Personal Essay: The Estate by Rebecca Smith

Rebecca Smith is a writer and a radio producer. She was brought up in the wilds of Cumbria and now lives in Central Scotland. She has work published for the Dangerous Woman Project as well as in Northwords Now, Dear Damsels, and Glasgow Review of Books. She has two children and a very soppy silver cat.


 

The Estate

 

When I was four we moved to a private family-run estate in the Lake District. Dad was employed as the forester and we were given a small house with no central heating but with a view most people would sell a kidney for. We lived on the edge of the forest, on the brink of the lake and under the shadow of the hills which grew into mountains in the distance.

My memories of childhood are grounded in nature. When I think of it now, I remember a never-ending expanse of dark green branches and slate grey waters. The soft brown undergrowth of the woods in autumn and fields of sheet white snow that we would score sledge marks down until the winter sun set. I was free to explore this landscape with my family, my friends and–as I grew older–on my own. On this land, I grew into the person I am today.

I spent a lot of time walking as a teenager. After doing my homework, ringing friends or writing in my diary about my latest crush, I would go for a walk. I spent hours walking, exploring. Often I would go across the fields opposite my house, past the sheep with straggly wool and down to the river with the ruin near one of the local farms. I would sit on the slate wall of the old house, legs swinging, dreaming of the boy I wanted to miraculously appear. What would I say to him? What would he say to me? What would we do…? It was all very Brontë–esque. Of course there was never any chance of seeing him, or anyone else for that matter. There were only a couple of houses within a few miles’ radius and when you were walking–back before mobile phones, before GPS–you really were alone. I loved it. The tourists in the Lakes tend to be confined to the villages and towns, with the pull of tea rooms and beer gardens, or trudging up the winding paths to the mountain peaks. I was lucky enough to enjoy the privacy of the private estate, experience its emptiness, its wilderness, its space.

This landscape, this beautiful privacy, spoiled me.

I now live on a new housing estate in Central Scotland. These box houses with the latest central heating sit side by side along a new avenue of tiny baby trees, not full enough to cast a shadow. It’s peaceful; it’s safe; my son can play with his friends on the street. The walls of the living room don’t crumble when I hang a picture. There isn’t a family of mice living under the skirting boards. The carpet isn’t peppered with burn holes from a spitting open fire.

And yet. I avoid looking out of the front window at number 24, a kid’s picture-perfect drawing, the house that mirrors our own. I can see its inhabitants’ silhouettes when they stand up in the living room against the light of the window at the other end of the house. The street light shines in through the cracks in the curtains. All the way up the row, the front lawns are so neat, so clipped. I plant daffodil and bluebell bulbs in odd places around the garden to make it look less uniform, less like next door’s. I line the walls with bookcases and old postcards. It’s a blank canvas after all.

I have tricked myself into liking it here as I don’t have a choice right now. Circumstance states that it’s easier to live in a house like this, without the chopping of wood, without constant driving to get anywhere to see my friends or go to the supermarket. From here, it’s easy to go into the city and see a play, or to do some shopping and have a fancy meal. It’s easier to maintain contacts and, to some extent, a career. It’s close to my son’s school and close to the motorway. It’s affordable. Yet I miss the expanse of green. I miss the chopping of wood and the driving on winding roads at dusk, spotting the family of deer in the field by the river.

I still need an injection of wilderness every now and then. I don’t holiday on city breaks, but find the most remote place to stay. I go back home (the Lake District will always be home) as often as I can, to the corners of it only my family know. For quick fixes, I drag my seven year old to the woods. There are some great council-run forests near us. It’s not too hard to find somewhere resembling a summer evening when I was fifteen. But it’s not the same–the paths are always worn thin, the dull groan of the B road or a motorway never far away. And there will always be someone else looking for that peace and quiet, walking by you, pushing away your own magic of being alone.

If I could, I would make it so everyone had their own piece of wilderness when they wished for it. A tree swing, a rocky bay by a loch, a den in a rhododendron bush. It’s all out there, waiting to be explored. I still live by the belief that fresh air and freedom works wonders for the soul. Go and explore. There’s nothing better.


You can find more of Rebecca’s work via her Twitter, @beckorio.

Discussion: August Recap by Angela Hicks & Calder Hudson

Editors Angela Hicks and Calder Hudson reflect on some of the exciting events and releases which transpired in August of 2018 in the midst of Edinburgh’s many features and festivals.

 


 

Discussion: August Recap

 

A: Last month was certainly busy. With the Fringe in town, we had the chance to attend a lot of really exciting lit events, and also to catch up on reading many of the books which came out this summer.

C: Yes; The Ogilvie is all online, but as editors, we’re based in Edinburgh–and the Scottish capital gets very cultural during August. We went to events at the Edinburgh International Book Festival (EIBF), and at Book Fringe, and also at the Fringe Festival. It was a hectic time, but in a good way.

A: Do you want to kick off with your favourite event from the EIBF?

C: Yes indeed–though there’s a ramble which comes with it. Namely: I’ve lived in Edinburgh for I guess about three years now, and in my time living here I’ve never been as awestruck. The opening of the 2018 Fringe Festival on August 11th stands out even by the high standard of previous EIBF kick-offs. I left Charlotte Square on the opening day even more excited than I’d been when I first got there.

A: That’s exciting–what was on?

C: For starters, speakers–there we a number of really great events, including one with Laura Bates, who began the Everyday Sexism project. There were also phenomenal panel discussions; one which I cannot speak highly enough of was called ‘Freedom to Write’ and addressed matters of inclusivity, expansion, internationalism and diversity as they relate to Scottish publishing. It also introduced me to the work of Raman Mundair–I was trying to frantically write down some of her lines at the event itself, since a lot of them were fantastic, but I didn’t capture every one so I’ve since gone in search of more of her writing.

A: That’s really cool.

C: There were tons of amazing international speakers. Hearing Ngũgĩ wa Thiong’o speak was an absolute privilege and reintroduced me to the discussion surrounding translation in publishing, and the often unspoken effects which translations can have. I think sometimes, as readers, we… hm… I guess we can’t see the trees for the forest, to put it one way. We get so fixated on the prose we read that we don’t understand its composite pieces, and the immense history that has shaped our reading diet, our conception of literature and “capital-L Literature” as a whole… this event is making me think a lot more thoroughly about that, about all that really, and I’m much better off for it.

A: I couldn’t make it to Ngũgĩ wa Thiong’o’s talk, but you did grab copies of The Freedom Paperswhere his work features–as well as his latest biography. I haven’t got onto the latter yet, but reading through the former, it’s full of powerful writing.

C: I think it’s fair enough that you haven’t got onto the biography yet; I know you’ve been reading a lot of other new literature.

A: Yes! I’ve just finished Christina Neuwirth’s debut novella, Amphibian, which is this really amazing, surreal story in which an office worker arrives at her job one day to find that her workplace is being slowly flooded by her bosses as a new initiative to increase productivity. I think the book would appeal to everyone, but especially to anyone who’s ever worked in an office and had to cope with the slightly deranged actions of superiors.

C: Yeah, I can’t lie, that’s definitely part of why I’m looking forward to reading it. We went to its Edinburgh launch at Lighthouse Books. I really liked the actual style of the event–it felt much more natural and conversational than many launches I’ve gone to elsewhere. Much of that can, I think, be chalked up to compelling questions and a good author-interviewer rapport, which really helped embellish the good atmosphere you always get at Lighthouse Books. Every time I go there I have a wonderful time, spend much too much money, and get many too many books. But I guess that’s the literal price you pay.

A: Yeah; at Christina’s event, you also bought Claire Askew’s crime novel All the Hidden Truths, which I finished this morning. It was a very gripping book; it’s told from three different perspectives which helped keep the pace and intrigue high.

C: That’s another one at the top of my reading list; I’ve heard a couple excerpts and I know it gets super real. I don’t want to give away too much of the premise from the outset but there was one point where you had to ask me what “Men’s Rights Activists” are, which was a painful, painful reality to have to explain.

A: For clarification, I do, depressingly, know about Men’s Rights groups. I just didn’t know they shortened it to MRA. It’s not a great acronym since it already means something else. Still, if they want to pick a stupid name, who am I to complain.

C: I also went to an event for the anthology Trans Britain at Lighthouse, which was fascinating for a few reasons. Learning more about trans history in Britain was absorbing, and from a writing and editing perspective, hearing about the making of the anthology was also interesting. My exposure to Unbound books and the campaigns surrounding them has been relatively minimal–despite it having a big impact on how we consider publishing nowadays–so hearing Christine Burns talk about the editing and publishing process as she encountered it was really interesting. It seems like Unbound works well for anthologies in that it emphasizes the many voices and contributions which exist within an essay collection. This may have been a particularly powerful and poignant collection given its scope and subject, but it certainly seems to have benefited in many ways from emphasizing its own diversity.

A: You also managed to go to some lunchtime events at Lighthouse, right?

C: Yeah. One of those lunchtime Book Fringe events focused on the She-Wolves project, which adapted She-Wolves: The Women Who Ruled England Before Elizabeth into a performance piece. Transforming a work between genres is fascinating procedurally as it brings people from wholly different artistic realms onto one team and asks them to find joint purpose… and if the show’s reviews are anything to go by, this project succeeded. I’m fascinated to see where it goes.

A: Speaking of performances, I went to a production of The Crucible, which is a play that I’ve read before, but never had the opportunity to see performed, so it was really nice to see it on stage in the intended medium. Although perhaps ‘nice’ isn’t quite the right word. It’s an intense play.

C: There were a number of shows or events I saw which blended the line between panels and performances, which were all wonderful. Inua Ellams’ EIBF event was so spellbinding it really did feel more like a performance than a talk or a reading, although that’s probably a whole discussion in of itself with regards to poetry and performance. There were also some shows we got to see on the more Fringe-y side that pose questions about performance, storytelling, and how authors and audiences can interact–I’d never seen Adventurers Wanted in action before, and that was a thrill.

A: We also saw Austentatious, who perform improvised Jane Austen plays. They’re perhaps not ‘Culture’ in the way that events at the EIBF are, but it was a lot of fun.

C: Phew! As we said, a busy month, to put it mildly. Who knows what next year will bring?

A: We’ll have plenty to read in the meantime.

C: Thanks to Lighthouse and my empty wallet? Yeah, for sure.


Angela and Calder can be found on Twitter (as @Ms_a_hicks and @CMA_Hudson, respectively). The Ogilvie’s editing team can be reached via theogilviecontact@gmail.com.

Fancier’s Lung by Annie Gough

Annie Gough is a born and raised Michigander currently living in Scotland. She has an MLitt in Creative Writing from the University of Stirling, and has had work featured in Untitled, With Passengers, The Cauldron and Dark River Review. When she’s not writing prose, you can find Annie exploring Scotland’s many trails or pouring pints.

 


 

Fancier’s Lung

 

It was nicer than his house, friends said. Varnished timber paneling, maroon shingled roof, mesh enclosures jutting out of windows like miniature sunrooms. And he’d have to agree–Christ, he spent enough money on the loft. It was nicer than his house, and it was killing him.

His mouth was sore and mucousy on the inside, the burn of the rum lingering at the back of his throat. He lifted the dust mask to scratch the bridge of his nose. It felt like wearing a muzzle–not protecting him from the world, but protecting the world from him.

The sun shone between the pines with a freckled glare. People would be hillwalking today, cycling, taking their dogs to the park. Normally he would’ve taken the birds out, driven into the hills and released the batch to fly. They loved racing in conditions like this. As long as they didn’t get snatched by a hawk or shot down, or jolted by a telephone wire. They were sometimes daft, but more importantly, loyal.

He never got mad at his birds. It wasn’t their fault they sometimes couldn’t find their way back or didn’t win. They had made him quite a bit of money, truthfully. Enough to pay for their home.

His friends told him to get rid of the pigeons when Teresa left. That she left because of the birds, their stench. But at first, she had liked them too. She said she thought it was romantic that they mated for life and raised their chicks together, and that the female would race over mountains and forests to get back to her partner. Teresa said that he needed to study up on his pigeons’ commitment to a relationship. But from where he was standing, so did she. Who was the one who left and never found her way back?

If he was going to do this, now was the time. The sun was so bright, reflecting off his white dust mask and the slim metal bridge, it made him dizzy. Or maybe that was just his body deteriorating from the inside out. People would think there was a bonfire or a barbeque. Somebody enjoying the outdoors on such a fine day.

There was the occasional pint with the boys at the pub, but he did right by his body. Except for the loft. The hours spent inside, scraping and scrubbing the coops, murmuring and humming to the pigeons. Christ how he had loved them.

He picked up the petrol tank and walked inside. The smell, like vinegar and mildew, just how Teresa had described. The coops were all empty and clean, as if he had just built the place. He sprinkled the petrol about the wood, careful not to step on the limp grey bodies piled where he had left them hours before. Looking at them was too difficult; if there weren’t so many with necks cocked at unnatural angles, he could’ve pretended they were sleeping in one big birdy pile. There must’ve been an easier way to do it, maybe fill the loft with gas or poison their feed. But he needed to touch each one for a final time. He lit a match and tossed it in the corner, then left.

The grass was damp from the morning’s rain under his feet. It would dry up soon enough, but hopefully not too quickly. He took a few strides then turned around. He took off his mask and watched as the flames grew from the inside out, reaching up to the unfiltered sky.


You can find more of Annie’s writing via her blog and you can contact her via email.

Impressive about art. by DS Maolalaí

DS Maolalaí recently returned to Ireland after four years away and now spends his days working maintenance dispatch for a bank and his nights looking out the window and wishing he had a view. His first collection, Love is Breaking Plates in the Garden, was published in 2016 by the Encircle Publications. He has twice been nominated for the Pushcart Prize and his work has appeared in many publications including Down in the Dirt Magazine, 4’33’, The Eunoia Review, and Ariadne’s Thread.

 


 

Impressive about art.
the thing was
we were both tired,
but anyway
we went to this art gallery
to look for a while at the pictures.

an art gallery
is a bad place to be
with someone you love
when you are tired

you want to seem clever
and keep trying to say
clever things
about paintings
but it just
wasn’t
right,
was it?

it took a long time
walking through big
empty spaces like churches,
and I could only
make jokes
and not be impressive
in my knowledge
about art.
it’s hard
being in love at first
and not
being impressive
about art.

instead I just
talked some nonsense
and never
got wowed by any paintings
like a fool.

I was tired.

except, maybe
this one;
I think it was called
the fifth seal opening or something.
that was good.
there was
this lightning
flashing so bright you could see it with your eyes closed
and this one guy
down low,
he was throwing up his arms.

there were also
all these sexy pictures,
the mistresses of old painters
or just models
paid 10 centime a day to shake like barley.
but what was I to do
when my girlfriend was there.
it was disastrous.
so difficult
early on
in love
looking at pictures.

my advice:
if you want to see some art
don’t do it

and if you must,
wait until you’re with someone
that didn’t spend the night.


You can find more of DS Maolalaí’s work via Twitter.

Personal Essay: Passage by Laurel Robertson

Laurel Robertson is a writer and farm manager living in Trentham, Australia, with a particular interest in the relationship between culture and landscape. Her works have been published in Wild Melbourne and Voiceworks.

Lachlan’s personal essay Passage reflects on her great-grandmother’s journey by boat to Australia from Scotland after the First World War.


Passage

In spring my grandfather and I drive north-east from Melbourne to his hometown of Yea. He wants to show me the farm where he grew up. It’s not a long drive, only an hour and half in good traffic, but we make a day of it. We trace an indirect route through the Valley of a Thousand Hills and as we drive, Pa tells me about his parents.

It was the evening of April 16th when Mary left Waverley Station, her train passing under the watchful eye of the Balmoral Hotel’s clocktower and the great escarpment of Arthur’s Seat. It would take her down the spine of Britain: she was heading south for the very first time. Past Newcastle, to London, on to Tilbury with its docks, and from there across the sea. There were two of them in the carriage: Mary and her friend Bessie. Both bound on the same journey halfway across the world, to marry soldiers they hadn’t seen in years. It is impossible to know what they felt. If fear tinged their excitement, if they held hands as their train bore them through the night, if Mary knew that she would never return to Scotland.

They met during the war. William, my great-grandfather, was a gunner at the Somme fighting for the ANZACs. When he was given leave, he travelled to Edinburgh to visit his cousins. Mary Burnside, my future great-grandmother, lived in the house next door. The two hit it off and, much to the disapproval of Mary’s parents, spent a weekend on the shores of Loch Lomond. She later promised to follow William back to Australia and to start a life together there.

‘It was smaller when I was a kid,’ Pa says as we pass through Yea, a one-street town with only two blocks of shops. We cross the Goulburn River and turn left off the highway; the road quickly shifts from tarmac to gravel to dirt. We rise into yellow hills until we come to a gated driveway where Pa stops the car.

This is the driveway to the old property, he explains. We can’t go any further. Pa doesn’t know the current owners. A few old fireplaces stand up from the grass in the valley below us, marking out the site of an old homestead. ‘That was the original farmer’s home,’ Pa tells me. ‘The property was subdivided after the war. Government didn’t have enough money to pay their soldiers so they gave them land instead.’

We look out across the land sweeping north and east, a mass of hills crinkled like an unmade bed. The air is hot around us.

‘The one thing I always want to know is what season it was when she came here,’ Pa says. ‘Coming from Scotland, it must have been a shock.’

Mary was disappointed by the few hours she spent in London. It was night when she and Bess checked their luggage into the station and went out to see the city for the first and last time. The weather was worse than it had been in Edinburgh, and they were tired from the hours on the train. After a brief look at the dark Thames, they returned to St Pancras and caught the train to Tilbury.

The S.S. Bahia Castillo stood at port like a fortress with its magnificent chimneys towering over everything in sight. It was a German-made steamer, used in the war to ferry munitions but given over to the Allies in reparation. Now it was bound for Australia, bearing supplies, returning soldiers, and a small group of passengers. Mary and Bessie presented their papers at the dock and were shown to their cabins.

Mary was shocked to learn she wouldn’t be bunking with Bessie; she found two English girls already unpacking in her cabin. Bessie was only a few doors down the corridor, but they were ordered to remain in their quarters, and Mary had to endure the English girls’ accents alone.

As the ship departed the guests waved down to a crowd assembled at the dock. That night there was roast chicken for dinner and Mary found the wishbone in her piece. She took it as an omen, telling her she had made the right decision.

‘I thought you should have this,’ says Pa, holding out what looks like a black exercise book. ‘Considering you’re the writer in the family.’

I hold the book and realise it is very old, the lacquer on its cover cracked. The corners of its spine are frayed. I open it to a random page, careful not to harm the brittle paper. It is filled with line after line of perfect cursive–written with the unmistakable flourishes of a fountain pen.

‘It was your great-grandmother’s,’ he explains. ‘It’s her journal from when she came out to Australia. I thought you might write something about it.’

Few relics remain from Mary Burnside. Of all my family she has been surrounded by the greatest mythology. She died before I was born, and what I know of her I know only through story. This journal is a precious fragment of family history.

Mary was tired of talking with the girls in her cabin. She rose early, intending to step out onto the deck, but as she dressed, she was overcome by a swell of nausea and spent the whole day in bed.

A nurse visited Mary in the morning, telling her that only two of the 103 second class passengers had been out of bed the previous day. In the afternoon, Mary made it out of the cabin. On deck she met one of the stowaways, who had now taken work aboard the ship as a stoker down in the engine rooms. The man said his sister was aboard the ship as a second class passenger. She was bound for Australia to meet with her husband.

That night the new moon was reflected perfectly by the sea. It felt like they were sailing across a second sky.

‘It’s her fault I never finished school,’ Pa says. ‘She was always filling my head with stories of adventure. Of Scotland. Of Bonnie Prince Charlie, Robert the Bruce, and William Wallace. There was no room for school.

‘My father was good with his hands,’ he continues. ‘Whenever I was sitting down he would come into the house and get me up fixing fences or moving the cows into a new field. But my mother was the educated member of the family. The only one to finish school.’

Before leaving for Australia, Mary worked as an editor for a local publishing company. With her she brought a collection of books, and frequently ordered new editions from Scotland. On my shelf at home I have the complete works of Oscar Wilde, another heirloom inherited from Mary. As well as books, she passed on her love of the history of her homeland to Pa and to my father, and from him to me. After finishing school, I moved to Scotland to study, turning the arc of migration in full circle.

On Tuesday, the sea shifted from green to blue.

Mary and some others went to the washroom in the morning to do their ironing. There was only one iron so it took some time, but they enjoyed the chance to chat, and looking out at the water they spotted a shark. Later a sailor showed Mary a porpoise. It bounded across the waves, playing in the wake of their ship.

On Wednesday, the heat was unbearable. Mary sat on deck and watched the diggers play football. She drank lime juice and ate oranges with the other women. Wiping at the sweat on her brow she wondered if she would ever have another proper cold drink in her life. Water was always cold in Scotland. She hadn’t known to cherish it at the time.

That morning a sailing ship had passed their boat at full tilt, its deck seeming to tip dangerously close to the water. The Bahia Castillo signalled the yacht and the men aboard raised an unfamiliar flag. Mary wasn’t sure which country they were from, but she thought their craft moved beautifully through the water.

Thursday was a glorious morning. Mary and the girls spotted two more sharks, and another porpoise. The next day, towards evening, it rained briefly. Mary hoped it would last just long enough to break the heat.

‘She never wanted to go back,’ says Pa over breakfast. We are in a Fitzroy café. It is 2016, nearly a century after Mary set foot aboard the Bahia Castillo. I eat my poached eggs and smashed avocado and listen to Pa. ‘I offered to take her. We both did, me and Miles. But she never wanted to go back. I don’t know why. She left behind her parents, four sisters, and who knows how many cousins. They wrote to each other every week. Her parents sent her the newspaper from Edinburgh and she sent them the Yea Standard. But she never went back.’

Mary left Britain in a time of depression. The war left the nation poor and the population shrunken. ‘Everyone lost someone close to them,’ Pa says. ‘It’s just how the war was. If it wasn’t your brother it was your cousin.’

In Australia she found a nation no less stricken by the toll of conflict. Yea was a town of returned soldiers and their families. They met on the weekends and held picnic races. Her husband woke in the night screaming. His terrors would wake the children, and Mary would comfort them as William stood outside, his mind drawn once more to the Somme.

Mary didn’t have time to read. There were too many things to do on board, too many strands of conversations, too many people. She decided to wash her hair. Warm water was hard to come by on the ship but Mary smiled at the steward when she asked him for it and the man relented. Dorothy Bullock, one of the English girls, offered to dry her hair. They sat in the cabin while Mary washed her hair, and afterwards Dorothy rubbed it with a towel. After dinner, Mary and the others held a party in their cabin, inviting some of the diggers. They sat up playing cards and sharing stories of home, and decided to do this regularly.

Pa always tells me that the three happiest moments of Mary’s life occurred when she was living in a canvas tent by the Goulbourn River in the early years of her marriage. William taught her to ride a horse, kill a snake, and swim in the river. The farm on the river was their own private world, shaped by their hands. But life on the Bahia Castillo offered its own freedom.

Mary’s journal presents only a shard of this woman I never knew. It is a glimpse into an in-between time, leaving one family to create another. Aboard the Bahia Castillo Mary was her own person.

Two months after she had left Tilbury docks, Mary packed her bag and a digger carried it for her to the hold. In the morning they would arrive in Melbourne. At supper there was a farewell dinner. Mary retired early with her cabin mates and together they sat up late into the night. They spoke about the last nine weeks in each other’s company, and how sad they were that it all must come to an end.


Readers can access more of Laurel’s work via Twitter.

Dancing at Midnight by Hannah Fields

Hannah Fields is a writer and editor based in Texas, where she works as a senior editor in the Office of the Vice President for Research at Texas Tech University. She has worked on various publications from children’s books to award-winning magazines. Her poetry has appeared in 2Elizabeths and Twelve Point Collective.

 


 

Dancing at Midnight

 

Meet me in the moonlight
underneath heaven’s stairs.
I’ll be the one dressed in a
flowing floral gown with
supernovas pinned in my hair.

Extend your hand, I’ll offer mine,
intertwining fingers, feet step in
time, as we dance away the hours
across intersecting orbit lines.

Twirl me ‘round Saturn, paint
me in the stars, imprint your
name upon my lips as we claim
wild unsettled earths as ours.

Hold me close and hold me tight
long through the raging night
lest I turn to shifting copper dust
eaten away by the morning light.


You can find more of Hannah’s writing via her website The Panoramic Dynamic and via her Twitter.

Personal Essay: The Book of Wonder by Stella Hervey Birrell

Stella Hervey Birrell is an emerging writer and poet living in East Lothian, Scotland. Her first novel, How Many Wrongs make a Mr Right?, was published in 2016 by Crooked Cat Books; she also won the Glasgow Women’s Library Bold Types poetry competition in 2017. Her short pieces and poems have appeared in various journals and anthologies including The Scottish Book Trust’s Nourish eBook and The Ropes and Frangipani journals.

 


 

The Book of Wonder

 

Ten years ago, I decided to write a song about step-parenting. About blending a family. Until then, I had followed a well-worn LP groove–verse: what I thought; chorus: of disapproval (from my husband’s ex-wife); an apology-and-retraction middle eight (from us, always from us); followed by a hasty resolution back into the major.

Step-parenting is an under-represented topic in creative work. Apart from in fairy tales, of course. None of which I found helpful, unless you use them as a handy ‘how not to treat your husband’s children’ guide. Don’t favour your biological children, especially when dividing household tasks. Don’t leave them in a forest. Don’t put a hit out on them.

But not ‘don’t write songs about them’. I hesitated. I knew the children well enough to know it was the last thing they would have wanted. Only, I couldn’t hear my own voice anymore. All of those slights, flights and fights–I wanted to place them in another world, blood-let them from my system, layer them over with music. With a song, I could tell the truth, and stay safe. A song doesn’t have to reflect the detail of what it means. I had stopped saying what I meant, over and over again, and I needed somewhere to put all of these penned-in thoughts.

Songwriting is something my husband and I do together. Me on words, him on music. He sat and strummed some chords, and when he started picking down an arpeggio, we knew we were getting closer.

I sang about the tension, the taut string of differences of opinion. I sang about the children, their astonishing imaginations, how they spoke with us. There were plenty of bad days. A step-parent has to gather up evidence for being a part of something piece by piece, like tiny white pebbles. Other times, everything drew together, the strings harmonising, and we were an entity, a collective. A family.

I sang a celebration: we had created a new, if fragile, unit. I wanted to Morse it out there. It was hard to blend this family. But we were trying. And there was love wrapped up in the music, as well as in the shared car journeys and muddy walks across freshly cut fields–like the time my husband’s daughter and my husband took some loose leaf poems I had stuffed into a tatty blue lever arch file and made them into a neat little book. They gave it to me for our second anniversary. Something I could hold. Proof. A road map through the years of tentative, distant, unspoken love.

Something I could write a song about.

For years, the lyrics remained distant–‘she’ instead of ‘me’–as if I were asking for a friend. I weaved in and out, liking the song, then hating it. It wasn’t changing much, but my feelings about it were directed by how I felt about the kids. Hadn’t seen them for a month? Defriended on Facebook? Oh, I hate that song. Recent visit, a good one? A phone conversation, instigated by the child who is now a teenager, and has chosen to call? This song rocks. It became part of our band’s repertoire, but I continued to avoid it. ‘It’s too quiet,’ I said. ‘It won’t work in that venue.’  This was when the children were around less: their own lives had taken over anything we had to offer. I continued to avoid putting the song into a set list. Eventually our bass player told me:

‘When you don’t like singing it, that’s when you should push on with it. Keep playing it. At some point, you’ll come to a new place with it. A better place.’

I started editing again, in rehearsal and on the rare occasions it was played: a word here, a phrase of music there. We arranged it for two, three, five, and then six, as our band grew to the exact same size as our blended family. Bass, keyboard, rhythm guitar, lead guitar, drums, me. Husband, son, daughter, two more children, me.

Then I realised it was time to hold the song, not keep it at arm’s length. Enough time had gone by. It was OK to sing, and feel, and–for God’s sake!–be myself. I stopped asking ‘for a friend’. It transformed from an alright song to a good song with three words: I, me and my.

 

Now, I am unpicking the connection between kids and song. The lyrics are historical: it’s about children, and I call them ‘children’ when I want to annoy them. They are nineteen and twenty. We don’t see a lot of each other, but that’s OK. They know where I am, and for the most part, they don’t need me.

In the right venue, the band and I play Book of Wonder. I open my mouth to sing it, and I genuinely think it is beautiful. It is beautiful in the muddled way my family is beautiful. It is one of the best things I have ever written, and it’s not a coincidence that I have redrafted it for ten years.

It’s not a coincidence that family lasts forever. Sometimes it takes that long. Sometimes it takes longer than forever, for everything to turn out alright.

Ten years ago, I wrote a song, while I tried to blend a family. I write it, blend it still.


You can find more of Stella’s work via her website and through her Twitter, @atinylife140.

Been Down So Long It Looks Like Up To Me by Gerard Sarnat

Gerard Sarnat is the author of Homeless Chronicles, Disputes, 17s, and Melting the Ice King. He has been published in Gargoyle, Margie, OCHO, New Delta Review, and numerous other publications. Gerard is the recipient of the First Place Award and The Dorfman Prize. Gerard’s Kaddish for the Country was distributed nationwide in the US as a pamphlet on January 20th, 2017. In addition to his literary accolades, Gerard has worked as a professor at Stanford and as a healthcare CEO for several companies (and has worked in clinics for the marginalized as well as in jails).

This poem takes its title from the novel of the same name by Richard Fariña.

 


 

Been Down So Long It Looks Like Up To Me

 

Never thought a jot about folks in airport terminals
Who sat steely in wheelchairs while we kibitzing masses
Waited and waited for them to board first

Never began to notice fellow partygoers
Who remained trapped on divans
While the rest of us upright talking souls circulated

Never much slowed down my swagger-strut-sprint
In jeans plus tennies, like a teen just yesterday
Until I was an infirmed elder needing empathy

Today I am awed by all those who can stand no less walk

 


 

More of Gerard’s work is accessible via GerardSarnat.com.

jam by Dominic Kimberlin

Dominic is a playwright and librettist based in Edinburgh. He completed his MLitt in Creative Writing at the University of St Andrews in 2016. His recent work includes librettos for the contemporary operas Boys of Paradise and Goldilocks and the Three Little Pigs.

 


 

jam

 

today i wish for jam
jam sliding down the walls
jam dripping from the ceiling
sticky pools of red and purple
oozing through my toes
as i press my feet into the carpet

let it rain jam
globs of seeds and skin
spattering the window
i will hear the pap pap pap
look outside and see a path
that runs between two mountains
walk on a cliffside stained like teeth
and stare into a viscous tide of jam

step
fall
eyes closed
mouth open
nose breaking on impact
submerged and reeling
sputter-spray my last breath
exhaling blood and currants
until nothing is left
just jam

today tomorrow every day
one perfect moment
preserved


You can find more of Dominic via Twitter.

Castle by J.R. Night

J.R. Night is a recent graduate from The University of Maryland with a degree in English Language & Literature. Stories have always come out of J.R. whether he’s liked them to or not, and this quality seems like it’s here to stay. 

 It came about from fear: a fear almost everyone can relate to. Castle is about two girls wary of what their futures will mean for their friendship. 

 


 

Castle

 

“You’re being ridiculous,” said Clarissa, thrusting out her arms for balance, “like, actually, ridiculous–it’s just one party.”

Hayette felt something like pop-rocks surge up from her stomach. Air blasted from her nostrils; violent winds that could’ve wiped out their friendship blew past her lips. The clouds had just started to clear. The sun was overhead.

“It’s not just–” started Hayette after a moment.

“Jack will be there,” said Clarissa, flapping her hand in dismissal.

This time, the silence was noticed; Clarissa revolved to find Hayette leaning against the base of the branch, ankles crossed, arms folded expectantly. Her black hair was straightened and tied back in a neat ponytail; she wore a white blouse topped with a black bow. Up in this tree, where Clarissa stood careless in ill-fitting jeans and an ancient t-shirt spotted with paint, Hayette sat rigid and proper.

“Sorry,” said Clarissa, “It’s just that we don’t talk to him anymore, and it’s all you’ve been talking about for the past year–literally, all year.”

“I didn’t know we were keeping a transcript of our conversations,” said Hayette. “Noted.”

“You’re being dramatic.”

Without thinking, Hayette shot back, “I’m sorry? That’s funny coming from the girl going to London for drama school.”

Suddenly Hayette clasped the sides of the branch she sat on; Clarissa had lost her balance and crouched against the branch for aid. Once Hayette saw her friend had recovered, she reassumed her irritable air. Clarissa pretended to examine a leaf.

For some time now they had acted as though their futures did not exist; that once the school year would end, they would simply have an additional senior year. But of course, each knew this was not the case. Come spring, their blue and green school colors would be tossed into the air and would become to the reds, oranges, and browns of autumn in their respective campuses.

“Jack is going to Stanford,” said Clarissa, after a while. “Did you know that?”

“No,” Hayette lied.

“I overheard him in class. It’s funny considering he always wanted to do something with animals. Now it’s all business school. Mrs. Tabesta would’ve never allowed him to go if he didn’t get that soccer scholarship.”

Soccer. Even now the mention still rankled Hayette: how one extracurricular activity could undo years of friendship. Clarissa did not think it was soccer. She insisted that people’s priorities “shift”, and Jack’s personality had been too attractive for people to ignore. Months later, when Hayette ventured to bring up Jack’s disappearance with Jack himself, her question had been received with genuine confusion, a punch of the shoulder, his wry smile. She had always been a little in love with him. And as she watched his girlfriend with the painfully kind eyes, she felt, for the first time in her blessed, young life, heartache. She was convinced it was the soccer.

“Crazy how we used to play for years here. What was that game we used to play, the one where the ground was lava….?” Clarissa looked at her, knowing the answer but needing Hayette to finish the thought.

“Castle?”

Clarissa chuckled. “Do you remember when Jack broke his arm?”

Hayette nodded and added in a small voice, “and the bees….”

“And when we used to pretend we were dangling–”

“–and Jack and I would grab your arm pretending that you were going to fall–”

“Oh my gosh!” laughed Clarissa. “That was so dangerous! I can’t believe our parents just let us go out and do that stuff. There’s no way I’m going to do that with my kids.”

There was a pause: another crack in their no-future pact.

Hayette felt a vague pain in her heart, of longing, and strange because of Clarissa’s proximity. Clarissa was clawing out some sap from a branch, sending sporadic vibrations throughout the tree. It reached Hayette and she noticed the sheer strength of the branch on which she sat. Her eyes trailed outwards, watching the branch grow narrower, weaker until it bent ever so slightly, right under Clarissa.

The pain propelled Hayette up, and as she walked along the branch to where Clarissa was, she felt their illusion crack again. Their tattered little picture, pact, whatever it was, was done. She halted when she remembered the branch’s precariousness. The silence coupled with the creak of the strained branch prompted Clarissa to turn to her in alarm.

“One last time,” breathed Hayette. “Castle.”

Clarissa stared at her, and then smiled.

At that moment there was a whistling sound; the sky went scarlet, the earth shook. And a mass, a large, monstrous mass of dripping lava came streaking across the air and with a stomach-churning blast collided with the ground. At once the ground below began to divide into cracks. Magma oozed out, devouring everything in sight until all that churned below was an ocean of swilling and flashing fire.

“Run!” screamed Clarissa.

Hayette thrust out her arms like Clarissa had, and together they sprinted to the base of the branch. Hayette slammed into the trunk and jumped to catch the closest arm. Her own arms resisted the sudden force, slackened by years of pencil scribbling and computer tapping, but muscle memory is a peculiar force, and in reawakening, she found herself swinging and climbing as she had all those years previous.

Then she saw Jack, really saw him. He stood there in his school uniform, a couple of yards away paying no mind to the lava flowing and spewing around him. His lips curved to make his wry smile. Hayette looked up to Clarissa who was climbing higher and higher, out of sight. Clarissa could not see that Jack was here. Hayette spun back to Jack; he was still smiling at her. Clarissa called down to Hayette, dangling in mock-danger. Hayette spun back to Jack; he was still smiling at her. She felt the arm she was using to hold herself up guiltily slacken.

A new strength, not unlike the one where she first took hold of the branch and started climbing, seized her. It was not the soccer. It was him.

Hayette turned away, stabbed her foot into the bark, and answered Clarissa’s distant call then and for years to come.


J.R. Night can be reached via email.