After a soul search and reflection on my blogging practice I’ve decided the following:
1- Save all things I am keen to publish in other formats by NOT placing them on my blogs.
2- Blog the process and support materials that assist me to create my memoirs, poetry, books and films (cool things like letters, programs and historical hyperlinks.) Share some RAW MATERIALS (try not to give too much, but just enough away).
3- Sometimes share short EXTRACTS, covers, or drafts for reader feedback with specific questions. Make these extracts examples of my BEST WRITING.
4- Share the occasional poem or piece that I want the blog to be its publication and it is shared to inspire not for any profit or expectation (but still make sure people respect copyright by attributing it to me if reposting or sharing). STILL HAVE NOT FOR PROFIT writing.
5- CONNECT MY EBOOKS TO KEY PARTS OF THE BLOG and my online work by doing any of the above. Create special blogs for specific books that expand the journey of the book. Keep experimenting with this.
6- Take on commercial projects and commissions that generate income for me to have time to pursue the genres I love, that might not be so commerical. Mix it up more.
7- Look for work in tutoring, teaching at university level and other fields so as not to rely on my writing for income and thus write things that may not have commercial value but more spiritual and community value.
8- Close and remove posts that I think should be traditionally published.
9- Explore the possibilty of closed blogs or subscription based publication.
10- Keep exploring blogging as an art form and create blog specific projects to support myself and other writers. Look at adding a paypal donation aspect to my blog (like busking).
11- Keep visiting and supporting those who are doing any or all of the above themselves as bloggers.
12- Strive always to be an ethical blogger (attribute links, respect creative commons, link back to quotes.)
13- Save written work on blogs and from home more systematically in clouds (like I do with images on flickr) and back up, back up, back up.
14- Join more blogging collectives pursuing any of these same goals.
15- Edit, edit, edit.
16- Always where needed research and check facts for blogs carefully.
17- Share things that might not find a space of home anywhere else but my blog, as long as these are things my readers would enjoy.
18 -Consider always the READER! Be they family, potential publishers and so on.
19- Read my manifesto when considering hitting the post button.
20- Be proud of the things I have learnt blogging, (eg: the people I have connected to, the potential characters that I have been introduced to and not apologise for that.) That is share the learnings and power of blogging whilst avoiding its pitfalls.
So from now on you might see more ‘raw materials’ of my writing scanned and shared.
You might find the ending of a story missing. You may find a link you once read has vanished.
But don’t worry – that means a polished piece is on its way and a link to where to buy it will appear.
Interviews will continue, but sometimes I may not put them on my blog but will send them somewhere for publication – which may even be online.
Once we have beaten writer’s block, found our stories, and drafted them, then comes the intense process of editing.
This is where we put ourselves to the mirror as writers and start to notice the blemishes and strong sides of our writing.
Over time there are rules that we learn from editors, teachers, readers, bloggers and other writers that make that looking glass moment bearable.
These vary from ‘Thou Shalt not’ to ‘our writing will be stronger if we do …..’
Then there are specific formulas to poems, novels, genres within novels that gradually become set in stone, and then are challenged by those who don’t want to follow rules but make new ones. Before we break rules it is good to understand them, and then work out why it is we might depart from them or reinvent them.
‘Thou Shalt Nots’ tend to stay around for longer and follow each new rule. The main ones I have heard continuously are:
1 – Don’tTell, show, (I like to think I am a camera with this one, and it works well with sensory language and seeing a character through their actions and not just their words.’
2- Don’t add useless words, make every word count (there are huge lists of these, very, really, but I’ve come across lists saying avoid saw and sit and find new words)
3- Don’t use words that are overused and mundane, be surprising (this list might include words like saw and sit and it changes as the popularity of words changes, this one is a tricky one, but lots of editors are aware of this list, which can remain secret unless you read a lot and see that truly some of the best writers avoid these words like the plague).
4- Don’t use overly predictable plots, provide twist (there are set plots that are frequently used, polyplots, and yet the challenge is to put something extra in and play with the expected). Some of the most annoying plots might be ‘then I woke up and it was all a dream’ and the romantic plot where the two main protaganists hate each other at the beginning and end up together)
5- Don’t sink into cliche, surprise (again it’s about the unexpected and surprising situation or image, and so love and rose becomes something to avoid it is so over done, but also there are so many crime stories it is becoming harder and harder to avoid cliches, they then start making the characters the unique thing to avoid cliche even whilst working in the set plot (more on this in future posts). One thing I love with the use of cliche though is humour and a twist, here it begin with the cliche but ends in a different direction.)
With writing that surprises, the twist is never seen, the plot is keenly anticipated and theorised yet tricky, the image is unique, every word is doing work and there isn’t any padding and love is raised above the expression of desire and roses; yet even as we learn and follow these ‘thou shalt not’ rules there has to be something in the story that people recognise and follow that has its origins in the past.
One of the surprises we learnt about when I was studying modern fiction was the rise of the ‘unreliable narrator,’ where the character narrating a story is lying to you, and yet you don’t realise it until almost the end of the story. At the time this began being employed as a technique it was surprising, and yet now it can be cliched as people took up the trend and employed it in their writing.
Memoir has always fascinated me because we have come to expect the author to be as reliable as possible, even as they write from a slanted perspective, and yet there are now some highly publicised memoirs, that have turned out to be mostly fictions. If only they had been written as fictions their authors would not be being sued by publishing companies, but the catch is that these authors have sought the authenticity mantle as a selling point for their work and cheated the public reading it for that element.
The challenge for contemporary writers, is perhaps how can we keep it surprising when so many have come before us and set up patterns. This then is the role of the imagination and pushing ourselves with our craft.
Who are the contemporary writers who most impress you with how they do any of the above?
‘We shout as loudly as we can but our voices too are caged/and day after day death is denied as well as aid./No one listens, no one hears this wingless bird.’ (Mahvash Sabet – ‘The Friends’)
Mahvash Sabet’s Prison Poems (George Ronald Press, 2013) have been brought to the English speaking world in delicate and skilful adaptations by Bahiyyih Nakhjavani; she was assisted in this work by both her father and her mother.
Nakhjavani prefers to call them adaptations rather than translations due to the immense difficulty of translating poetry from other languages with absolute accuracy especially with the extra elements of metre and rhyme to combine with meaning and the cultural and spiritual dimensions of language.
It is challenging in the parameters of what should be a short a blog/article to convey the full power and complexity of the spiritual and emotional journey Sabet’s poems will take the reader on, whilst at the same time considering their artistry, spiritual basis, and technique, but my main goal is to give the potential reader motivation to uncage the voice of Mahvash Sabet. This is a bit longer than my usual blog but I hope you will be able to read it all and more importantly want to read Sabet’s poetry.
The foreword to the collection, written by Mahnaz Parakand, a member of the centre of human rights defenders and one of the four lawyers of the Yaran, sets these poems in context.
It outlines Mahvash Sabet’s dedication and service to the Baha’i community of Iran and her background as a psychologist, Principal and teacher, who even before she was imprisoned without due process, was denied employment on the basis of her Faith.Furthermore she is a mother, wife, and daughter who is now removed from her home community. Sabet was also, prior to imprisonment, a poet.
Parakand writes of her first meeting with Mahvash and her companion (another Baha’i woman and prisoner of Faith) Fariba and how she was struck by the fact that, ‘although
they said nothing of themselves, it was obvious from the colour of their skin the Baha’i prisoners had been deprived of fresh air and daylight for a long time… despite, all the hardships their will remained unbroken.’
Part of the power and poignancy of these poems is their detail of the physical, spiritual and emotional, challenges of prison life. Another power comes from the strong thread of spiritual exploration embedded within them.
After the introduction by Nakhjavani the collection is organised into eight sections, with varying focus and moods including a ‘Prison Diary,’ ‘Prison Walls,’ ‘Prison Prayers,’ ‘Prison Proofs,’ ‘Prisoner of Faith,’ ‘Portraits of other prisoners,’ ‘Dedications ‘to family and a selection to that of fellow Baha’i prisoner ‘Fariba.’
The first poem the reader encounters, if reading from cover to cover, is ‘The Journey of the Seed.’ This poem sets the overall tone of the collection of finding certitude and peace even in the most challenging of circumstances. There is a Baha’i prayer, that begins ‘I am O My God, but a tiny seed which thou hast sown in the soil of Thy Love’ which immediately springs to my mind when reading this poem.
With this prayer in mind, the seed is most likely a symbol of Sabet beginning her journey into the prison and questioning how she will come to terms with where she is. She is saying goodbye to her past self and beginning a quest to accept that she may be stuck in her present situation for some time.
‘I could barely tolerate the pain of being cut off from my past;/I wept bitterly within, groaned./Suffered/Saw no future – till at last/I knew what I must do and cast off that old husk of mine/To find this new clothing – of naked vulnerable skin’
The poet once she is able to practice a painful detachment, then begins a search for certitude:
‘So passing here and there, from talking to listening I grew,/Rejoicing in this new freshness, striving towards certitude.’
For me ‘Journey of the Seed’ is about God and spirituality being everywhere. For Sabet God is ‘the beauty shimmering … in the verdant trees’ and in the ‘gleaming raindrops.’ Her choice of images is very reminiscent of the way in which Baha’u’llah’s writings use nature to convey spiritual concepts.
The irony and poignancy of this poem is that these verdant trees and gleaming raindrops are held in the memory of the mind, and envisioned by Sabet to help her in the journey towards certitude. This device of positive and spiritual visualisation is used by Sabet again and again in her journey.
Other examples where this same coping mechanism of visualisation of a calming space is used are ‘Remembering the Sea,’ ‘Home,’ and ‘The Imaginary Garden.’ Sabet’s poetry seeks out spiritual heights and the memory of nature’s solace whilst constantly challenged by physical and social limitations of prison life. She shares with the reader her learning that certitude can be found by rising above the physical circumstances and the potential demoralising processes of being in a prison.
Behind bars Sabet is stripped her of family, friendships, and the physical beauty of ‘The Great Outdoors.’ Her search for certitude is not without its challenges. In poems like ‘From Evin to Raja’i Shahr’ she takes us into the prison with her and we can hear what she hears.
‘And as we walked further, step by step, appalled/as deeper into this penitentiary we crossed/we heard from behind closed doors, poor girls calling/
Further on in this poem we are trapped in this space with her as she explains:
‘There’s no space to breathe here, nowhere to sit, to stand/Between the earth below. The ceiling overhead.’
The Prison is a ‘slaughterhouse’ daubed with blood.’
Knowledge of Baha’i history unlocks the meaning of some of the latter stanzas of this poem as a reference an episode to the persecution and execution of the Bab, himself a prisoner of Faith, and one of the twin Prophets of the Baha’i faith is made, ‘The fire of judgement must have burned so fiercely in Tabriz.’ Sabet is determined the prison will not rob her of her faith. Sabet gains some solace in the remembrance of what the founders of her Faith has been through, and in saying prayers with other prisoners there for the same reason.
For readers not of a Baha’i background some knowledge of early Baha’i history will add to their understanding of some layers of Sabet’s poetry, although this knowledge is not absolutely essential for grasping the spirit of what she is saying. Similarly some knowledge of Persian literature is helpful, and there are some notes provided for this with the collection, but for the most part the poems speak through their metaphors, imagery and lyricism that resonate across many cultures.
Sabet spends prison life examining her humanity and that of those around her. She doesn’t judge, but rather observes and strips back realities, layer after layer to reach spiritual insight after spiritual insight.
For instance in ‘No Boundaries’ whilst the imagery is vivid and disturbing ‘the woman with legs beaten black and blue’ ‘the starved ones with shaven heads/those with scratched cheeks, ’ Sabet is nevertheless able to make a discovery of spiritual/social significance, which is that smiles have power to connect human beings whatever their circumstances...’It’s true./We did not realise what smiles could do./ And so in that hellish misery we smiled; at the woman beaten black and blue.’
The observations of other prisoners are more detailed and complex in ‘Prison portraits’, especially in works like ‘Perfume of Poetry,’ ‘Lonely Prisoner,’ ‘ When She Died,’ ‘Sonya,’ and ‘The Captive.’ In these ‘portrait’ poems she reveals grief, loss, addiction, abusive husbands, as just some of the reasons the women have ended up in the prison.
As a prisoner-of-faith Sabet’s non-judgemental empathy for human suffering shines through – she surmises that she has no power to make others free; in ‘The Captive’ she concludes, ‘What can I do, what dare I offer you-/a poor captive who can never make your free?/What recourse is there, after all, but to shed tears for you/gathering them like pearls here, in my skirt for you?/’
The majority of the ‘Prison Portrait’ poems are addressed to the ‘you’ of the person portrayed. They are what perhaps she wishes she could say to the woman portrayed but cannot. They are her way of giving their realities wings to fly into the reader’s minds. Sabet gains some form of empowerment to womanhood as a whole in her role as witness. She holds the stories of those she now lives with in the garment of poetry.
Sabet’s journey into adjusting to prison life by a process of detaching from its physical reality and evoking for herself a space of inner freedom, tempered with the buoyancy of certitude is still full of many moments of poignant helplessness. In ‘The Friends’ Sabet feels the weight of imprisonment and the absence of justice:
‘No sign of justice here, no hope of it anymore;/impossible to touch the judge’s robe or beg mercy at his feet…/We shout as loudly as we can but our voices too are caged/and day after day death is denied as well as aid./No one listens, no one hears this wingless bird.’
These words could poignantly be spoken by any prisoner of faith, or any one in any kind of prison, including the prison of self.
Sabet far from being self-pitying, is often harsh on herself, calling out her weaknesses. This is especially apparent in very short poems like ‘Dust’
I drew near the mirror/to see myself better/It said ‘Go and get lost!/Your nothing but dust.
One of the recurring themes of Sabet’s poetry is the loneliness and separation from family, friends, and those who truly understand her, in prison. This is most apparent in poems like ‘Indifference,’ ‘Loneliness’ and ‘The Loneliness of the Stranger’ and ‘Stay Near Me,’ (a poem for her friend Fariba).
In ‘The Loneliness of the Stranger,’ Sabet uses a repetitive refrain to structure this particular poem, and this technique is equally apparent in ‘When She Died.’ These refrains add to the power and lyricism of her work, giving many, the quality of protest songs. Yet there is no anger in her protest, rather a sweetness and call to remembrance of common humanity.
Many of the poems in this collection are vivid, and poignant depictions of what it is like to be imprisoned, and the ways in which the poet tries to psychologically and spiritually survive and remain true to her inner core, but there are perhaps surprisingly for many readers given the situation, but not surprising for Sabet as a woman of faith, many gentler works in Prison Poems.
The collection as a whole is laden with several soothing images, particularly of the natural world, which give solace to the poet and her readers. Many are quite succinct and beautiful – read ‘The Breeze,’ ‘Anemone,’ and ‘The Blossom.’ Part of their gentleness comes from their prayer like quality.
For instance ‘Beaming Up’ where she calls upon ‘the beloved’ or ‘Cloudy Days’ calling upon ‘the compelling one.’ In these works Sabet’s poems are as prayers of strength, for herself, and anyone reading her work. Her sky/star ward gaze is a looking to the realm of the soul and she develops it further in ‘The Star.’
In ‘Tomorrow’ the poet writes ‘perfection, so I’ve heard,/is always as far from you as tomorrow; /your feelings, thoughts and efforts/all the steps you take towards perfection-/wait for tomorrow to happen./
‘Tomorrow’ is about the need for self-forgiveness in the search for perfection.
Whilst in ‘Longing to Fly’ Sabet invites anyone tied to earthly reality to find strength in stepping beyond,
‘Although you’re rooted to your feet/you long for the sky;/although you’re sister to the dust/you yearn to fly high./
Such a poem could also appeal to someone physically imprisoned in a physical frame that doesn’t do all that it could, as well as a prisoner.
Sky, wings, birds are common motifs for Sabet’s poems. In the writings of ‘Baha’u’llah, the prophet founder of the Baha’i faith to which Sabet subscribes, these can be understood more fully by considering some of the writings upon which Sabet would have been raised.
The bird is often a signifier of the human spirit, and of humanity. Woman and man are often explained to be two wings of the one bird, and both must be strong in order for the bird to be able to fly . The journey to the next life is often explained in terms of ‘winging’ one’s way to the next realm. Hence any of Sabet’s references to birds, flight, wings, wingless can be read as having this spiritual dimension to them. The bird is her, humanity, all women, other times she is the wing, or all the women in the prison are the wing. The ‘broken winged’ bird is also mentioned in a Baha’i prayer and striving for the Eternal allows this bird of a human or humanity to gain nearness to God.
The ‘Prison Prayers’ and ‘Prison Proofs’ sections contain poems that move away dramatically from the more physical dimensions of imprisonment. ‘Prison Prayers’ commences with a poem that reminds me of Christina Rossetti, ‘Remember me’ and is also titled ‘Remember me.’ Sabet supplicates the reader to find happiness and purpose in life through rising above their troubles, remembering her and striving for her freedom – like Rossetti she does not want a sad remembrance but an empowering one.
‘Whenever a friend plays music to relieve your heart/plucking unhappiness away with plaintive hope;/whenever your sorrow eases as you lift your hands/and supplicate for that barred door to open-/
There is much more that could be said about this poem, but I encourage the reader to personally explore more of its layers. This poem could be grouped with other invocations in this collection.
In ‘Stay Near Me, ‘Deep in my heart,’ ‘A Distance Remembrance’ and ‘To Fariba Kamalbadi,’ Sabet finds strength in the remembrance of friendship. The loss of the physical proximity of her friend Fariba reminds the reader of how friendship can take us through crisis; Sabet clings to the memory of this friendship to continue to guide her actions and strengthen her faith even as she grieves the loss of time with friends and community.
Sabet’s loss of family and friends is deeply felt as shown in a poem, ‘Let Time Slow Down’ where she urges ‘time to slow down’ (written for Naheed Ayadi), again this poem makes use of repetition for its structure.
‘I wish this prison walls would break/before it’s too late to see her again/I wish I could glimpse her kindly face/hear her uplifting laughter once again’
And in ‘The Wall’ (from ‘Dedications’) to her sister she follows the flight of the bird, to fly and sit beside her sister. She begins feeling so far away from her, but in her mind she is able to look skyward, and fly with the power of her soul.
Sabet turns herself inside out to show us what a human soul on an internal journey looks like in poetry. Her poetry is a triumph in its complexity, depth, and technique.
Sabet through poetry is able to uncage her voice, where she is unable to uncage her physical self – and yet her spiritual self too is uncaged even as her physical self is imprisoned. This is most apparent in the affirmative tones of ‘Waterfall’ and ‘The Vast Immensity of my Beloved.’ The eternal waterfall, ‘the limitless ocean’ and the vast immensity embrace Sabet in a union with the Eternal and with Faith itself. In ‘The Vast Immensity of my Beloved’ she, ‘a tiny fish,’swims in it.
For how I love your swirling deeps/your blue profundities replete/with corals and with pearls/
Ultimately as a poet and woman sharing Sabet’s faith, I long for Sabet’s flight to a physical freedom out in the world beyond prison walls and marvel at her creative and soulful ability to construct a reality where her soul will always be free.
Sabet leaves the reader with hope and a challenge – to fully understand and share her poems that one day the Yaran and others, especially prisoners of Faith wrongfully imprisoned, be free.
(c) June Perkins, words and images (c) Poetry Mahvash Sabet
June is a Baha’i, poet and storyteller with a Phd in the empowerment of Indigenous women through writing.
On the weekend I met some of the people from Kiribati living around the Logan, Boonah area. They came to give a talk on the plight of their nation, as well as to share their cultural dances at the Boonah World Environment Day Festival. The focus of the festival was sustainability in community development, promoting principles such as recycling, with a special focus on Kiribati.
A friend of mine, who was making material bags to encourage people to do this rather than keeping using plastic bags, invited me along. Last year my eldest son was doing geography and one of the units was on climate refugees. One of his case studies of pending Climate Refugees (who are a subgroup of the environmental refugees of the world) was Kiribati.
Kiribati is one of four places overseas I have been blessed to travel to in my life, so as I read the articles my son had received from his teacher about the Kiribati nation gradually going under the ocean as the sea levels rise I could clearly picture the people and place as if they were family.
“The International Red Cross estimates that there are more environmental refugees than political refugees fleeing from wars and other conflicts. The United Nations High Commissioner for Refugees (UNHCR) says 36 million people were displaced by natural disasters in 2009, the last year such a report was taken. Scientists predict this number will rise to at least 50 million by 2050. Some say it could be as high as 200 million.” (National Geographic)
Thinking of some of the wonderful people I met in Kiribati, particularly amongst the women in that community, as well as the many people affected by natural disasters the world over I do so now having some personal experience of what people go through in natural disasters.
But even though Cyclone Yasi was a challenging experience I am acutely aware we are so lucky in Australia to have well trained emergency services and immense resources to help people during and after a natural disaster. We keep refining our understanding of the aftermath and have the time, resources, one could even say the luxury to be able to do that. Yet why should this luck make us care any less about one of our fellow Pacific neighbours and should it really entitle us to consider our economy above our global obligations to others on the planet.
If we consider the interconnectedness of humanity and that what effects one ultimately effects all we cannot forget about the people of Kiribati.
The Kiribati people of the Logan and Boonah area have a cultural heritage and a relationship to the islands they once called home; they carry it with them wherever they go. Which nations will open their doors to the people still residing in Kirbati if the whole of Kiribati is physically lost?
It’s interesting to consider what would happen if we were in the same position as Kiribati and had to one day see a mass evacuation of our nation. For all who would deny the impact of climate change in their lives, the increasing challenges of Kiribati, challenge us all to consult to find solutions both short and long term.
Yet there are so many challenges in our world at present, is there something deeper at the way we deal with all of them – how many ‘causes ‘can each of us take on? Are they all related somehow?
As my son completed his unit of study he had to find possible solutions for the situation in Kiribati, one included the acceptance of the rest of the world to provide a physical home for them and ensure that they could still continue their cultures. I thought as I watched the young women of Kiribati dance – how wonderful if some of those solutions could be implemented and world think tanks could better harness the idealism and energy of the youth and encourage them to come to the forefront and how vitally important for international law to protect the people of Kiribati and find them a home.
It is heartening that communities like Boonah, think globally and act locally with their promotion of concepts like recycling and reducing use of plastic bags, composting and looking after the flora and fauna.
It is heartening to hear that New Zealand will take in all the people of Tuvulu and that Bangladesh has 40 boat schools to keep schools going due to their nation’s climate.
It is heartening to see a fellow cyclone Yasi friend, Mel Irvine, take her desire to help others and spend time in the Philippines assisting environmental refugees rebuild their lives.
It was so Dickension – the moment I headed off to the paper supply office at my school.
I had gone back into the public system after being in a small alternative school and this was my journey back into the mainstream system.
I was on what was called the ‘free list’ which meant our family was now so poor I was eligible for free paper.
The office shop lady gave me her usual once over disdainful look and said ‘And why do you need more paper so soon? Weren’t you here a short while ago’
After causing her usual amount of discomfort through a quick draw ‘you sure you need this paper’ stare. She handed it to me anyway, but I went away wondering how to write smaller and squeeze more into less space.
It wasn’t my fault I had so much to write for my assignments.
I was doing well with my book reports, social science and English projects and poetry. ‘More paper please,’ was all I could say.
I just kept going back for paper and writing more stories.
Our year 6 teacher was a former football coach and he believed in applying all his footy coaching tricks to his students. He liked to coach us in life. We ran laps of the school every day to stimulate our intellect by having our bodies fit. I remember doing ten laps I was that keen to have my brain work well.
He was imaginative, and had us deck our whole classroom out as an Egyptian scene, complete with pyramid to read in. I wrote poetry about Egypt as we were studying Ancient history and performed it at the school assembly. This was one of my highlights of year 6.
He encouraged us to make our assignments well presented in terms of how they looked, as well as the content. This was the year I learnt how to use pencil shavings to colour my paper. It was the year I mastered my cod cursive handwriting and went up 4 years in spelling age. As a treat if we did well in class or finished work early we could go and collect a mind puzzle from the school office and then solve it for the rest of class.
I collected many fun puzzle times.
One of my proudest moments was winning a big maths puzzle, that was set for the upper grades. It was a number find I think. I won a Rubics cube, back when they first came out.
Year 6 was an amazing school year, and although that office lady and I never saw eye to eye, I began to realise that there was a power in being able to write, speak and present words.
I had many opportunities, but was unable to afford school camp. Instead my memory is of two other girls from that year staying back from camp also, and we had to plan an interstate trip we would make with travel brochures. We had to do all the costings and list the places we would visit. I miscalculated some of my travel time, and was told I would be booked for speeding, but apart from that my assignment was sound.
At the time I had never been across the Tasman, to what Tasmanians call the mainland. Yet my Mum came from a far away land, Papua New Guinea and I had come out from PNG when I was under two. I didn’t know about travelling anywhere but Tasmania.
There were many other adventures and wisdoms learnt in year 6, but most important of all it was definitely a time I came to see the power of the written and spoken word.
I didn’t know that the future would hold many travels and I would make some the journeys in that assignment. Yet, even though I adore the power of the written word I often wonder –
How much of the eternal spirit can we capture on mortal paper?