases community have noted how the structure of micro fiction can be very much like a joke with a punchline. Certainly, the genre has a resonance that is disproportionate to its footprint, and readers are likely to reread micro fiction. According to the Russell Banks ‘it’s intrinsically different from the short story and more like the sonnet or ghazal—two quick moves in opposite directions, dialectical moves, perhaps, and then a leap to a radical resolution that leaves the reader anxious in a particularly satisfying way. The source, the need, for the form seems to me to be the same need that created Norse kennings, Zen koans, Sufi tales, where language and metaphysics grapple for holds like Greek wrestlers, and not the need that created the novel or the short story, even, where language and the social sciences sleep peacefully inside one another like bourgeois spoons.’

Can micro fiction ever be literary fiction?

So is micro fiction capable of rivalling traditionally recognised forms such the novel? Many of us still equate literary fiction with the novel, but what precisely is literary fiction? It tends to be identified by a character-driven narrative and a subtle plot. While a literary novel may entertain, it is predominantly concerned with revealing truths about the world we live in. A few weeks ago as part of its genre debate, The Guardian ran an article by Elizabeth Edmondson, who asked whether the term literary fiction is it merely a marketing ploy to elevate certain novels and cast doubt on whether Jane Austen novels works would have been labelled as such if she were writing today.

Certainly, for me genre has become irrelevant. I view it as more about discoverability rather than a guarantee of enjoyable writing. It is secondary to clarity of ideas, originality and skilful expression. The very nature of micro fiction compels the author to exercise these skills, in addition to uncovering the truth and focusing on character. Just like a novel, it can have a lasting resonance, and is all the more memorable for its fleeting beauty. Even if it fails to attract the attention of a wide readership and the literary establishment, writers will continue to pen micro fiction illicitly behind closed doors. Writing is a compulsion, not a market calculation.

Losing and Finding Stories

There is a frail old lady in our neighbourhood, who wanders the streets in the afternoon dressed in a sari. The saris are always tatty and loosely worn. The old lady passes fellow pedestrians without acknowledging their presence. It is as if she does not see them at all. If you say hello, she barely wakes from her reverie. She responds almost unwillingly in a voice which reverberates with melancholy and then continues her slow progress up and down the street. Sometimes she sits on a garden wall to rest. The corners of her mouth are downturned and her stare, straight ahead, is always blank.

I think of this lady sometimes. Perhaps it is because she is Indian. She could be my grandmother. Mostly it is because I’d like to know what her story is. I’d like to understand the lines on her face, the reason for her sorrow and what would make her smile. I would like to know whether she chooses to wear her sari like that or whether her fingers are no longer dextrous enough to manipulate the material while she is dressing. I’m curious about what she chose to do with her life and whether she has any regrets. I’d ask her if she feels at home in this largely white suburban part of London. I’d ask her what home is to her. I would listen to her story, as a voyeur, a psychologist and as a daughter. I’d record her story. Then I’d distil my version of her truth by peppering it with fiction.

How do we decide which stories are worth recording? I see love, hopelessness, joy and betrayal in every face I encounter. We collect our impressions of one another as if they are collages: snapshots of each other’s souls taken from a fleeting conversation, a misunderstood expression, the way we dress or how easily we smile. The knowledge we acquire as we age is often untransferable, lost in translation and given up to the universe when we depart. We love and are surrounded by those who love us in return, yet still we are strangely alone. Even the best communicators cannot impart the web of their thoughts from their own mind to another’s. However connected and accepted we feel, however honest we are, our understanding of another person’s story is filtered through our own perceptions and experiences. There is no plug in and download function. Thankfully.

What this means is that each individual story, in its truest essence, gets lost. This happens all the more if we are too self-centred or busy to ask how other people are really doing, and to listen. I know time is a factor. We can’t listen to everyone or record every story. We can, however, choose to give a few minutes of real attention to those we love. One of my biggest regrets is not speaking enough to my granddad about his experiences of leaving Uganda in the 1972 exodus after Idi Amin kicked out the East-African Asians. Nana was the head of one of many families, which became political refugees overnight and had to build a life from scratch elsewhere. I was in my early twenties when we realised nana did not have much time left, but by then, on his death bed, he was no longer interested in telling his story. He was a wonderful man.

There are stories all around us. We drove across the country to visit friends in the village of Friesthorpe last week. There was a small church, which would have seated perhaps eighty people. Inside the church there was a small pulpit and electric heaters hanging from the ceiling. The pews held oblong tapestry cushions that showed images of special occasions or had been donated in memory of lost loved ones. At the front of the church were an enormous Bible and hand annotated prayer book dating from the 1800s. I leafed through the ageing pages guiltily, surprised the books weren’t behind glass. Afterwards, we took our time wandering through the graveyard outside, reading the worn headstones. One gravestone marked the place where a former church Reverend and his thirteenth daughter, a poet, had been laid to rest. A plaque inside the church revealed that the same family had lost five sons in the Great War. To me it is comforting to walk through a cemetery, reading the names of dead strangers and working out how old they were when they died. The individuality of headstones reflects how different we are in life. The engravings tell a story.

If only inanimate objects could talk. Can you imagine what the paintings on your walls have seen, what the tree at your window could tell you about the lives of the people who previously lived in your house? All the joyful and sordid details of our lives, played out in plain sight but hidden from all once we are gone. So writer, write. Choose your stories wisely. Write the truth of your life and those around you. Don’t hurry. Do your stories justice. But don’t ignore the sense of urgency you feel in your belly either. Every moment you wait to pick up your pen, there are stories fragmenting, spinning out of your reach into the depths of the universe, never to be heard of again.

On Being Freshly Pressed and Why We Write

This is my first post since being Freshly Pressed and I’m still feeling giddy at all the attention. When I initially received an email from Cheri at WordPress, I had to Google what the term ‘Freshly Pressed’ means. For those of you unfamiliar with it, WordPress essentially picks a handful of posts each day to feature on their website. It’s a great way to reach new audiences. As there are only a few editors tasked with picking posts to be Freshly Pressed, and millions of blogs, it in no way shows your work is superior to anyone else’s but it is a fun ride. Now I’m on the other side of it, I have what can only be described as stage fright. Can this post measure up to my last one? What if my new readers followed me by accident? What if they don’t stick around to read the end of this sentence? I’ve now sat on those little demons of doubt so I can get on with telling you about the experience.

In terms of the number of readers it reached, my post on The Joys of Longhand Writing has been my most successful piece of writing yet. I’m very lucky that WordPress Editor and Story Wrangler Cheri (awesome job title, and almost as brilliant as a friend’s who is a forensic scientist specialising in explosives…imagine that on your business card) discovered it. It helped that she is currently using handwriting to help get unblocked. The writing we are drawn to often reflects our own thoughts and that helped me to be found.

The most exciting part has been the interactions in the comments on the article. It’s been a thrill talking to new readers. I loved reading the descriptions of how people feel when they are writing longhand. It seems many more people miss handwriting than I’d previously thought. I was also very excited to be placed next to my friend @akmakansi on the Freshly Pressed page. What are the chances of that?

There has also been a remarkable, likely short term, effect on my website stats. I’ve been blogging nearly a year. In that time, my average daily views have been about 25 (with the exception of a guest post which generated about 100 views) and my posts have been getting a maximum of a dozen likes and a few comments. I had 149 followers. In the two days since being Freshly Pressed I’ve had an additional 1700 views, nearly 400 likes on that particular post and about 150 comments. Notifications are still coming in. My follower numbers have more than doubled to 421. That is huge for me, so thank you. There are lots of words in the world, so thank you for sticking around to read mine.

The experience has in many ways made me think about social media etiquette. Is it polite to follow back those who follow you? Auto follow back probably makes good business and marketing sense, but I’m not sure that’s what I want. I’d rather rummage through other blogs slowly, taking in the new ideas and quirks of expression at my leisure. That way, reading each other is a joy and not a chore. Forgive me if it takes me a while to stop by your online homes, or if I don’t at all. I don’t want you to be another item on my to do list, governed by the rule of reciprocity. Let our relationship be free of pressure. That way, next time we meet and have a virtual cup of tea together and discuss books, ideas or our thoughts, we’ll know that each of us is exactly where we want to be.

I’ve also been thinking more widely about why we write. Perhaps it is just the stage I am at personally with regard to my writing ambitions and the increased opportunities that come with self-publishing and the reach of social media, but I think recently I have lost track of why I write. I mentioned in a past post that without readers, words aren’t alive. That is both true and besides the point in some ways. It is wonderful to have readers. We want to feel valued. But we write, because we have to. Even in a void, on a desert island, on a distant planet without the slightest chance of being read, we would write.

I write because I feel rushed when I speak, a pressure to get to the end of the sentence and let someone else have a turn. Writing allows me to explore my ideas in my own time, to pick precisely the right word to express my innermost thoughts. It gives me balance. I am sure I would be a frustrated wreck without it. So write, write for the joy of it, for the clarity it brings you, for that sense of immersion and wonder, even if there is noone around to read it.

The Power of Words

depressionLike many other families, mine has been touched by depression and eating disorders.  Here are two of the most powerful non-medical descriptions of depression and anorexia I have ever read:

‘Depression is about anger, it is about anxiety, it is about character and heredity. […] It is the illness of identity, it is the illness of those who do not know where they fit, who lose faith in the myths they have so painstakenly created for themselves.’  Tim Lott, The Scent of Dried Roses.

‘I am forever engaged in a silent battle in my head over whether or not to lift the fork to my mouth, and when I talk myself into doing so, I taste only shame. I have an eating disorder.’  Jena Morrow, Hollow: An Unpolished Tale

Introducing My Superheroes. Who are Yours?

Taking on a challenge

A few weeks ago I went on a course called ‘We All Need Words’ at The School of Life in London.  It was my first day away from the kids since our son was born and I was both excited and anxious.  It was great to have the chance to do something purely for me, but after months of the baby being an extension of myself, I wasn’t sure how I would cope without him.  I needn’t have worried.

The course took place in a basement in Camden, which was kitted out with ornate wallpaper, velvety carpet and über-cool furniture.  We spent the day discussing how to write more effectively, trying our hand at mostly short pieces including dating adverts and dictionary entries, and sharing our work.  It was fun, surreal and out of my comfort zone.  I’d highly recommend it.  [http://www.weallneedwords.com]

Embracing writing exercises

One of my favourite exercises was crafting superhero stanzas.  Our course instructors, the brilliant, down-to-earth word-smiths Molly and Rob, invited us to write a few sentences about someone we know, give them a superhero name and zoom in on one of their strengths or weaknesses.  These may not be the typical qualities you would associate with a superhero – we’re not talking about flying, invisibility or weather-control here – but that is what makes this exercise so interesting; there is something unique and powerful to be uncovered in everyone you meet.

silhouetteMy superheroes

Inspired by Molly and Rob, I have decided to introduce you to some of the key people in my life, by way of a superhero stanza each.  For each one, I’ve isolated a trait I admire, but have also hinted at their vulnerabilities.  Do you recognise any of these characters in your own life?


  • Mistress Grafter – She works from dawn to dusk in the service of others, her loved ones barely registering her efforts while strangers are touched beyond belief.  Her body ages but her soul sings.  And the phone keeps ringing.
  • Calm Waters – He is a towering example of moral courage yet he has no religion.  He thinks clearly about his desired goal and moves towards it silently, with infinite patience.  Victory is almost certain, yet he keeps his emotions in check, restraint crackling in his fingertips. His strength, shimmering just beneath the surface, is not obvious and they do not see him coming.  Until it’s too late.
  • Mister Magnanimous – He is gives of himself gladly.  His affection knows no bounds and he is the first to reach into his pocket in times of need.  They flock to him, drawn by his charisma and warmth, circling him so he is in the very centre of it all, where he likes to be.  But his expectations of himself are equal to his expectations of others, and his disappointments weigh heavily, threatening to destroy it all.
  • Sweet Candy She fills the world with her light and they drink it from her greedily, with grasping hands that leave marks upon her soft skin.  One touch from her and sadness is banished.  Desperate for her gifts, they trample over each other to reach her, but the light remains hers, and hers alone.  Only the glimpse of a pink tutu in the corner of your eye suggests she was ever there.
  • The Protector – He guides her with gentleness, tending to her needs with a love that is selfless and pure.   You can almost touch the bond between them with your fingertips.  It fizzes and crackles and will last beyond their physical lives.  Father extraordinaire, who has taught his daughter to reach for her dreams and built a safety net under her with his own body.  And yet, the wounds left by his own father are still there, stinging, raw, on the underside of his skin, hidden from view.
  • Mistress Inkwell – She sends her missives into the world, hundreds at a time, hand-written in square print in a language all of her own.  She sweats over these patchworks of text, bleeds over them, squeezing out her joy onto the page until there is nothing left in her.  The brightly coloured envelopes arrive at their destination where they languish on the doormat, waiting, forever waiting for their readers.
  • Spaceman – He puts himself first, his self-respect propelling him through the gates of opportunity.  He has arrived at his destination already and has set his sights on the moon.  He will reach it quickly, without a spaceship, armed with stellar determination and textbook intelligence, his wings powered by the prayers of others.

So, those are some of my superheroes.  Who are yours?

‘Show me a hero and I’ll write you a tragedy.’ F. Scott Fitzgerald 

‘Though nature be ever so generous, yet can she not make a hero alone. Fortune must contribute her part too.’  Francois de La Rochefoucauld