John Pennington’s life is in the doldrums. Looking for new opportunities and prevaricating about getting married, the only joy on the horizon was an upcoming visit to his grandmother in Sorrento, Italy.
Suddenly, he is left at the check-in counter with a message on his phone telling him the marriage is off, and the relationship is over.
If only he hadn’t promised a friend he would do a favour for him in Rome.
At the first stop, Geneva, he has a chance encounter with Zoe, an intriguing woman who captures his imagination from the moment she boards the Savoire, and his life ventures into uncharted territory in more ways than one.
That ‘favour’ for his friend suddenly becomes a life-changing event, and when Zoe, the woman who he knows is too good to be true, reappears, danger and death follow.
Shot at, lied to, seduced, and drawn into a world where nothing is what it seems, John is dragged into an adrenaline-charged undertaking, where he may have been wiser to stay with the ‘devil you know’ rather than opt for the ‘devil you don’t’.
Every time I close my eyes, I see something different.
I’d like to think the cinema of my dreams is playing a double feature but it’s a bit like a comedy cartoon night on Fox.
But these dreams are nothing to laugh about.
Once again there’s a new instalment of an old feature, and we’re back on the treasure hunt.
…
“Why are we still here,” Boggs asked.
A small crowd had gathered to watch the police, some vocal about them finally doing what they should have some time ago. Very few people liked Rico and rumours were rife about his alleged participation in trafficking drugs.
The fact the current Sherriff hadn’t arrested him before now was said to be because he was corrupt, but nobody would say so out loud. I felt sorry for the Sherriff because my mother said he had made it quite clear he was not working for anyone but the city that employed him, and that no one was above the law.
But I’d only heard one person question why he was not here, using the event as part of his campaign for re-election.
“Curiosity,” I said.
“About what. I thought the situation explained itself. Rico’s finally been caught red-handed.”
“I’m not so sure/it was him. Were you watching the boat the whole time when you were waiting for me?”
“What do you mean?”
“If you were, you would have seen him on the boat, join the others and leave. Did it look like they were killing a man below deck?”
How the hell should I know? As you said, it was below deck.”
“But the boat would have been moving, well, the mast really.”
“With the wash coming towards it from the fools who drive their boats too fast. Good luck with that. Do you want Rico to get off, and then come terrorize us. That’s what’s going to happen if they let him go.”
“I don’t think so.”
Despite his protestations, Boggs was as interested in what was unfolding as I was. Only I suspect he wanted to see Rico locked up, if possible, forever. Quite a few people would, and none more than the Benderby’s.
Boggs might not realise it, but his quest for the treasure was at the heart of this. Had Rico tried to double-cross the Benderby’s? He was trying to get Nadia to steal the map from Rico, and perhaps Rico had discovered Benderby was trying to cut him out of the deal.
Had Rico threatened them, and was this how they rep[aid disloyalty?
Or was it my original thought, that the Benderby’s were looking for an easy target?
“I’m going. Coming?” Boggs had lost interest.
“No. Not yet. I want to see what Alex is going to do.”
“Alex Benderby? What’s he doing here?”
“He just conveniently arrived on his father’s boat, which means he wasn’t very far away.”
“Of course not. They’ve been having engine troubles for the last month. They were probably out testing the repairs.”
“How do you know that?”
“Rico. He thinks it’s hilarious they spent so much money on that boat and haven’t got a full day of sailing out of it. More money than sense, that lot.”
I looked in the direction of Alex’s boat and he was coming ashore. So were the divers, now out of their suits and dressed casually, and for the sake of looking normal, with three women, one of whom looked like Nadia.
“Anyway, I’ve decided,” he said, “we’re doing this treasure hunt on our own. I don’t trust anyone but you. It was a mistake thinking Alex would help. Call me tomorrow when you’re free. We have to start planning.”
“OK.”
I didn’t see him leave. I was too busy watching the group with Alex. It was Nadia, and she was looking very cosy next to him.
How can something so simple become so complicated and complex?
In New York, it seemed impossible to get exactly what you would like. The coffee there is driven by what the machine interprets you want, aside from the language constraints due to the fact that English (or American) comes in a zillion different flavours.
So, what do I like (you notice I don’t say ‘want’)
A double shot Latte with two sugars and half a shot of vanilla. That’s in a large cup.
As we all know coffee can come in a regular, large, or extra-large cup, but hang on, these cup sizes sometimes have names, and you need to know what these names are.
My efforts to point out the cup size in New York often had horrendous consequences when the cup piles were close together. Sometimes it was a double shot in a regular cup and a single shot in an extra-large cup.
One even had the name benti, or bento, or something like that.
Being old and decrepit, my memory for cup sizes isn’t all that great, so using a name in one shop that doesn’t have that size, well, you get it.
It seems not only coffee makers in New York have a problem producing consistent coffee.
Perhaps, then, that’s half the charm of drinking it, the fact that no cup is ever the same.
And, when an outlet gets it right, finally, they go and change the coffee bean supplier, and all of a sudden, it’s bitter, or it’s lighter, as coffee shops try to reduce their costs and maximise profits.
Six dollars is a lot of money for a cup of coffee unless of course, you have to feed that addiction, in which case, you’ll have a cup at whatever the cost.
I need coffee right now, so it’s off to the cupboard to see what’s available.
Maccona instant, which is not bad
A Nespresso long black – ok, don’t get me started with Nespresso because they have numbers from 1 to 12, possibly more, recognising strengths, and I usually have a double shot using a 10 and a 12.
And, yes, they fool around with the type of beans they use because there seem to be inconsistencies in potency from time to time.
Then there are coffee bags, much the same as tea bags, which produces and interestingly flavoured brew which I’m still trying to figure out. It tastes like coffee, but there’s something else there, like … paper?
From Mire to Might: Your Blueprint for Conquering Passive Voice and Forging Powerful Prose
Ah, the passive voice. It’s the literary equivalent of that comfy old couch you sink into – sometimes it feels just right, but often it leaves you feeling a bit… flabby. As writers, we all know it exists. We’ve read the rules, seen the examples. Yet, like a sneaky saboteur, it still manages to creep into our drafts without us even realising it. One minute you’re flowing, the next you’re rereading a paragraph and thinking, “Wait, who’s actually doing this action?”
The struggle is real. Training ourselves to consistently choose active voice isn’t about memorising rules; it’s about rewiring our writing instincts. It’s about pulling ourselves out of that linguistic mire before we’ve even completely sunk. So, how do we practice this art, consciously and effectively? Let’s dive in.
Why Bother? A Quick Reminder of Active Voice’s Superpowers
Before we get to the “how,” let’s quickly refresh why active voice is so crucial for powerful writing:
Clarity: It leaves no doubt about who or what is performing the action.
Directness: It cuts straight to the point, avoiding unnecessary words.
Impact: It feels stronger, more confident, and more authoritative.
Engagement: It draws the reader in, making your sentences more dynamic.
Conciseness: It often shortens sentences, tightening your prose.
In short, active voice breathes life and energy into your words.
Your Training Regimen: Exercises to Forge Active Voice Habits
This isn’t about shaming; it’s about sharpening. Here’s how to build your active voice muscle.
1. The “Be” Test & The “By Whom/What” Test (Your Detector Tools)
First, you need to be able to spot the passive voice.
The “Be” Test: Look for forms of the verb “to be” (is, am, are, was, were, be, being, been) followed by a past participle (a verb usually ending in -ed or -en).
Example: “The report was written by Jane.” (was + written)
Example: “Mistakes were made.” (were + made)
Important Note: Not every “to be” verb indicates passive voice, but it’s a huge flag to investigate.
The “By Whom/What” Test: If you can add “by [someone/something]” after the verb without the sentence becoming nonsensical, it’s likely passive.
Example: “The decision was made (by the committee).” Passive
Example: “She is happy (by her dog).” Not passive
Practice Drill: Go through a recent piece of your writing. With a highlighter (digital or physical), mark every instance where you see a “be” verb + past participle, and then apply the “by whom/what” test. Don’t correct yet – just identify. This trains your eye.
2. The “Who’s Doing What?” Drill (Rewiring Your Brain)
Once you’ve identified a passive sentence, your next step is to consciously find the actor and make them the star.
Step A: Find the Action. What is the main action taking place?
Step B: Find the Actor. Who or what is performing that action? (This might be hidden in a “by” phrase or completely absent).
Step C: Reconstruct. Make the actor the subject of the sentence, followed by the active verb, and then the object.
Passive: “The novel was written by a young author.”
Action: “written”
Actor: “a young author”
Active: “A young author wrote the novel.”
Passive: “Numerous errors were found during the review.”
Action: “found”
Actor: (Not explicitly stated, but implied: the reviewers)
Active: “The reviewers found numerous errors during the review.” (Or, if the reviewers are truly irrelevant, consider rephrasing entirely: “The review revealed numerous errors.”)
Practice Drill: Take all those highlighted passive sentences from your previous exercise. Now, rewrite each one into active voice. Focus on making the actor explicit and the verb direct. Do this rapidly, like a quick-fire exercise, to build speed and instinct.
3. The “Passive Purge” Editing Round (Systematic Correction)
When you’re drafting, don’t stop the flow to correct passive voice. Get your ideas down. The dedicated passive voice editing round comes after the initial draft.
First Pass: Write freely.
Second Pass (or later): Go through your entire draft, specifically looking for passive constructions. Treat it like a scavenger hunt. Tools like Grammarly or ProWritingAid can help flag them, but don’t just accept their suggestions blindly – understand why it’s passive and actively choose the best active alternative.
Practice Drill: Schedule a “Passive Purge” session for every piece of writing you produce for the next month. Make it a non-negotiable step in your editing process. The more you consciously identify and correct, the more your brain will start to flag it during the drafting stage.
4. Read Aloud (The Auditory Test)
Passive voice often sounds clunky, wordy, and indirect. Reading your work aloud forces you to hear the rhythm and flow (or lack thereof).
Practice Drill: Whenever you’re unsure about a sentence, read it aloud. If it sounds circuitous or less energetic than it could be, chances are a passive construction is lurking. Then, try rephrasing it actively and read that version aloud too. The difference in impact will often be stark.
5. Don’t Be a Zealot (Embrace the Nuance)
While active voice is generally stronger, passive voice does have its place. The goal isn’t to eradicate it entirely, but to use it consciously and strategically, not accidentally.
When passive is okay (or even preferred):
When the actor is unknown or unimportant: “The email was sent at midnight.” (Who sent it isn’t the point.)
When you want to emphasise the action or the recipient of the action over the actor: “The groundbreaking discovery was made in 2023.”
When you want to deliberately avoid naming the actor (for political or diplomatic reasons): “Mistakes were made.”
To vary sentence structure: Sometimes a passive sentence can provide a welcome rhythm change, if used sparingly.
Practice Drill: For every passive sentence you choose to keep, briefly note down why. This reinforces your understanding of its strategic uses and prevents it from being a crutch.
The Long Game: Consistency is Key
Training yourself to default to active voice is like building any other muscle – it requires consistent effort. You’ll stumble, you’ll miss things, and sometimes, a passive sentence will genuinely slip through. That’s okay. The goal isn’t perfection, but progress.
Make these drills a regular part of your writing routine. The more you consciously engage with identifying and transforming passive constructions, the deeper that active voice habit will embed itself. Soon, you’ll find yourself not just pulling yourself out of the mire, but steering clear of it altogether, forging prose that is undeniably powerful, clear, and impactful.
The Static of Solitude: Generating Electricity from the Void
In the quiet corners of our lives, we often look for grand catalysts to spark change. We wait for lightning, for a massive surge, for the dramatic shift that flips the switch from darkness to light. But as Paul Auster masterfully demonstrates in his haunting novella Ghosts, the most persistent electric tension doesn’t come from a thunderstorm. It is generated by the friction of almost nothing at all.
In Ghosts, Blue is hired by White to watch Black. He sits in a room in Brooklyn, staring out a window, day after day, waiting for something to happen. Nothing happens. And yet, the tension in the book is palpable—it is a live wire humming with a lethal, invisible current.
How does Auster generate such high-voltage suspense out of such absolute emptiness? The answer is a lesson in the physics of the human psyche: Voltage is measured by the gap, not the density.
1. The Power of the Potential Difference
In electrical engineering, voltage is the difference in potential energy between two points. If two points are identical, there is no flow. If they are vastly contrasted but held in proximity, the potential for a spark becomes infinite.
Auster creates this “potential difference” by placing Blue in a state of sensory deprivation and forced observation. By stripping away the noise of the world—the plot, the dialogue, the movement—he creates a vacuum. When you remove everything, the smallest stimulus starts to vibrate with impossible weight. A man across the street shifting his chair; the color of a notebook; the act of writing a report that says nothing. In a void, these tiny inputs act like high-frequency waves. We are conditioned to look for meaning, and when the narrative denies us that meaning, our brains begin to arc across the terminals of the story, creating heat, pressure, and electric tension.
2. The Loop of Infinite Reflection
Ghosts is a hall of mirrors. Blue watches Black, but Blue is also being watched by White (or is he?). The act of observation becomes a closed circuit.
When you generate energy from “very little,” you must create a feedback loop. In the novella, there is no external power source. The energy comes from the loop itself—the circularity of the characters’ existences. Because the characters cannot escape their roles, the tension builds internally. It is a kinetic process: the harder you try to resolve the nothingness, the more tension you generate. Auster shows us that the most exhausting, high-voltage way to live is to remain trapped in a state of unresolved surveillance.
3. The Art of the Static
Think of the static electricity you feel on a dry winter day. It’s barely visible—a tiny prick against your skin—but it is the result of a massive buildup of separated charges.
Auster writes with “static” in mind. He keeps his prose sparse, almost clinical. He doesn’t give us the “lightning strike” of a dramatic climax. Instead, he maintains a steady, low-humming current of uncertainty. By withholding information, he forces the reader to provide the energy. We are the ones who supply the voltage; we are the ones who worry, who speculate, and who feel the jump-scare of a simple sentence like, “Black is reading a book.”
Generating Your Own Spark
If you have ever felt the crushing weight of a quiet Sunday, or the agonising tension of waiting for a message that never comes, you understand the physics of Ghosts. We don’t need grand events to feel the thrill of the “electric.” We only need:
A Vacuum: Remove the distractions that act as insulators.
A Gap: Set up a situation where you are observing something you cannot influence.
The Loop: Allow yourself to ruminate on the point of contact.
In the end, Auster teaches us that “very, very little” is actually a massive reservoir of power. You don’t need a hurricane to light up the room. Sometimes, all you need is a single, solitary figure in a room, waiting for the silence to speak.
The tension isn’t in the event. The tension is in the waiting. And that, as it turns out, is enough to power an entire world.
It was the first time in almost a week that I made the short walk to the cafe alone. It was early, and the chill of the morning was still in the air. In summer, it was the best time of the day. When Susan came with me, it was usually much later, when the day was much warmer and less tolerable.
On the morning of the third day of her visit, Susan said she was missing the hustle and bustle of London, and by the end of the fourth she said, in not so many words, she was over being away from ‘civilisation’. This was a side of her I had not seen before, and it surprised me.
She hadn’t complained, but it was making her irritable. The Susan that morning was vastly different to the Susan on the first day. So much, I thought, for her wanting to ‘reconnect’, the word she had used as the reason for coming to Greve unannounced.
It was also the first morning I had time to reflect on her visit and what my feelings were towards her. It was the reason I’d come to Greve: to soak up the peace and quiet and think about what I was going to do with the rest of my life.
I sat in my usual corner. Maria, one of two waitresses, came out, stopped, and there was no mistaking the relief in her manner. There was an air of tension between Susan and Maria I didn’t understand, and it seemed to emanate from Susan rather than the other way around. I could understand her attitude if it was towards Alisha, but not Maria. All she did was serve coffee and cake.
When Maria recovered from the momentary surprise, she said, smiling, “You are by yourself?” She gave a quick glance in the direction of my villa, just to be sure.
“I am this morning. I’m afraid the heat, for one who is not used to it, can be quite debilitating. I’m also afraid it has had a bad effect on her manners, for which I apologise. I cannot explain why she has been so rude to you.”
“You do not have to apologise for her, David, but it is of no consequence to me. I have had a lot worse. I think she is simply jealous.”
It had crossed my mind, but there was no reason for her to be. “Why?”
“She is a woman, I am a woman, she thinks because you and I are friends, there is something between us.”
It made sense, even if it was not true. “Perhaps if I explained…”
Maria shook her head. “If there is a hole in the boat, you should not keep bailing but try to plug the hole. My grandfather had many expressions, David. If I may give you one piece of advice, as much as it is none of my business, you need to make your feelings known, and if they are not as they once were, and I think they are not, you need to tell her. Before she goes home.”
Interesting advice. Not only a purveyor of excellent coffee, but Maria was also a psychiatrist who had astutely worked out my dilemma. What was that expression, ‘not just a pretty face’?
“Is she leaving soon?” I asked, thinking Maria knew more about Susan’s movements than I did.
“You would disappoint me if you had not suspected as much. Susan was having coffee and talking to someone in her office on a cell phone. It was an intense conversation. I should not eavesdrop, but she said being here was like being stuck in hell. It is a pity she does not share your love for our little piece of paradise, is it not?”
“It is indeed. And you’re right. She said she didn’t have a phone, but I know she has one. She just doesn’t value the idea of getting away from the office. Perhaps her role doesn’t afford her that luxury.”
And perhaps Alisha was right about Maria, that I should be more careful. She had liked Maria the moment she saw her. We had sat at this very table, the first day I arrived. I would have travelled alone, but Prendergast, my old boss, liked to know where ex-employees of the Department were, and what they were doing.
She sighed. “I am glad I am just a waitress. Your usual coffee and cake?”
“Yes, please.”
Several months had passed since we had rescued Susan from her despotic father; she had recovered faster than we had thought, and settled into her role as the new Lady Featherington, though she preferred not to use that title, but go by the name of Lady Susan Cheney.
I didn’t get to be a Lord, or have any title, not that I was expecting one. What I had expected was that Susan, once she found her footing as head of what seemed to be a commercial empire, would not have time for details like husbands, particularly when our agreement made before the wedding gave either of us the right to end it.
There was a moment when I visited her recovering in the hospital, where I was going to give her the out, but I didn’t, and she had not invoked it. We were still married, just not living together.
This visit was one where she wanted to ‘reconnect’ as she called it, and invite me to come home with her. She saw no reason why we could not resume our relationship, conveniently forgetting she indirectly had me arrested for her murder, charges both her mother and Lucy vigorously pursued, and had the clone not returned to save me, I might still be in jail.
It was not something I would forgive or forget any time soon.
There were other reasons why I was reluctant to stay with her, like forgetting small details, an irregularity in her character I found odd. She looked the same, she sounded the same, she basically acted the same, but my mind was telling me something was not right. It was not the Susan I first met, even allowing for the ordeal she had been subjected to.
But, despite those misgivings, there was no question in my mind that I still loved her, and her clandestine arrival had brought back all those feelings. But as the days passed, I began to get the impression my feelings were one-sided and she was just going through the motions.
Which brought me to the last argument, earlier, where I said if I went with her, it would be business meetings, social obligations, and quite simply her ‘celebrity’ status that would keep us apart. I reminded her that I had said from the outset I didn’t like the idea of being in the spotlight, and when I reiterated it, she simply brushed it off as just part of the job, adding rather strangely that I always looked good in a suit. The flippancy of that comment was the last straw, and I left before I said something I would regret.
I knew I was not a priority. Maybe somewhere inside me, I had wanted to be a priority, and I was disappointed when I was not.
And finally, there was Alisha. Susan, at the height of the argument, had intimated she believed I had an affair with her, but that elephant was always in the room whenever Alisha was around. It was no surprise when I learned Susan had asked Prendergast to reassign her to other duties.
At least I knew what my feelings for Alisha were, and there were times when I had to remember she was persona non grata. Perhaps that was why Susan had her banished, but, again, a small detail; jealousy was not one of Susan’s traits when I first knew her.
Perhaps it was time to set Susan free.
When I swung around to look in the direction of the lane where my villa was, I saw Susan. She was formally dressed, not in her ‘tourist’ clothes, which she had bought from one of the local clothing stores. We had fun that day, shopping for clothes, a chore I’d always hated. It had been followed by a leisurely lunch, lots of wine and soul searching.
It was the reason why I sat in this corner; old habits die hard. I could see trouble coming from all directions, not that Susan was trouble or at least I hoped not, but it allowed me the time to watch her walking towards the cafe in what appeared to be short, angry steps; perhaps the culmination of the heat wave and our last argument.
She glared at me as she sat, dropping her bag beside her on the ground, where I could see the cell phone sitting on top. She followed my glance down, and then she looked unrepentant back at me.
Maria came back at the exact moment she was going to speak. I noticed Maria hesitate for a second when she saw Susan, then put her smile in place to deliver my coffee.
Neither spoke nor looked at each other. I said, “Susan will have what I’m having, thanks.”
Maria nodded and left.
“Now,” I said, leaning back in my seat, “I’m sure there’s a perfectly good explanation as to why you didn’t tell me about the phone, but that first time you disappeared, I’d guessed you needed to keep in touch with your business interests. I thought it somewhat unwisethat you should come out when the board of one of your companies was trying to remove you, because of what was it, an unexplained absence? All you had to do was tell me there were problems and you needed to remain at home to resolve them.”
My comment elicited a sideways look, with a touch of surprise.
“It was unfortunate timing on their behalf, and I didn’t want you to think everything else was more important than us. There were issues before I came, and I thought the people at home would be able to manage without me for at least a week, but I was wrong.”
“Why come at all. A phone call would have sufficed.”
“I had to see you, talk to you. At least we have had a chance to do that. I’m sorry about yesterday. I once told you I would not become my mother, but I’m afraid I sounded just like her. I misjudged just how much this role would affect me, and truly, I’m sorry.”
An apology was the last thing I expected.
“You have a lot of work to do catching up after being away, and of course, in replacing your mother and gaining the requisite respect as the new Lady Featherington. I think it would be for the best if I were not another distraction. We have plenty of time to reacquaint ourselves when you get past all these teething issues.”
“You’re not coming with me?” She sounded disappointed.
“I think it would be for the best if I didn’t.”
“Why?”
“It should come as no surprise to you that I’ve been keeping an eye on your progress. You are so much better doing your job without me. I told your mother once that when the time came I would not like the responsibilities of being your husband. Now that I have seen what it could possibly entail, I like it even less. You might also want to reconsider our arrangement, after all, we only had a marriage of convenience, and now that those obligations have been fulfilled, we both have the option of terminating it. I won’t make things difficult for you if that’s what you want.”
It was yet another anomaly, I thought; she should look distressed, and I would raise the matter of that arrangement. Perhaps she had forgotten the finer points. I, on the other hand, had always known we would not last forever. The perplexed expression, to me, was a sign she might have forgotten.
Then, her expression changed. “Is that what you want?”
“I wasn’t madly in love with you when we made that arrangement, so it was easy to agree to your terms, but inexplicably, since then, my feelings for you changed, and I would be sad if we parted ways. But the truth is, I can’t see how this is going to work.”
“In saying that, do you think I don’t care for you?”
That was exactly what I was thinking, but I wasn’t going to voice that opinion out loud. “You spent a lot of time finding new ways to make my life miserable, Susan. You and that wretched friend of yours, Lucy. While your attitude improved after we were married, that was because you were going to use me when you went to see your father, and then almost let me go to prison for your murder.”
“I had nothing to do with that, other than to leave, and I didn’t agree with Lucy that you should be made responsible for my disappearance. I cannot be held responsible for the actions of my mother. She hated you; Lucy didn’t understand you, and Millie told me I was stupid for not loving you in return, and she was right. Why do you think I gave you such a hard time? You made it impossible not to fall in love with you, and it nearly changed my mind about everything I’d been planning so meticulously. But perhaps there was a more subliminal reason why I did because after I left, I wanted to believe, if anything went wrong, you would come and find me.”
“How could you possibly know that I’d even consider doing something like that, given what you knew about me?”
“Prendergast made a passing comment when my mother asked him about you; he told us you were very good at finding people and even better at fixing problems.”
“And yet here we are, one argument away from ending it.”
I could see Maria hovering, waiting for the right moment to deliver her coffee, then go back and find Gianna, the café owner, instead. Gianna was more abrupt and, for that reason, was rarely seen serving the customers. Today, she was particularly cantankerous, banging the cake dish on the table and frowning at Susan before returning to her kitchen. Gianna didn’t like Susan either.
Behind me, I heard a car stop, and when she looked up, I knew it was for her. She had arrived with nothing, and she was leaving with nothing.
She stood. “Last chance.”
“Forever?”
She hesitated and then shook away the look of annoyance on her face. “Of course not. I wanted you to come back with me so we could continue working on our relationship. I agree there are problems, but it’s nothing we can’t resolve if we try.”
I had been trying. “It’s too soon for both of us, Susan. I need to be able to trust you, and given the circumstances, and all that water under the bridge, I’m not sure if I can yet.”
She frowned at me. “As you wish.” She took an envelope out of her bag and put it on the table. “When you are ready, it’s an open ticket home. Please make it sooner rather than later. Despite what you think of me, I have missed you, and I have no intention of ending it between us.”
That said, she glared at me for a minute, shook her head, then walked to the car. I watched her get in and the car drive slowly away.
Would you give up everything to be with the one you love?
…
Is love the metaphorical equivalent to ‘walking the plank’; a dive into uncharted waters?
For Henry, the only romance he was interested in was a life at sea, and when away from it, he strived to find sanctuary from his family and perhaps life itself. It takes him to a small village by the sea, a place he never expected to find another just like him, Michelle, whom he soon discovers is as mysterious as she is beautiful.
Henry had long since given up the notion of finding romance, and Michelle couldn’t get involved for reasons she could never explain, but in the end, both acknowledgedthat something had happened the moment they first met.
Plans were made, plans were revised, and hopes were shattered.
A chance encounter causes Michelle’s past to catch up with her, and whatever hope she had of having a normal life with Henry, or anyone else, is gone. To keep him alive, she has to destroy her blossoming relationship, an act that breaks her heart and shatters his.
But can love conquer all?
It takes a few words of encouragement from an unlikely source to send Henry and his friend Radly on an odyssey into the darkest corners of the red-light district in a race against time to find and rescue the woman he finally realises is the love of his life.
The cover, at the moment, looks like this:
Is love the metaphorical equivalent to ‘walking the plank’; a dive into uncharted waters?
For Henry, the only romance he was interested in was a life at sea, and when away from it, he strived to find sanctuary from his family and perhaps life itself. It takes him to a small village by the sea, s place he never expected to find another just like him, Michelle, whom he soon discovers is as mysterious as she is beautiful.
Henry had long since given up the notion of finding romance, and Michelle couldn’t get involved for reasons she could never explain, but in the end, both acknowledge that something happened the moment they first met.
Plans were made, plans were revised, and hopes were shattered.
A chance encounter causes Michelle’s past to catch up with her, and whatever hope she had of having a normal life with Henry, or anyone else, is gone. To keep him alive she has to destroy her blossoming relationship, an act that breaks her heart and shatters his.
But can love conquer all?
It takes a few words of encouragement from an unlikely source to send Henry and his friend Radly on an odyssey into the darkest corners of the red-light district in a race against time to find and rescue the woman he finally realizes is the love of his life.
The Static of Solitude: Generating Electricity from the Void
In the quiet corners of our lives, we often look for grand catalysts to spark change. We wait for lightning, for a massive surge, for the dramatic shift that flips the switch from darkness to light. But as Paul Auster masterfully demonstrates in his haunting novella Ghosts, the most persistent electric tension doesn’t come from a thunderstorm. It is generated by the friction of almost nothing at all.
In Ghosts, Blue is hired by White to watch Black. He sits in a room in Brooklyn, staring out a window, day after day, waiting for something to happen. Nothing happens. And yet, the tension in the book is palpable—it is a live wire humming with a lethal, invisible current.
How does Auster generate such high-voltage suspense out of such absolute emptiness? The answer is a lesson in the physics of the human psyche: Voltage is measured by the gap, not the density.
1. The Power of the Potential Difference
In electrical engineering, voltage is the difference in potential energy between two points. If two points are identical, there is no flow. If they are vastly contrasted but held in proximity, the potential for a spark becomes infinite.
Auster creates this “potential difference” by placing Blue in a state of sensory deprivation and forced observation. By stripping away the noise of the world—the plot, the dialogue, the movement—he creates a vacuum. When you remove everything, the smallest stimulus starts to vibrate with impossible weight. A man across the street shifting his chair; the color of a notebook; the act of writing a report that says nothing. In a void, these tiny inputs act like high-frequency waves. We are conditioned to look for meaning, and when the narrative denies us that meaning, our brains begin to arc across the terminals of the story, creating heat, pressure, and electric tension.
2. The Loop of Infinite Reflection
Ghosts is a hall of mirrors. Blue watches Black, but Blue is also being watched by White (or is he?). The act of observation becomes a closed circuit.
When you generate energy from “very little,” you must create a feedback loop. In the novella, there is no external power source. The energy comes from the loop itself—the circularity of the characters’ existences. Because the characters cannot escape their roles, the tension builds internally. It is a kinetic process: the harder you try to resolve the nothingness, the more tension you generate. Auster shows us that the most exhausting, high-voltage way to live is to remain trapped in a state of unresolved surveillance.
3. The Art of the Static
Think of the static electricity you feel on a dry winter day. It’s barely visible—a tiny prick against your skin—but it is the result of a massive buildup of separated charges.
Auster writes with “static” in mind. He keeps his prose sparse, almost clinical. He doesn’t give us the “lightning strike” of a dramatic climax. Instead, he maintains a steady, low-humming current of uncertainty. By withholding information, he forces the reader to provide the energy. We are the ones who supply the voltage; we are the ones who worry, who speculate, and who feel the jump-scare of a simple sentence like, “Black is reading a book.”
Generating Your Own Spark
If you have ever felt the crushing weight of a quiet Sunday, or the agonising tension of waiting for a message that never comes, you understand the physics of Ghosts. We don’t need grand events to feel the thrill of the “electric.” We only need:
A Vacuum: Remove the distractions that act as insulators.
A Gap: Set up a situation where you are observing something you cannot influence.
The Loop: Allow yourself to ruminate on the point of contact.
In the end, Auster teaches us that “very, very little” is actually a massive reservoir of power. You don’t need a hurricane to light up the room. Sometimes, all you need is a single, solitary figure in a room, waiting for the silence to speak.
The tension isn’t in the event. The tension is in the waiting. And that, as it turns out, is enough to power an entire world.
Investigations of crimes don’t always go according to plan, nor does the perpetrator get found or punished.
That was particularly true in my case. The murderer was incredibly careful in not leaving any evidence behind, to the extent that the police could not rule out whether it was a male or a female.
At one stage, the police thought I had murdered my own wife, though how I could be on a train at the time of the murder was beyond me. I had witnesses and a cast-iron alibi.
The officer in charge was Detective First Grade Gabrielle Walters. She came to me on the day after the murder seeking answers to the usual questions like, when was the last time you saw your wife, did you argue, the neighbours reckon there were heated discussions the day before.
Routine was the word she used.
Her fellow detective was a surly piece of work whose intention was to get answers or, more likely, a confession by any or all means possible. I could sense the raging violence within him. Fortunately, common sense prevailed.
Over the course of the next few weeks, once I’d been cleared of committing the crime, Gabrielle made a point of keeping me informed of the progress.
After three months, the updates were more sporadic, and when, for lack of progress, it became a cold case, communication ceased.
But it was not the last time I saw Gabrielle.
The shock of finding Vanessa was more devastating than the fact that she was now gone, and those images lived on in the same nightmare that came to visit me every night when I closed my eyes.
For months, I was barely functioning, to the extent that I had all but lost my job and quite a few friends, particularly those who were more attached to Vanessa rather than me.
They didn’t understand how it could affect me so much, and since it had not happened to them, my tart replies of ‘you wouldn’t understand’ were met with equally short retorts. Some questioned my sanity, even, for a time, so did I.
No one, it seemed, could understand what it was like, no one except Gabrielle.
She was by her own admission, damaged goods, having been the victim of a similar incident, a boyfriend who turned out to be an awfully bad boy. Her story varied only in that she had been made to witness his execution. Her nightmare, in reliving that moment in time, was how she was still alive and, to this day, had no idea why she’d been spared.
It was a story she told me one night, some months after the investigation had been scaled down. I was still looking for the bottom of a bottle and an emotional mess. Perhaps it struck a resonance with her; she’d been there and managed to come out the other side.
What happened became our secret, a once-only night together that meant a great deal to me, and by mutual agreement, it was not spoken of again. It was as if she knew exactly what was required to set me on the path to recovery.
And it had.
Since then, we saw each other about once a month in a cafe. I had been surprised to hear from her again shortly after that eventful night when she called to set it up, ostensibly for her to provide me with any updates on the case, but perhaps we had, after that unspoken night, formed a closer bond than either of us wanted to admit.
We generally talked for hours over wine, then dinner and coffee. It took a while for me to realise that all she had was her work; personal relationships were nigh on impossible in a job that left little or no spare time for anything else.
She’d always said that if I had any questions or problems about the case, or if there was anything that might come to me that might be relevant, even after all this time, all I had to do was call her.
I wondered if this text message was in that category. I was certain it would interest the police, and I had no doubt they could trace the message’s origin, but there was that tiny degree of doubt about whether or not I could trust her to tell me what the message meant.
I reached for the phone, then put it back down again. I’d think about it and decide tomorrow.
For a story that was conceived during those long boring hours flying in a steel cocoon, striving to keep away the thoughts that the plane and everyone in it could just simply disappear as planes have in the past, it has come a long way.
Whilst I have always had a fascination in what happened during the second world war, not the battles or fighting, but in the more obscure events that took place, I decided to pen my own little sidebar to what was a long and bitter war.
And, so, it continues…
Marina drove the truck slowly and carefully, without the benefit of headlights on a night that have become very dark when cloud cover moved in. A good night to be out on foot, but not in a few tons of metal.
It seemed to take longer to go back to the old factory, if that was what it was, or it may have just been my imagination. Certainly, it was rather tense in the cabin.
I wondered if what Chiara had said about not trusting me had made Marina have second thoughts of taking me back. From where we were, I would have no idea where it was, and if she dropped me off, I could not find it again.
And that fear came true a few minutes later when she pulled off to the side of the road, near some trees, and stopped, turning off the engine.
The silence crept over us like a fog.
Such was the atmosphere I found myself whispering, “What’s wrong.”
“Lights. Appearing briefly and disappearing. Like someone is following us.”
She sat still for about five minutes, looking intently at the rear vision mirrors, and at times turning around to stare of the small window at the back of the cabin.
I did too, but I couldn’t see anything, nor had I, but I hadn’t thought to look in the rear vision mirrors because I thought we were safe. How wrong I was, to assume that. If there was one lesson I should learn from what I was doing, was that I should know what’s going on around me and that at no time could I ever believe I’m safe. The moment I did and let my guard down, I would be dead. I’d been told that in London, and in a relaxed moment, I’d forgotten it. How many others had done the same and died?
A shake of her head, she got out of the truck, and quietly closed the door. I did likewise and joined her at the rear.
“What’s happening?”
“I’m going to check back over the road, see if there’s anyone following us. There have been too many instances of lights for it to be coincidental.”
“Since we left the church?” In thinking that, it meant that either Chiara or Enrico may have inadvertently, or deliberately, told someone about the meeting.
I hope it’s just my imagination, but it was shortly after we left I saw the first light.”
“Could be a local farmer stumbling around at night.”
“It could, but no one is that silly to be caught out after dark. There was a curfew, and most of us like to believe there still is.”
She looked back down the road, but all I could see was inky blackness. The moon was still hidden by dark clouds above, and it looked like there was going to be rain.
“I’ll come with you.”
“You’d be better off staying here. The last thing I need is a soldier stomping around in the dark.”
Thanks for the compliment, I thought. “Then I’ll have to be quiet, and try not to stomp.”
Even in the darkness I could feel rather than see the scowl on her face.
“As you wish, but don’t get in my way, and don’t make me shoot you.”
Short and wiry, she was built for stealth and speed, unlike the bulky soldier I was. Not that I was overfed and fat, but I was still a larger target than she was. I could just see her outline in front of me, and she was moving very quietly.
I was trying very hard to emulate her.
Then I saw it. A light going on briefly, then off, definitely in the direction we had just come from.
She had stopped and I nearly ran into her.
“You were right,” I said quietly.
“I was hoping I wouldn’t be.”
So had I. The last thing we needed was trouble, trouble that would have to be eliminated. She couldn’t have anyone else knowing about their hiding places, and meeting points.
A few minutes further along, we both heard a strange sound at the same time.
A wheel scraping against a fender? There was no engine noise. It became louder, then we saw what it was. Someone riding a bicycle. Close to the edge of the road so as to remain hidden from view because of the turns in the road, which would account for seeing the light at odd times. At the front, there was a light that was taped to show only a thin slit of light.
I saw her look around, then take hold of a long branch that had recently fallen off one of the trees, pared it down, and then waited. I could see what she was going to do.
When the bike came alongside, moving slowly because it was up a hill, and the rider was labouring hard, she poked the stick through the spokes of the front wheel, the rider just seeing her at the last moment, and not being able to avoid her.
The result was predictable, the rider went flying over the handlebars and crashed into the hard ground with a thud and a loud grunt.
My role was to jump on the rider so he, or she, couldn’t escape. Marina was right behind me and jammed a dirty rag in the persons mouth as I held them very tightly under me.
“Now what?”
This was not going to work for very long as the person under me was beginning to kick and thrash about. In a few seconds, the gag would be spat out and the silence would be shattered.
I heard the gun before I saw it, a whooshing sound near my ear just before it hit the head of the captive, and suddenly there was no more movement or sound.
“A moment’s silence.”
We rolled the figure over, and looked at the face, just visible in the near darkness. We had just been blessed with a shard of moonlight for a few seconds.
A man.
“You know him?” she asked.
Another look, just as the clouds shut off the light, and I thought so.
“One of the soldiers from the castle. How would he know we were meeting at the church?”
“He might not. Nor might he be following us, but just unlucky.”
“How so?”
“Chiara sometimes entertains men from the castle. Part of our eyes and ears. She was not part of the resistance when Fernando was in charge so they would just use her like any other enemy soldier would.”
“So this was a mistake. If he doesn’t return, then they’ll get the wrong idea.”
“Unfortunately. He has to be dealt with.”
“Killed?”
“No time to get squeamish on me. He’s an enemy soldier.”
An enemy I preferred to be some distance away from before shooting to kill. Up close and personal makes it so much harder.
“Come on. Grab his shoulders. There’s a gully over there, so we can make it look like he ran into a tree, tipped off the bike and hit his head on a rock.”
“Or a gun.”
“A few hits with a rock will fix that. I’m sure there’s no one up there that can do autopsies on bodies.”
No, there wasn’t. I just hoped I was not going to be the one that had to hit him.
Ten minutes later it was done.
We carried him to the gully, and at a suitable place laid the body as if it had landed off the bike and onto the rocks, where Marina picked up a large one and hit him several times with a lot of force the last making a sickening sound, and the blow that killed him.
I went back and collected the bicycle and staged it to meet the crash criteria, and then left.
For all intents and purposes, he had died falling off his bike after wandering off the road in the dark.
Both of us hoped it would not cause Chiara any trouble.
And, it was the first person I’d seen killed up close, and I doubted, in the coming days it would be the last. It was not a sight I was going to forget in a hurry.
Passive
Not passive
