Life Goes On

Sicily is already a faded footprint. There is no trace of the lava rock and ash that dirtied and bloodied my feet as I climbed Mount Etna in the flimsiest of sandals. It is hard now to imagine another person lying on my bed beneath the beautifully painted fresco on the ceiling. The poems of the paper machié girl suspended, swinging, beneath the vast moon have disappeared. The heat of the sun beating down on my skin as I walked across the marble piazzas are intangible memories. The noise of the traffic and trains outside my window in Catania have receded.  Sicily has almost vanished, simply because I am not there.

Yet, the woman whom I watched most evenings ply her trade beneath my balcony stays with me.

The Street Walker at 10pm

I watch as she adjusts her black hair in the dusty rear window

Of a black escort van parked by the zebra, her fingers

Push, twizzle, curl and flounce.

She seems momentarily satisfied and turns.

Her high silver heels totter her step, legs carved

into tight fitting hot pants, she prowls

up and down. When a man in a white van stops,

there is no talk. She gesticulates.

Four fingers. A thumb.

He passes on. She returns to the escort, fine tunes

A hair, turns back to the flow, the roar of the cars,

I can feel the rhythm. Edgy as hell.

 

We were staying in Catania, the second city of the island on the South Coast of Sicily. On one of the days, we went on a single gauge train into the interior, around the foothills of Mount Etna. I couldn’t understand why the first half of the journey was pitted with black, jazzed lava rock with barely any growth yet the second half was an oasis of grasses, camomile, whin bushes, mimosa, lemon and orange trees, olive groves: a glory of colour and scent flooded the tiny dusty carriages. There were bells ringing at crossroads as we rumbled past, people worked in the fields, tended the land by hand. The pastoral scene looked like an impressionist painting. Massimo, who guided us around Mount Etna a few days later, told me that lava is full of nutrients, sulphur, copper, iron and after a hundred years, these nutrients feed the soil. The terrain on the first part of the journey was the result of the 2005 eruption. In another seventy years, it would be lush, if Etna does not erupt again in a major way. When we went up to the top of Mount Etna, the ground was rocky and  black. It reminded me of a quarry. The terrain was like a moon scape – craters and peaks, black and grey. In the winter, it is pure white, and a skiing resort, with gentle blue, green and red slopes. It must be magnificent.

 

My two favourite Sicily days were visiting Ortigia, Syracuse and going to the Norman Castle built on lava rock at the edge of Catania. Ortigia is an island of alleyways, with an astounding white marble Piazza and Cathedral which I am sure is polished daily. We wanted to go by train but were given a bus ticket at the Statzione. The trains were not running. Massimo (our later guide) informed me that sometimes, in Sicily, it is simply too hot so that the train drivers get too tired!

My favourite meal of the holiday was after visiting the Norman castle where a man regaled me with tales of Cyclops throwing rocks. Lunch was huge, shiny, black mussels, a salad and a bottle of Sicilian white wine in a small café in a tiny square which we shared with fifteen Maltese holiday makers. Then back to the frieze for a siesta.

So, aside from the drinks in cafes, walks in the park, shopping in air conditioned stores to get cool, that was Sicily. Since returning two days ago, I have read the PEN Case Study list which is an immensely depressing list of imprisoned writers to try choose three or four to focus on campaigning for in 2020,  immersed myself in a seminar on human values (we prioritised respect, social justice, freedom, and equality), participated in a new Peace IV project called A Cavan Convergence (what do borders mean), and went to see Float Like a Butterfly with the Cavan Traveller Movement which was charming. And I have been preparing for my two day weekend writing course, photocopying materials and planning the lunches. And so, Sicily has gone.

My next adventure is a marriage in Manchester the weekend after next. It is the first of the younger Fitzpatrick Clan to wed. Yes, life goes on, each day leading to another, and then quickly disappearing, however immediate and important we believed it to be at the time.

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“Writing is Like Walking into a Room and Dancing with a Complete Stranger”: The heightened emotion of my 60th Celebrations:

There was no dancing during my 60th birthday celebrations, so this piece of writing is as close as I will get to the Nabokov simile which I heard three times at the Borris Festival of Creative Ideas and Writing on day six of my birthday celebrations. On the birthday itself, I felt prickly and anxious. My stomach was a kaleidoscope of different patterned beads. Dancing was not an option. I was more concerned that old age might come barrelling out of a corner, hunch backed, wart faced with 300 dernier flesh coloured stockings. However, when I glanced in the mirror,  I looked the same as yesterday, maybe a little paler. What did come barrelling out was a worm, inveigling its way through my intestine, slippery with what felt like a lascivious grin on its face. However, with a taut lip, and a determination as grim faced at Teresa May’s, I started baking cakes and experimenting with cocktails in preparation for the start of the celebrations. There was certainly no dancing with strangers.

On the day of the party, I discovered that cocktails and cakes are good ingredients for a celebration. Gluten free flour is less successful (my beautiful cakes crumbled), but what did work was the limited number of friends who, because they all lived in the same county, knew each other, or of each other, and were happy to chat and gossip. My hostess skills were not necessary and, very quickly, I found myself surplus to requirements. I was able to retire to the outer ripples of the party and enjoy the Sangria amid the hubbub of natural chatter and laughter.

The next day, however, not wanting to risk the sudden appearance of the wart faced, hunchback with flesh coloured stockings, I followed the last guest out the door and hot tailed it for Limerick.

Limerick is a licorice all-sorts kind of city. I love the wide, elegant Georgian streets that rise out of the chill of the narrow alleyways. Giant, foreboding, grey stone warehouses overhang and shadow the flower laden bridges. Tiny red bricked terraced houses line up to the grandeur and rotundity of St John’s Castle. It is a city with no airs and graces and is full of fluidity and light. I love the splendour of the Shannon, the fast pace of the Abbey River; the way water  of the rivers and canal weaves itself around the flow of the city. It has few pretensions. Limerick combines ancient with modern and thrives on itself, its history and seems to have no need of the outside world.

We walked in Clare Glens for the first time, climbing up alongside a gushing, rushing, swirling river and through swishing ashes, rain laden oaks and birches. The rhodendrums shimmered a purple haze. We got back to town just in time to go to hear a Brahms and Beethoven recital at a lunch time concert in the ancient,atmospheric St Mary’s Cathedral. Then off for Pizza and back for an official tour of the Treaty Beer brewery in Nicholas St, except it wasn’t the brewery. It was more a show house ( a very fine one with a beautiful, 13th century ‘Rembrandt’ wall). Steve, the proprietor/showman, stood at a classic walnut and cherry bar and, declaimed to Joe and myself, the glory of Limerick, his ancestry and the history of Treaty Beer. Great craic. Other Limerick highlights were the young women in the Social Democrat branch meeting I accompanied Joe to. They were excited, enthusiastic, and committed. In the pub after, we discussed setting up work plans, goals, how to reach further into the local community. Meanwhile, the young Social Democrat men huddled together, over pints discussing stats, data, and political gossip.

The Borris Festival of Writing and Creative Ideas was next on my celebratory schedule.  Joe drove me across rolling pastures of sheep, elderflower and hawthorn, past sombre mountain ranges, through small towns and villages with strange names and odd ancestry, deeper into a lush green unknown. As we were using Google Maps, I had no reference to where we were passing through, or what the mountains were. However, eventually, Joe and Google dropped me off (“Dada will pick you up on Sunday, have a good time, have you got your sandwiches?”) and waved me away, no doubt relieved to have fulfilled his filial duties.

I began stage four of the celebrations listening to William Dalrymple interview Simon Schama, sitting on a damp chair, in a mizzling rain, outside the Borris Ballroom for 25 minutes. I haven’t read any Simon Schama books, and I couldn’t see him, but he obviously hails from the upper English class as his talk was littered with Oxbridge, and art or literary references which flew between the quadraphonic speakers over my head. After a while, shivering, I felt ready to go to the Step House Hotel for ‘A Living Hell’, a discussion about Yemen between Ben Anderson and Lindsay Hilsum, two war correspondents. It was an aptly titled session (but, happily for us in a warm, comfortable surroundings). I was impressed by the knowledge, and passion of both journalists. In a sense, their dedication reflected the grim determination of both the Huthis and the Saudi backed men and child fighters, to fight to the death despite the cholera, famine, death, starvation, and homelessness that is wreaked on their family and peoples. War is a terrible thing and seems to be the corollary to man.

In contrast, the Julian Barnes session next was like listening to liquid gold. Instead of the crude bang of land mines and bullets, there was English reserve, understated, gentle humour, and a deft handling of the interview with Alex Clark. I liked his idea that a novelist will never know all the sources of their writing, even when the book is finished. Writing is like memory, as time passes, it changes complexion and colour. Both Barnes and Hisham Matar (The Return), who I saw interviewd later, referred to the importance of changing perceptions and imagination in both fiction and non-fiction.

Borris is a great combination of politics and literature, and I like mixing and matching the two. The MisInformation Age session featured Carl Bernstein of Watergate fame, Misha Glenny, the ubiquitous Simon Schama and Fintan O’Toole. It was an interesting discussion on the Mexican narcos, corruption, globalisation, Trump, Brexit but the male hormones were flying up on the stage, and it became a bit of a pissing contest as to who knew the most. Also, at the end of it, I felt that I had listened to the gloom and doom of this subject matter long enough, and wanted to hear more about possible alternatives.

I had, by now, met up with my partners in crime and we ended the day picnicking with pizza, wine, olives, hummus, crisps sitting in foldable picnic chairs, drinking out of wine glasses, in the shelter of the car. They had come prepared.

I went to Afghanistan and Libya the next day with Christina Lamb (war correspondent) and Hisham Matar who were discussing non-fiction. Both authors felt that non fiction writing was motivated by the need for truth, but Matar felt that imagination was absolutely crucial to non-fiction as non-fiction is a selection of life, coloured by enthusiasm. While Christina Lamb nodded, she felt that her books were underscored by the rhetorical questions of ‘why do people have to die and for what?’. She reflected on the question that is never considered by any army, what happens next?

‘Heightened emotion’ is a core ingredient in every piece of writing, fiction, non fiction, reportage, but it is particularly so in the gothic novel as discussed by Joe O’Connor and Sarah Perry. I was intrigued by this discussion as I hadn’t really thought about the inversion of right and wrong in gothic writing, the bargain between the individual and the other, the multiplicity of selves, the fluidity of identity, the exaggeration of the rhythm and the spotlight of the tone. I’m going to read both Joe O’Connor and Sarah Perry’s latest books, Shadowplay and Melmouth, respectively.

Donal Ryan and Nicole Slattery were both charming and fluid and provided a relaxing interlude to the war torn realities and heightened emotion of the writers that had made up my day so far. The whispered, undulating vowels, soft consonants, the gentle praise and the pretty surroundings of the chapel had a lovely soothing effect. I was also interested that Nicole Slattery perfects each paragraph before she moves on to the next, as indeed, I discovered does Hishmar Matar. When I dance with my total stranger, I step on toes and twirl in the wrong places. Only after getting the feel of him, do I get his rhythm.

Martin Amis and Julian Barnes were in perfect rhythm discussing Christopher Hitchens. Between the two and fro of them, they drew a wonderful caricature of the once editor of the New Statesman and supposed life-long Trotskyist. Hitchens came from the British upper class, attended Oxford, was loud, acerbic, arrogant, a brilliant thinker but, apparently, a terrible writer. He believed he didn’t have the musicality to write and that it was ‘frivolous’ to invent someone who wasn’t real. Julian Barnes thought it was more because he probably couldn’t write women characters. His female descriptions would have been more in the PG Wodehouse mode of ‘fragrant’. As they discussed Christopher Hitchens and regaled us with anecdotes, it sounded to me like Hitchens was like many well educated, upper class men: arrogant, cruel, witty, and irrational. Amis agreed that he took positions that were difficult to justify – like being an anti abortionist on the premise that his mother had had two abortions, one before he was born, one after. Apparently, Hitchens railed “It could have been Hitch!” Both Barnes and Amis agreed that he was a ‘self shackling Houdini.”

On the last day of Borris, I discovered a new heroine in actor, Fiona Shaw. She was interviewed by Olivia O’Leary. I found myself gazing up at her in the Ballroom, mesmerised by her humour, wit, intelligence, vivacity and I was totally engrossed in her anecdotal stories about rehearsals, props and accents. She has given me a template to take me to my 70th birthday: props need to be done away with and if you are engaged with what you do, your heartbeat goes up, and so does your audience. Also, Shakespeare doesn’t work with a Cork accent.

So, finally, that afternoon Dada did pick me up and took me home. Great 60th celebrations and I want to thank everyone who shared them with me. If you travel with me to the 70th, look forward a racing pulse! I’m looking for dance partners. I hope you feel highly emoted.

 

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Before by Pat Kinevan

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I went to see Pat Kinevan’s new play, Before, last weekend at the Ramor Theatre, Virginia. Once again he was brilliant, and so was the play. The central theme was a father who is refused access to his daughter but the play also touches on rural isolation, the modern image of men, and the growing superficiality of love – all that achieved by one man. It is extraordinary.
Pat Kinevan’s one man performances are always startling. I have blogged about him before, back in 2014. His writing is deft. He dovetails everyday banter with such dramatic pitch, tone and expression. One minute he is having the craic with the audience and the next minute he fills the stage with shadow, light and pain, all through his voice and body movement, with maybe a hat for a prop. He fills the theatre with presence, sound and shape.
I also love how Pat seeds his work. In Before he scatters Hollywood dreams of love and romance by referencing the musicals we all grew up with (love ‘em or hate ‘em, you know them). Then, with the story of Pontius (yes, named after Pontius Pilote), he shines a light on the real misery and loneliness of life. He is the master of contrast. He plants, waters and suddenly you see a glaring issue blossoming. In Before, as I mentioned, it is ‘father’s rights’. In other plays, it has been homelessness, mental heath and suicide.
I think Pat is only brilliant. Truly. I used to love musicals as a child, so I enjoyed the references he tossed about the stage. However, as I mentioned to him in the bar afterwards, I didn’t catch any reference to Mary Poppins whom some of you may know is my role model in life. He confessed that he hadn’t made one. Horrified, with appropriate Mary Poppins style and manner,I suggested that he rectify this, after all, you may remember, she is practically perfect in every way. He smiled, kissed me on both cheeks and thanked me effusively, delighted with the idea. So when you catch the play, which you must, listen out for Mary.

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Art in The Algarve

Taking Shape

Stranger’s faces begin to form: a long nose

painted lips, a small smile, crow’s feet.

A pony tail hangs down. A fringe stands out.

There are drawn brows, classical

cheek bones. The group is beginning to take shape.

 

After touching down in Faro, Portugal, I pinpoint

Accents – Monaghan, Chicago, Donegal –

in the narrow, cobbled, sun twisted streets.

We have come to Olhao to paint in a place

where the sun softens, shadows sharpen light,

blue seas glaze and glint. Here, our paint

brushes and pencils are poised over thick gram

paper to create characters and colour.

En mass, our group divides, multiplies

shoals of silver

in cobalt blue, or would it be aqua marine?

 

The Child

Out of this blue, whatever its hue, I discover a child

Escaping old haunts: A fear of inadequacy begins to glide,

Over my wrinkles, like the ripples of the ocean I stare at this morning,

while I write and drink expresso.

The fear vibrates and glistens with sickening familiarity.

It is unexpected after forty years.

I try to rationalise:

The group provides a reason for my existence

I am here to take part in its shifting pigment

to be a vermillion green mixed from a primary yellow and red

It doesn’t matter that I am learning.

I am not inadequate.

No one is too old to appreciate a new perspective.

 

Market Day

Thirteen places, laid for breakfast: white square plates

Serviettes, invite the fresh of day to step forward.

Bread rolls, croissants, bananas, berries, eggs, fruit and yoghurt.

One by one, people come, greeting morning, go to and fro

Table to kitchen, in and out, scattering. Re-assembling.

 

Outside, in the sun, on the sea front, farmers’ crates are piled

with dried lavender, cheese, fresh flowers, kumquats,

live hens, and lanky rabbits, spicy cakes, fruit and vegetables.

Crowds drift, peer and point, gossip. Brown fingers

gesticulate. In all the excitement, the glittering sea stretches

beyond, unremarked, no longer dominant. On the cobbles,

In the lanes, around the squares, people parade, sit in cafes

baskets brimming with beans, potatoes, carrots and conversations.

 

A Demonstration

‘Squint your eyes to see light and dark.

Your muscles are your tools.

Adventure and discovery must be fixed.

There’s no hiding in watercolour.’

 

On the roof top terrace, Michelle loads a squirrel,

she twists its flourish and paints a flower:

a two-tone Iris, blue and yellow. From the tower

where the storks nest, the church bell chimes,

embellishing the calm of the afternoon as we perform

Art in the Algarve. Somewhere, a dog barks.

 

FADO Evening

Castanets in tune to Strauss.

Not all that nice. Bottles of wine

stand in lines, like soldiers, and we dance.

 

A Day Off

I sit on my terrace, smoking. It is coloured with clematis

Wound around wrought iron. I look out over tiny cobbled

lanes, white shining squares. Bins too.

I observe waif like people ravaging through.

 

On the promenade, waiting for the ferry, I watch women

parade and children scamper. We board. Joanna says

I’ll sit here. I don’t want to hooray henry all over the boat.”

I smile, make a note. She is in good humour.

 

The Rio Formosa National Park

On the beach, tall tussocks of yellow and green grass

Billow in the salted sea breeze, planted, I believe

To prevent erosion. They create a landscape

Over the sea, prettily ringed with delicate strings

of brown sea weed. Ribbed white clouds, like silver sardines

swimming the sky. The extraordinary light flattens the earth

stretches as far as the eye can see.

 

We have a jug of sangria and a ‘dose’ of chips.

Later, on our way home, I sit outside Café Convivio

my toes in the sand, listening to birdsong, admiring

the succulents.  The sky is quilted with pools of light.

 

 

Time for Murder

We are thirteen around the table. The perfect number

For a mystery murder, victims and killers.

Suddenly, Belgian detectives stalk the cobbles

Between courses of pasta and shrimp

Octopus and black pudding, chicken wings

Chocolate mousse dissolves into

Tears, stomachs nursed in howls of laughter.

 

Breakfast

Melon, strawberry and pineapple breakfast

With rolls of cheese, hubbub of dreams

Regaled, making nonsense of days where we

Brush in birdsong: mine flat and stark.

Colours sing in conversation creating dynamics

 

Portraits

Shapes and lines turn into eyes and noses

Unaligned, too close but a stance is caught

A curve of cheek captures a face, a nail on a

Hand draped on a knee, still life, moving

Poetry.

 

Vera paints cheek in pink straw. Carmel decorates with haiku

Grainne constructs with long quiet lines. Joanna draws attention.

Colleen pinks her sparkle. David paints in contemplation.

Sue discovers pencil. Damien draws a diary.

Dorothy shows how it’s done.

 

Dinner

Rare bloody beef, pale cream veal

Refreshing white wine, gateaux de caramello

A broken chair. We conclude

Dancing on tables.

 

Last Day

The glow of the blue and yellow Iris has dimmed

Petals are dying on the chrysanthemums. We

Give thanks to our brushes and materials

with poems and words that glow

and go out to dinner, yet again.

 

Leaving

It is early morning. Suitcases are packed

One taxi has left. On the neighbour’s terrace

Life hangs on the line, still in the light:

blue t shirts, a pink camisole, stripy pants.

I bow a goodbye.

 

Aeroplane

I watch a woman in a blue cardigan. She holds

A plastic fork and plucks round green of grape

From a plastic container and pops it in

Her mouth. The squares of orange and melon

She places with care in a bowl beside her.  I

Wonder why. Does she not like the colour?

 

I think how individual postures and actions are

only ever questioned by a stranger’s difference.

This week, I rediscovered a quiet me. I remembered

How, as a child, I found conversation difficult.

Unless I felt passionate, I preferred to listen

drift into dream –  as all my teachers

complained. In my twenties, I lived for my

passions:  justice, words, eating and drinking

I didn’t stop talking. then in my thirties and forties

It was all work and rearing children.

 

I didn’t notice the quiet go.

It took a landscape of strangers in a foreign place

to acknowledge the young in me again.

 

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Poetry in Cork

Sunshine lanced the streets of Cork last week as I dashed across rivers and grand parades and malls between the butter market, Nano Nagle house, the library and theatre, discovering poems – specifically in markets, libraries, theatres but also metaphorically in the river, the streets, the cobbled lanes, churches and art galleries. Cork is a fine city, indeed, and last week it was a cornucopia of poets, poems, and performances and the perfect setting for The international poetry festival organised by Pat Cotter and James O’Leary of the Munster Literature Centre.

It was a fabulous week of words – both poetic and conversational. Every morning, over fruit, museli tea and toast, Geraldine Mitchell and I waxed and waned over Pat Boran, Sasha Dugdale, David Harsent, Kim Addonizio, Jessica Traynor, Kim Moore and other fine poets, too many to list.

My days began with the workshops in the beautifully renovated Nano Nagle house. The Wednesday facilitator was Pat Boran. My poem was up first for discussion. Well, it was less of a discussion and more of an opportunity for Pat to take the poem, hang it upside down and shake out its flaws, using them to discuss the importance of shape, sequences and trajectories. He said he thought my poem was written by a young girl. Now since I am a woman hitting 60 this year, with all anxst and grumpy jaundice associated with that age, I was thrilled to know my poem still had bounce, innocence and naivety! I joke. All the facilitators (I don’t like the word ‘master’) were interesting, informative with very different styles. The men were confident and assertive, the women were attentive to detail. Tout ca change.

The poetry sessions in the afternoons in the library had a raggle-taggle, bohemian flavour. People drifted in and out, to and fro, and the beloved poems tripped around the book shelves and library patrons in excitement and glee. The hard listening came in the evening at the Cork Arts Theatre. The poetry was delectable, compassionate, dialectical, heart rending, real, humorous, but you need to listen hard to appreciate its pleasures. So, at the end of the day, I staggered back up the hill to the Buttermarket B&B and fell between my sheets, exhausted, but exhilarated and excited for breakfast when I could mull over the strengths and foibles of the poems and poets I had heard with Geraldine.

The highlight of the festival for me was Tomasz Rozycki, a polish poet whose book I ordered immediately from Zephyr Press in the States. I got so excited by his poems. They were tense, political, emotional, dark, light, beautiful and clever. His performance was magical. I also loved Kathryn Maris whose book I couldn’t buy as I had run out of money…but I will track it down again. Billy Collins performed the grand finale. His poems have a special place in my heart. He makes me laugh and leaves me chastened at the same time.

Now, I am back in Cavan, living the Brexit nightmare  and already missing my Cork breakfasts and poems! But Poppins is happy to see me,  the sun is still shining and I still have the cheeses from the English Market to eat!poppins in cavan

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The Perils of Wisdom and Brexit.

I write best early in the morning. It’s when my brain is at its most creative i.e. half asleep. However, recently I have been only scrapping at poems and barely snatching at stories because I have found a position in the centre of my queen sized bed with the folds of my duvet all but crowning my head. My face is feather nested in a goose down pillow which is resting between two other pillows so that feathers and cotton tumble around my ears giving me a sense of floating amongst heavenly clouds. It is an extremely comfortable position, and particularly difficult to wrest myself from in order to face the blank of a page.

By the time, I do emerge to do battle with kettles, fish food, dog biscuits, lap tops and get the pillows restructured to provide the correct support for writing, the morning is half gone and other activities are pressing: dog walking, life admin, workshop prep, swimming, reading, news, cooking and sprawling. My brain has disengaged with its creative side and checked into the pragmatic and practical ‘to do’ section of the day. It’s as if my brain is on a conveyor belt and the hours are the machinists fine tuning its operation. I don’t write in the afternoon. I edit, but if I’m not writing, there is nothing to edit. I wonder if this routine is an ‘age’ thing. As you get older, change becomes more alarming. For instance, travelling never bothered me. I got my passport, ticket, got on a bus to the airport, moved through security and looked forward to eating mixed nuts at the Gate. Now, suddenly, I have become aware of everything that could go very wrong. Wisdom has got the better of me.

The only poem I have written, recently, is about this feeling I have that a ‘mantel of wisdom’ has descended upon me since my mother died. I feel as if I have absorbed her perception, insights and acumen about the world (sadly, much of which was negative) and it is rather disturbing. I preferred being a child of learning which had a more positive, naive perspective. Maybe this is all nonsense and it is only Brexit, the EU, Trump, and Facebook playing with my head. Nothing to do with getting old and cranky, or descending mantels of wisdom. However, it is unsettling because what do you do with wisdom? It is appreciated by no-one!

I have also been dabbling with painting, this year as I got paints for Christmas. I have been trying to draw flowers and copying Ravilious’ water colours. It doesn’t tax my brain as much as writing, but the end results are alarming. The flowers are flat, my Ravilious bridges and trains are wonky and the South Downs positively misshapen. I always knew my perspective on life was a little weird, but when it comes to art, it is frightening. Very Brexit. I do like the colouring, though, and I while away the hours, content. It also distracts me from my new-found wisdom! Focusing on shadows and depth, I don’t have to think.

And, may be that is what I like at the moment. Not thinking. And that is why I am not writing because writing forces me clarify my thoughts. After all, this year I celebrate 60, and thirty years of marriage, and, surely, that is clarification enough! And really, who can think about Brexit anymore?

kate at writers centre

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