Category: Uncategorized

365 Days of writing, 2026 – 134

Day 134 – Getting there is important too

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The Art of the Detour: Why the Journey Really Is the Destination

We are obsessed with “arriving.”

In our modern, high-speed lives, we treat travel like a logistical problem to be solved. We optimise for the shortest flight, the fastest highway route, and the most direct train line. We view the time spent in transit as a tax—a boring, uncomfortable middle-ground that we must pay in order to unlock the reward of our destination.

But what if we’ve got it backward? What if the destination is merely the period at the end of a long sentence’s worth of experience?

There is a profound, often overlooked truth in the adage: The journey is the destination. When we prioritise the “getting there,” travel shifts from a task into an art form. Here is why the road, the tracks, and the sky are often more important than the hotel lobby at the finish line.

The Myth of Through-Hiking Life

When we focus solely on the arrival, we live in a state of suspended animation. We are waiting for the vacation to start, waiting for the weekend to hit, waiting for the “real” life to begin.

When you prioritise the journey, however, you reclaim your time. You stop looking at your watch and start looking out the window. Whether it’s a winding coastal road in Italy or a cross-country Amtrak adventure, the journey forces a state of “positive boredom.” It clears the clutter of our digital lives, stripping away the emails and the notifications, leaving us with nothing but the rhythm of the movement and our own thoughts.

Serendipity Lives in the In-Between

The most memorable moments of travel rarely happen at the planned tourist attractions. They happen in the “in-between.”

Think about it: have you ever had a life-changing conversation with a stranger on a plane? Stumbled upon a roadside diner that serves the best pie you’ve ever tasted? Found a quiet, nameless overlook while your GPS recalculated a missed turn?

These moments are the dividends of a slow journey. When you take the long way, you invite the universe to surprise you. The “in-between” is where serendipity lives. A direct flight to Paris gets you to a croissant faster, but a slow train ride across the countryside introduces you to the landscape, the architecture, and the people that make Paris what it is.

The Psychology of Transition

There is a psychological necessity to the process. If you want to change your mindset, you need a buffer zone.

Travelling acts as a psychological decompression chamber. The time spent sitting in a car, train, or boat allows your brain to shift gears. You are physically detaching from the stresses of your home life and mentally preparing for the expansion of travel. If you teleported instantly to your destination, you’d likely arrive with your “home” brain still plugged in. The journey forces a transition, ensuring that by the time you arrive, you are actually ready to receive the experience.

How to Shift Your Focus

If you’ve spent your life rushing, how do you learn to savour the transit?

  • Ditch the “Most Efficient” Option: Next time you’re booking a trip, ask yourself, “Which way would be the most interesting?” instead of “Which way is the cheapest/fastest?”
  • Embrace Surface Travel: Whenever possible, choose trains over planes, or a scenic highway over an interstate. The lower your speed, the more world you get to see.
  • Build in “Gap Days”: Schedule a day of transit that has no deadline. If you get into a town at 2:00 PM, let that be the goal. If you see a beautiful village at 10:00 AM, stop for a few hours.
  • Curate Your Transit: Treat the journey as an activity. Bring the book you’ve been dying to read, the playlist you’ve been saving, or a journal to document the passing landscapes.

The Final Stop

The destination will always be there. The Eiffel Tower isn’t going anywhere; the beach will still be sand when you arrive. But the experience of the trip—the changing quality of light on the horizon, the shifting accents of the people at the rest stop, the feeling of crossing a border or a time zone—that is a fleeting, ephemeral moment that happens once.

Don’t just endure the trip. Experience it. Because when you look back on your life, you won’t remember the check-in time at your hotel. You’ll remember the way the sun hit the road, the songs you sang with the windows down, and the winding, dusty, beautiful path that led you exactly where you needed to be.

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“The Things We Do For Love”

Would you give up everything to be with the one you love?

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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 acknowledged that 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:

lovecoverfinal1

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 cover, at the moment, looks like this:

lovecoverfinal1

The cinema of my dreams – I never wanted to go to Africa – Episode 25

Our hero knows he’s in serious trouble.

The problem is, there are familiar faces, and the question of who is a friend and who is a foe is made all the more difficult because of the enemy, if it was the enemy, simply because it didn’t look or sound or act like the enemy.

Now, it appears, his problems stem from another operation he participated in.

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When I woke up, it was in a whole new world, but not necessarily of pain.

It was a different room, not quite dark, not hot or cold, and looked much like a hospital room layout with a hospital bed and bright lights outside the doors.

I had no idea if it was daylight or night.  Classic disorientation procedure before a different sort of interrogation.

What I also realised, though I was not sure why, was that the casts and bandages I had back at the previous base hospital were gone, and everything looked, well, different.

That there was nothing wrong with me.

It’s a terrible thing to realise your own people had basically told you a web of lies about your condition, and how the mind adjusted to those lies.  And yet, I would have sworn on a stack of Bibles my pain was real.

Drugs.  Not only could they do good, but they could also do some very bad things, to the mind and the body.  At a guess, I would say it was for Breeman’s benefit.  If I’d come back in one piece, there would be a truckload of questions.

So, I’d been moved and kept under the whole time.  And if there was nothing wrong with me, why was I still in what looked like a hospital?  Maybe it wasn’t.  There was only one bed in the room.  Perhaps it was a cell for recovering transportees.

My worst fears then, a black site.

My waking must have triggered an alarm because I heard the door open and someone come into the room.  The exact position of the door was hidden by a curtain, but I could see the light from outside intensify when it opened and slowly drop ass it closed.

The curtain moved on its rings to show a man in a white coat, perhaps a doctor, but more likely the interrogator or his assistant coming to check the viability of their target.

I had to ask, “Where am I?”

“In a camp, at a location, I’m not at liberty to disclose.”

“When did I get here?”

“Yesterday, late last night.  It was busy.  We had three new arrivals.  You must be on the right side because you didn’t arrive in chains; the other two did.”

He took my temperature, blood pressure and some other tests, and wrote the numbers on a page in a file.

“You haven’t reacted to the serum we gave you.  That’s good.”  He saw my look of concern.  “Oh, it’s only used for transporting injured people from one base to another.  It helps to minimise the external forces causing them unnecessary pain.”

“Apparently, I’m not injured.”

“No.  Not quite sure what happened there, but whatever happened is above my pay grade.  By the way, don’t try to leave this room.  There’s a guard outside who had been told to shoot first and ask questions later.  I’ve seen the results of her work.”

It had to be Monroe.

That means Lallo would be around soon enough.

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© Charles Heath 2019

An excerpt from “If Only” – a work in progress

Investigation of crimes doesn’t always go according to plan, nor does the perpetrator get either 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.

© Charles Heath 2018-2020

The Cinema of My Dreams – It ended in Sorrento – Episode 47

Under very close surveillance

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The girl was still waiting.  To me, it was risky to do so, but it depended on her peers, and if she had been told not to lose me, then I could understand.  Myself though, I would have kept an eye from the foyer or outside the building depending on where the exits were.

I sat next to her, which I could see was a little unsettling.

“Not finished yet?” She asked, trying to move a little bit further away from me.

“Yes, I am.  But I was wondering, Francesca, why have you taken an interest in me?”  I gave her a curious look and tried not to look threatening.

She seemed disconcerted that I knew her name, and was going to respond but instead said, “I think you have mistaken me for someone else.”

She stood.

“Perhaps I have, but if the names of Antonia and Giuseppe mean anything to you, I suggest we go have a cup of coffee, my treat, and talk about it.”

I saw the fear in her eyes, and I knew she knew I had leverage.  It was, for a field agent, which I didn’t think she was, the worst-case scenario.  The fact she wasn’t was underlined by the amount of information found.  Field agents, like myself, were ghosts.

She nodded.

Once we were seated, and coffee delivered, I said, “Whatever you might be thinking right now, I am not interested in causing anyone harm.  If what I suspect is the case, then you have nothing to worry about unless your employer expects you not to tell me or anyone anything, but we’re past that.  You are not a proper field agent, are you?”

“No.”

“Why then?”

“They were short two people and I had done the training, and they asked if I could fill in.”

“To do?”

“Surveillance.”

“You do realize surveillance is carried out from afar.”

“In London or New York maybe but here it is a little more difficult.”

“Did they ask you to get close?”

“Only if an opportunity presented itself.  I was to find out what you were doing, with whom, and why.”

“Are your employers looking for the countess?”

She looked at me sideways, summing up what she could and couldn’t get away with.  “Yes.  She has gone missing.  The team in London lost her at the hotel.  You were there, and with her at the opera, that’s how you became a person of interest.”

That told me she was not working with the kidnappers.  And quite possibly her employers were working for the Burkhardt’s.

“You usually work in the stolen art department, well, not so much stolen art as identifying fakes.  I noticed one case where the owners of several very expensive pieces had them copied, sold the originals to private collectors, and then tried to claim insurance when the copies were ‘stolen’.  Why would you want to go out into the murky world?”

“There aren’t any cases at the moment and a change was good.”

“You do realise that if I was not retired and only doing a favour for a friend, you’d be dead, or at the very least in hospital.  The world I lived in was very, very dangerous.  And information on you and your family is too easily accessible.  I suggest you address that when you go back to the office.  As it stands that might not be for a while.  You will tell your bosses I have taken a shine to you, and you will be coming with me to Sorrento.”

“Why would I do that?”

“Do you know what collateral damage is?”

She nodded.

“That can still happen.  I don’t need you running around in the shadows where I’ll trip over you.  I believe the countess had been kidnapped, and the fact we haven’t got a ransom means that we are dealing with some very nasty people.  At least that way you can keep your people updated.  It’ll be easy for you to say you overheard me reporting in.  It’s that or a dark hole somewhere for several days.  Your choice.”

I didn’t want to take her with me, but she was going to stay on my tail.  Better to know where she is rather than have her blunder her way into a possible tense situation.

Actually, she had no choice.

© Charles Heath 2023

The 2am Rant: Is there something wrong?

I asked myself that question when about 1000 odd words into a current short story, one that I continue to go back to, but found an initial reluctance to write, and now seems to be difficult to continue.

Is the reason because I don’t feel like writing, that I’ve written myself into a corner, the story isn’t flowing, or there’s something else I’d rather be doing…

Like, scouring the internet…

Working on writing some blog posts, like this one…

Checking my email…

Checking my other blogs to see how many people have viewed my recent posts,

Or just puddle with anything other than what I should be doing.

The thing is, I know where most of the stories are going, it’s just a matter of sitting down, picking up the threads, and writing. Certainly, I could be working on one or another right now.

But, something is nagging at me.

I thought it was that I wanted to write another Being Inspired piece, having the photo I wanted to use for inspiration in my head. I sat down this morning and started it, and got seven or eight paragraphs done, and then it was time to go down to breakfast.

Attention diverted.

I could have written more after breakfast, but that seemed to segue into a chat over coffee that ran into lunch. It’s odd how it seems there is so much to talk about.

Then it’s been one excuse after another that has kept me from picking up that story and running with it. I could do it now, but that reluctance remains.

Perhaps tomorrow.

For now, I’m going to work on some crosswords and see if that doesn’t inspire me, and if it doesn’t I could always have an early night.

It’s the same every time we go away, on the run all day doing touristy stuff, making notes for later on, on the run, and then getting back to the room exhausted. After all, there is so much to see and do.

Maybe I’ll just reflect on today and worry about it tomorrow, except…

We have an equally hectic day planned.

Maybe I’ll get that holiday from writing after all.

What I learned about writing – Lousy stories sell

It was not quite the headline I was aiming for.

But…

It’s sometimes true to say that books that are not well written or on subjects that we like to think should not be published sometimes become best-sellers.

It’s like the old advertising adage, “sex sells.”

Lady Chatterley’s Lover, banned, but generated a huge following.

Fifty shades of grey, terribly written, but a huge seller along with the sequels.

The point is, no one really knows what the definition of a bestseller is because at any time, any book can suddenly go gangbusters in sales.

I’ve not had the pleasure.

I write books on the same subjects as my favourite authors, who are best-sellers and very famous names.  Thrillers, detective cases, even Mills & Boon romances.

What do these books have in common?  They take ordinary people out of their ordinary lives and put them into a world that can only exist in their imagination.

That’s the world I need to tap into if I am ever going to be a success in the field of spies and thrillers.  I even wrote a romance once, but I’m still waiting to hear back from the publisher.  No, it was not a Mills and Boon, so that might be the reason why I’m still waiting. 

365 Days of writing, 2026 – 133

Day 133 – Why certain books are famous

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Beyond the Syllabus: Are the Classics Still Worth the Hype?

If you were to walk into any high school English classroom in America, the odds are high that you’d find a copy of To Kill a Mockingbird or The Great Gatsby sitting on a desk. They are the twin pillars of the high school literary canon—books so cemented in our cultural consciousness that we often forget they were once just new novels written by fallible people.

But this ubiquity brings a modern question: Are these books actually deserving of their “Great American Novel” status, or have they simply become victims of relentless repetition?

The Case for the Classics

To understand why these books have stayed at the top of the pile for nearly a century, we have to look past the “assigned reading” label.

To Kill a Mockingbird: The Emotional Anchor

Harper Lee’s To Kill a Mockingbird is rarely praised for its narrative complexity; it is praised for its moral clarity. In Atticus Finch, Lee created the definitive archetype of the righteous outsider.

The book is “deservedly famous” because it serves as a masterclass in perspective. By filtering the ugly realities of systemic racism and injustice through the eyes of a child, Lee forces readers to confront the loss of innocence. It remains relevant not because it solved the problems of the American South, but because it captures the agonising gap between how we view ourselves and who we actually are. It is human-centric, empathetic, and—crucially—very easy to read, which has kept it in circulation for decades.

The Great Gatsby: The Mirror of Aspiration

F. Scott Fitzgerald’s The Great Gatsby is a different beast entirely. Where Mockingbird is built on morality, Gatsby is built on atmosphere. It is, quite simply, one of the most beautifully written novels in the English language.

The prose shimmers with a kind of desperate glamour that perfectly encapsulates the “American Dream.” It is famous because it is a tragedy of scale—a critique of wealth, obsession, and the delusion that we can repeat the past. Every time economic inequality spikes or a new generation obsesses over the “hustle,” Gatsby feels freshly minted. It is the definitive autopsy of the American spirit.

The Argument for “Just That”

However, there is a valid counter-argument: Familiarity breeds fatigue.

When we label a book as “The Best,” we often create a self-fulfilling prophecy. Because these books are famous, they get taught. Because they get taught, they remain famous. This cycle can make them feel dusty, rigid, or exclusionary.

Critics often argue that these books dominate the conversation at the expense of more diverse, newer, or more challenging voices. Is The Great Gatsby the “best” book about the American experience, or is it just the one that happened to be selected by mid-century literary critics who looked, lived, and thought exactly like Fitzgerald?

If you are forced to dissect every sentence of Mockingbird for a grade, you are inevitably going to grow resentful of the prose. It’s hard to fall in love with a book when you’re being tested on its symbolism.

The Verdict: Are They Overrated?

The truth likely lies in the middle. These books are deservedly famous for their technical mastery and their ability to capture specific, enduring aspects of the human condition. They were influential for a reason, and their impact on the literary landscape is undeniable.

But they are also “just that”—they are just books. They aren’t sacred texts.

The best way to honour these classics is to stop treating them like homework. If you haven’t read Gatsby since you were sixteen, pick it up again as an adult; you might find that the tragedy feels much heavier when you realise you’re closer in age to the characters. If Mockingbird feels like a relic, read it alongside contemporary voices—like Jesmyn Ward or Colson Whitehead—who are expanding on the conversations Harper Lee started.

Ultimately, these books deserve their fame, but they shouldn’t be the end of your reading journey. They should be the starting point. The “Great American Novel” isn’t a static title; it’s a living, breathing conversation—and it’s a conversation that is still being written today.

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©  Charles Heath  2026

Searching for locations: Old Shanghai, China

The old Shanghai refers to a small area of Shanghai that used to be walled in and remained that way until about 1912, when all but a small section of the wall was demolished.  With the advent of the concessions, Old Shanghai became the administrative centre until later, when it became a shopping complex.

Now it has many restored historical buildings as well as new buildings in a somewhat traditional style that has become one of Shanghai’s main tourist attractions, housing many shops and restaurants.

The “Old Town” is not exclusively old, as you still have a chance to take in the atmosphere if you wander into the quaint side streets.

But, on first viewing, walking down the street towards the complex, I’m not sure I’d go as far as to say this is in reality old Shanghai, except for what appears to be a true representation of it architecturally. 

The buildings, which are shops and restaurants, are set out symmetrically, with streets, alleyways, and squares, which may prove that it was specially built for the tourists, and no mechanised traffic.

Anyway…

The buildings are magnificent, and a photographer’s delight, and you’d finish up having hundreds of photos by the time you leave.  All the buildings are exquisite representations of traditional Chinese architecture. 

As for buying stuff, remember if you’re not Chinese, you have the ‘sucker tourist’ stamp on your forehead, so be prepared to walk away if the vendors will not bargain.  

Nothing here is worth the price tag, and in our group, discounts like from 130 RMB to 50 RMB and from 1 for 1,200 to 2 for 950 RMB are common.

Here, common t-shirts that we can get for 3 dollars back home start at 150 RMB, which is roughly 35 dollars.  It’s that kind of market.

We end up in a tea room, on the third floor of the meeting point below, and discover all the tour guides sitting around a table counting money, and I have to say it’s the most $50 notes I’ve ever seen in one place.  

It is, we were told, where they discussed ‘strategy’.

In a word: Land

 

And, yes, the simple description for this word is that area of the earth that isn’t covered by water.

It could also describe that little patch that my house is built on, and is generally covered by the expression, house and land as a package.

After all, a piece of land is not much used to you unless there’s a dwelling on it, or, on rare occasions, under it.  Does that mean then that land in this instance only as what you can see?

OK, now it’s getting confusing.

What if I wanted to live off the land.  A small patch will not do, in this case, is need a large area, perhaps thousands if hectares.

It is said that the Australian aborigines have lived off the land for thousands of years, with a nomadic lifestyle.

No small patch of land for them.

Now, what if I come down out of the sky. Oddly enough this means I have to land, even if I come back to earth over later.  It’s still a landing.

Now it’s getting interesting.

So what if you wanted to refer to where you live?  That would be your homeland or motherland, and it describes a country.

So it’s my patch, my country, any area where there isn’t water.  What about describing a country, say the land of the long white cloud, or the land of the rising sun?

And just to add to the confusion

I can land a fish

Make land, after being all at sea, and,

Best of all, land that much desired job.

Wow.

I’m beginning to think it’s another one of those ‘four-letter words’