I’m back home and this story has been sitting on the back burner for a few months, waiting for some more to be written.
The trouble is, there are also other stories to write, and I’m not very good at prioritizing.
But, here we are, a few minutes opened up and it didn’t take long to get back into the groove.
Chasing leads, maybe
When the room was empty and only Richards and I remained, he cut the ties that bound my hands and legs.
“Bad business,” he said.
I sat again, and flexed the muscles that had begun to stiffen up whilst tightly bound.
“I’m assuming you know a woman by the name of Jan?” I said. “She told me she was working for MI6 so I’m assuming you’re her handler.”
“When she chooses to be handled, yes. Jan is just one of her names. She’s currently missing, and I think we now know why?”
“Her work,” I nodded towards the body.
“God no. She’s charged with chasing down leads and then calling the cavalry. We had a tracker on this chap, found him, and had him in a safe facility awaiting interrogation, what we thought was safe at any rate, and Jan and another agent watching over him until the interrogation team arrived. When the interrogation team got there everyone was gone, but with enough blood on the floor to paint a pretty clear picture. Maury had been interrogated and killed there, dumped here, with no indication of the whereabouts of our agents. She told me this guy and another trained you, and others, in rather strange circumstances. A bogus operation. To what end?”
“From what I could tell, a single surveillance operation. Me and a dozen others. Cut loose after it failed, those of us that survived, that is.”
“A lot of effort to achieve nothing.”
“Pity we can’t ask him what it was about?” I looked over at the body. Maury was hardly recognizable. Whoever carried out the interrogation had been either in a hurry or in a bad mood.
“Indeed. She told me this chap called O’Connell was involved. Now so?”
Another rule that popped into my head from the training: never share information with other agencies unless you absolutely had to. I had no doubt if Dobbin was here, he would agree, but he wasn’t.
I wondered if I should tell him she had allegiance to another branch of the secret services, or mention Dobbin.
“He was the surveillance target. We were charged with observing him, but not what he was suspected of. I followed him as far as the exploding shop, got temporarily disorientated after the blast,, but managed to reacquire the target, following him to an alley where I spoke briefly to him before Maury and Severin arrived, and he was shot, apparently killed.”
“Either he was or he wasn’t.”
“The body disappeared. My view is he is still alive, somewhere.”
“That explosion was supposed to be caused by a gas leak.”
“Standard operational doubletalk. A journalist was killed, apparently in the shop waiting for the target. It went up after the target passed, I’m assuming his tradecraft was to check first then go back. Never got a chance. I think now given the circumstances, the journalist was going to hand something off. I’ve been asked a number of times by various people about a USB drive. You know anything about it?”
“This is the first I’m hearing about anything about a USB drive. You know what was on it?”
“Above my pay grade, I was told.”
“OK. What about this Severin character?:
“All I have is a phone number, and that, I think we can both agree, will be a burner.”
“Agreed, but it might be useful.”
I gave it to him and he put it on his phone.
A new team of men in white suits arrived at the door, no doubt MI5 forensic specialists, and two more agents, bigger and tougher, what I would call the muscle.
“I’m afraid you’re going to have to come back to the office to answer a few more questions. It’s not custody, but mandatory co-operation.”
“And if I refuse?”
“It might make their day if you know what I mean.”
I shrugged. One I might be able to take, but not the both of them. And they both looked like they would be happy to teach me the error of my ways if I tried to escape/
“That won’t be necessary. I’m taking him with me.”
“Dobbin just came to the door, flashing an MI6 warrant card.
“I’ve been charged with cleaning this mess up.”
“And so you shall, but not including this agent. Orders from above, reasons why, as they say, are above your pay grade.
I suspect the warrant card said Dobbin outranked him. Did our people have fake MI6 IDs?
“This is highly irregular.”
“Call your boss, if you don’t like it. I can wait.”
I could see the reluctance in his face.
He glared at me. “Go, but don’t go too far. I still might get clearance to have another chat.”
Unleash Your Inner Poet: The Surprisingly Simple Path to Writing Poetry
For many, the word “poetry” conjures images of dusty tomes, cryptic verses, and the terrifying prospect of iambic pentameter. It feels like a secret club with an impossible initiation. But what if I told you that, at its heart, poetry is actually one of the most accessible and freeing forms of expression?
The question “Is there a simple way to learn and write poetry?” can be answered with a resounding yes. It’s not about memorising rules, it’s about re-learning how to see, feel, and play with words.
Here’s how to demystify the process and start your own poetic journey:
1. Ditch the “Rules” (For Now)
The biggest barrier to writing poetry is the self-imposed pressure to conform to traditional structures. Forget rhyme schemes, meter, and sonnet forms when you’re starting out. Think of them as advanced techniques you can explore later, if you choose.
Your focus should be on free verse. This is poetry without a strict rhythm or rhyme, allowing you to focus purely on imagery, emotion, and word choice. It’s the perfect playground for beginners.
2. Become a Keen Observer
Poetry is born from attention. The most powerful poems often come from everyday moments, seen through a fresh lens.
Engage your senses: What do you see, hear, smell, taste, touch right now?
Notice the details: Not just “a tree,” but “the ancient oak, its bark grooved like an old man’s face, leaves shivering in the morning breeze.”
Capture emotions: How does a situation make you feel? Don’t just name the emotion; describe its physical manifestation. (“My heart thrums like a trapped bird.”)
Carry a notebook (or use your phone): Jot down interesting words, phrases, snippets of conversation, or sensory observations as they strike you. These are your raw materials.
3. Read Poetry (But Don’t Feel Intimidated)
Reading poetry isn’t about understanding every single line or deciphering hidden meanings. It’s about hearing the music of language, seeing how others play with words, and discovering what resonates with you.
Start with contemporary poets: Many modern poems are more accessible and relatable than historical works.
Explore different styles: Read free verse, haikus, spoken word, lyrical pieces.
Read aloud: This helps you hear the rhythm and flow, even without rhyme.
Don’t force it: If a poem doesn’t click, move on. There’s so much out there!
4. Play with Words Like Building Blocks
Think of words as your paint, your clay, your musical notes.
Metaphor & Simile: How is one thing like another? (The moon is a fingernail clipping.) How is one thing another? (The moon is a pearl in the sky.)
Imagery: Use words that create vivid pictures in the reader’s mind.
Sound: Notice alliteration (slippery silver snakes), assonance (the mellow wedding bells), and how different sounds feel in your mouth.
Concision: Poetry often says a lot with a little. Can you trim unnecessary words?
5. Start Small and Simple
Don’t aim for an epic poem on your first try.
Try a Haiku: (5-7-5 syllables, usually about nature) – forces you to be concise.
Write about a single object: A forgotten coffee cup, a wilting flower, a dusty book.
Describe a single moment: The exact second the rain started, the taste of your morning coffee, the sound of a distant train.
Start with a strong image or feeling: Let that lead you.
6. Embrace the First Draft (It’s Supposed to Be Messy!)
Your first attempt won’t be perfect, and that’s okay. Think of it as a brain dump. Get all your ideas and feelings down on paper.
Don’t edit as you go: Just write.
Let it sit: Come back to it later with fresh eyes.
Revise: This is where the magic happens. Trim, expand, rearrange, swap words, sharpen images. Read it aloud to catch awkward phrasing.
7. Share (When You’re Ready)
Sharing your work, even with one trusted friend, can be incredibly empowering. It provides a new perspective and helps you grow. Join a local writing group, an online forum, or just read it to your cat!
Poetry isn’t about being “profound” or “intellectual” from the get-go. It’s about connecting with your own voice, observing the world with fresh eyes, and finding beauty in the ordinary. The most simple way to learn and write poetry is simply to begin. Pick up a pen, open a document, and let your words flow. The world is waiting for your unique song.
Or to be more precise, the homestead at what is now O’Reilly’s vineyard, where there is a pleasant lawn out back running down to the river for picnics, an alpaca farm next door, and the homestead plays host to functions and wine tastings
My interest was that we had assumed there was a restaurant, and we were going to have lunch. There might be one, but not the day we visited, it was just cafe food or a picnic available.
I was more interested in the old homestead because it was a fine example of the homesteads built in the ‘outback’.
…
Today we are having lunch in the Platypus room, in the O’Reilly’s vineyard farmhouse, which, if you close your eyes and let your imagination run free, could see it as the master bedroom of a homestead.
Certainly, the building is old, made completely of timber, inside and out, with the traditional high ceilings to keep the heat at bay.
At one end, a large bay window, which would be ideal to sit and view the outside, past the sweeping verandah. There is a small lawn and a rotunda, but beyond that what might have been extended gardens, is the vineyard.
The homestead is in an ideal position midway between the main road and the river, has the traditional surrounding verandah, and shows signs of being extended on almost all sides.
On the other side of the wide corridor that leads you to the bar, and, coincidentally, down the centre of the house, is a smaller bedroom, also used as a dining room, and ubiquitously named the library.
It may be small but it does have a fireplace, which the assumed master bedroom does not, but now I’m thinking that room might have been the morning room.
Behind the room, we’re in is another bedroom, or perhaps this might be the master because it does have a fireplace and is quite large. And a name, the Ambassador room. Now it serves as the pickup place for picnic baskets.
There is another room on the opposite side of the corridor called the Drawing Room but is not open to the public. But, going into the room with the fireplace adjacent to it, you can sell the aroma of pizzas, so it’s probably an extension of the kitchen, and, walking around the outside that side of the house proves it to be the case.
After all, they do catering for weddings and need a very large food preparation area which I discovered runs down the whole of that side of the house.
At the end of the corridor I’d the bar and spare space, and running off that and behind that is where there is a large dining area, perhaps prior to COVID, the restaurant.
It’s not hard to imagine that area as a very large entertaining area, either for very large dinner parties, or dancing.
As for the food, it’s either a picnic basket or pizzas. We chose the latter, not realising the bases were not homemade, but bought in.
The toppings however were both plentiful and tasty. It could have been hotter, because it was a cold day, and it was cold in the room.
As for something to do other than taste the wine, and buy a few bottles, you can get up close to the vines, which, at this time of the year gave been pruned back and look quite dead, look at or walk an alpaca, even feed it, or all of them, or go down to the river and see if you can spot a Platypus.
Perhaps next time we’ll have a picnic down by the river.
Oh, that’s right, at the time we were in Canada, and the ice hockey channel was running in the background while I was trying to work.
It brought to mind, then, the interesting concept of movement through time zones, and how it was possible to live the same day for nearly two days, which is as close as I was going to get the ‘Groundhog Day’.
It’s not something that I’ve considered when writing stories because usually we are grounded in one particular time zone, or if we’re travelling, we just go from one chapter to the next, each a different location, and the reader is no wiser.
Except the editor is and pulls me up when it appears I think it’s during the day, when in reality it’s really 3am.
But, just to illustrate my point, the following is what I wrote two Christmases ago, and boy was it confusing at times.
Alright, we’ve arrived in Lake Louise from Kamloops, and there’s been a time change. Being from Australia, we lost or gained so many hours I don’t know whether I’m coming or going.
Yes, I left on the 26th of December, travelled around half the planet, and it’s still the 26th, after a stopover in Shanghai where it was the 27th.
Can someone tell me what the hell is going on?
On another day in Canada, it was the 30th. The day before, back home, it was my wife’s birthday in Australia and we got a number of calls on the 29th, which was amusing, to say the least.
Now, we’ve gone from Kamloops to Lake Louise, and apparently now that we are in Alberta, it’s an hour later.
The rental car we’re driving didn’t get it, and we’re still an hour behind.
My phone didn’t get it, but it is understandable because I didn’t connect it to the Canadian network to give us an internet connection because it was going to cost money.
It did on my wife’s phone which is connected to the network and it’s the only device we have that tells the correct time.
And why do we really need to know what time it is?
So we make the plane the day after tomorrow, from Calgary to Toronto.
I never realized that time was so important, and I wonder how people who travel the world remain sane with all the changes to the time zones.
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.
This was one of the more interesting experiences for the grandchildren as they were, as all young girls are, interested in ballet.
We thoroughly enjoyed our visit which included some time watching ballet practice.
I could not convince anyone to take the elevator back down to the ground floor as it was suspected we might be ‘attacked’ by the ‘phantom’. Certainly, the elevator was very old and I think at the time it was being repaired.
Part of the Grand Staircase in Palais Garnier Opera de Paris
The ceiling above the main staircase. The ceiling above the staircase was painted by Isidore Pils to depict The Triumph of Apollo, The Enchantment of Music Deploying its Charms, Minerva Fighting Brutality Watched by the Gods of Olympus, and The City of Paris Receiving the Plan of the New Opéra.
The ceiling of Chagall at the Palais Garnier
On 23 September 1964, the new ceiling of the Opéra Garnier was inaugurated with great pomp. It was painted by Marc Chagall at the request of André Malraux
Amphitheatre and Orchestra Pit entrance
Interior, and doorways to boxes
Box seats in the auditorium
Ornate ceilings and columns
Seating inside the auditorium
The day we were leaving Paris, was the first night of the Bolshoi Ballet. My two granddaughters were greatly disappointed at missing out on the opportunity of a lifetime, to see the Bolshoi Ballet at the Paris Opera House.
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 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:
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.
Unleash Your Inner Poet: The Surprisingly Simple Path to Writing Poetry
For many, the word “poetry” conjures images of dusty tomes, cryptic verses, and the terrifying prospect of iambic pentameter. It feels like a secret club with an impossible initiation. But what if I told you that, at its heart, poetry is actually one of the most accessible and freeing forms of expression?
The question “Is there a simple way to learn and write poetry?” can be answered with a resounding yes. It’s not about memorising rules, it’s about re-learning how to see, feel, and play with words.
Here’s how to demystify the process and start your own poetic journey:
1. Ditch the “Rules” (For Now)
The biggest barrier to writing poetry is the self-imposed pressure to conform to traditional structures. Forget rhyme schemes, meter, and sonnet forms when you’re starting out. Think of them as advanced techniques you can explore later, if you choose.
Your focus should be on free verse. This is poetry without a strict rhythm or rhyme, allowing you to focus purely on imagery, emotion, and word choice. It’s the perfect playground for beginners.
2. Become a Keen Observer
Poetry is born from attention. The most powerful poems often come from everyday moments, seen through a fresh lens.
Engage your senses: What do you see, hear, smell, taste, touch right now?
Notice the details: Not just “a tree,” but “the ancient oak, its bark grooved like an old man’s face, leaves shivering in the morning breeze.”
Capture emotions: How does a situation make you feel? Don’t just name the emotion; describe its physical manifestation. (“My heart thrums like a trapped bird.”)
Carry a notebook (or use your phone): Jot down interesting words, phrases, snippets of conversation, or sensory observations as they strike you. These are your raw materials.
3. Read Poetry (But Don’t Feel Intimidated)
Reading poetry isn’t about understanding every single line or deciphering hidden meanings. It’s about hearing the music of language, seeing how others play with words, and discovering what resonates with you.
Start with contemporary poets: Many modern poems are more accessible and relatable than historical works.
Explore different styles: Read free verse, haikus, spoken word, lyrical pieces.
Read aloud: This helps you hear the rhythm and flow, even without rhyme.
Don’t force it: If a poem doesn’t click, move on. There’s so much out there!
4. Play with Words Like Building Blocks
Think of words as your paint, your clay, your musical notes.
Metaphor & Simile: How is one thing like another? (The moon is a fingernail clipping.) How is one thing another? (The moon is a pearl in the sky.)
Imagery: Use words that create vivid pictures in the reader’s mind.
Sound: Notice alliteration (slippery silver snakes), assonance (the mellow wedding bells), and how different sounds feel in your mouth.
Concision: Poetry often says a lot with a little. Can you trim unnecessary words?
5. Start Small and Simple
Don’t aim for an epic poem on your first try.
Try a Haiku: (5-7-5 syllables, usually about nature) – forces you to be concise.
Write about a single object: A forgotten coffee cup, a wilting flower, a dusty book.
Describe a single moment: The exact second the rain started, the taste of your morning coffee, the sound of a distant train.
Start with a strong image or feeling: Let that lead you.
6. Embrace the First Draft (It’s Supposed to Be Messy!)
Your first attempt won’t be perfect, and that’s okay. Think of it as a brain dump. Get all your ideas and feelings down on paper.
Don’t edit as you go: Just write.
Let it sit: Come back to it later with fresh eyes.
Revise: This is where the magic happens. Trim, expand, rearrange, swap words, sharpen images. Read it aloud to catch awkward phrasing.
7. Share (When You’re Ready)
Sharing your work, even with one trusted friend, can be incredibly empowering. It provides a new perspective and helps you grow. Join a local writing group, an online forum, or just read it to your cat!
Poetry isn’t about being “profound” or “intellectual” from the get-go. It’s about connecting with your own voice, observing the world with fresh eyes, and finding beauty in the ordinary. The most simple way to learn and write poetry is simply to begin. Pick up a pen, open a document, and let your words flow. The world is waiting for your unique song.
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 neighbors 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 I saw of Gabrielle.
The shock of finding Vanessa was more devastating than the fact 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 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 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 become 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 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 realize 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.
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’
Thrills, Spills, and just a dash of Romance 