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We Were Happy Here is a heart-splitting, sky-ripping elegy rendered in the language of myth and memory. With devastating clarity and lyrical force, John Ennis resurrects the tragic deaths of Doris Hüttl and Ernst Renn on Achill Island in March 1976; not simply to mourn them, but to celebrate their love. This collection does not look away. Ennis conjures the young couple’s final journey with a poet’s instinct for place and a mourner’s grip on time. The refrains “our green Toyota,” “Ais Léím,” “we were happy here”, become mantras echoing through the bogs and breakers of Achill. These are not just poems; they are unflinching vespers for love lost in the Mayo surf, for lives whose brightest hour became their last. In form, the poems are, like the landscape, windswept. They are broken, breathless, open to the elements. There is little punctuation, few constraints, and absolutely no pretence in this collection. This is as it should be. The result is a poetic terrain that mirrors the island’s own: raw, beautifully rugged, sacred and unforgiving.&nbsp; Ennis tends to employ repetition, fragmentation, and startling image-craft to beguile and draw us into a narrative that’s both mythic and terribly real, where bog cotton nods “for a reason,” daffodils dance in mortuaries, and a hosepipe becomes an instrument of finality. This is a book unafraid to be vulnerable. Its metaphysical daring, at once spiritual and corporeal, asks: how do we mourn when the beloved is not only lost, but vanished together with their own future? How do we honour the desire that dares to defy illness, despair, and societal judgment? To read this collection is to walk the last steps with Doris and Ernst. To feel, if only for a page, what it might mean to love. We Were Happy Here is an emotional reckoning. May it offer solace. May it offer remembrance.&nbsp; &nbsp; Niall MacGiolla Bhuí, PhD. August 2025.&nbsp; Bound for Achill &nbsp; On a day of daffodils on the highway west cruising, &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;hand in hand &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;when it was safe Doris &amp; Ernst &nbsp;their fair faces blooming in the sunlight&nbsp; in a green Toyota Mein Irisch Kinder Wo weilest du? – &nbsp; Their fuel tank overflowing&nbsp; to scale the mountains of Achill last time till the end of the day and they’d return this route &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;but not in the rented green Toyota &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; its front seats erect&nbsp; Happiness&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; how do you milk the last hours of it &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; give it a dry strig Yes, a fair noon for daffodils &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;dancing on the March highway &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;coming and going Od’ und leer das Meer &nbsp; &nbsp;At Heinrich Böll’s Cottage with its Rhododendrons and Fuchsias &nbsp; Ernst at the wheel &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; of the green Toyota &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;all life in the rhododendron buds opening and closing &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; so too these March days &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;not far now our vertiginous fall to the&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; exhaust fogging our Toyota windows &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; in the Bay of Ash Léím here we park like aliens&nbsp; (which of you will taste our salt pools in your mouths?) here where we are taboo forever but not in the kindness of an Achill kitchen a cup of tea and biscuits for the stranger blowing in, &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Doris, your future bleak as Minaun in the backyard of Heinrich Böll, in these sparse acres of Achill Henge thrown up in a weekend of cosmic laughter towards the slip stream of the equinox: &nbsp; Queen of the West look up at us &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; pray a beach comber to look down find us &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; the morning after &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; the night before with our arms in the scented fuchsia of each other &nbsp; &nbsp;Not All the Holy Wells Burbling Pieties&nbsp; &nbsp; on roof-blown mountains &nbsp; &nbsp; &nbsp;can stop us not all the whitest quartzite&nbsp; alters our minds on our rocky plateau &nbsp; &nbsp; &nbsp;in our bliss it’s like that for it takes raw courage to do what we are doing &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Don Allum battling Atlantic combers St. John’s to Dooagh &nbsp; every inis of each other &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; within reach for a time &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;the clavicles of laughter &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; the time Doris you lose your shoeing in the gap of the wild horses find us together &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;our front seats inclined &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;not for the first time &nbsp; the kindness of locals mirrored &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;in the bright discoloured faces of the unthinkable &nbsp; &nbsp;* All poems © to John Ennis. 'We Were Happy Here' by poet, John Ennis, is available to purchase on Amazon. Ennis is green lit by Amnesty International for his work.&nbsp;

'We Were Happy Here' by John Ennis

Tanner Creek at Wahclella Falls Trail in the Columbia River Gorge in Oregon.

'A Life Between The Brackets' by Chad Norman<figure id="figure-gnvlbqd8k8mgze0g97"><img id="gnvlbqd8k8mgze0g97" src="https://cdn.durable.co/blocks/23uO5kwJAG2bgTkFlxNsmdlgHgakDotrCzVlAot6ZubDt3ofAhXRA4gY9CaJViRv.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 1/1; object-position: center center;" data-corners="default" data-aspect="1:1" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/23uO5kwJAG2bgTkFlxNsmdlgHgakDotrCzVlAot6ZubDt3ofAhXRA4gY9CaJViRv.jpg" data-mce-style="aspect-ratio: 1/1; object-position: center center;"></figure>Thematic Synthesis and Key Insights The forthcoming poetry collection 'A Life Between The Brackets' by Canadian poet, Chad Norman, serves as an eloquent and incisive witness to the modern world, meticulously balancing observations of the natural world with critiques of human-engendered crises. The poems explore the profound connections between humanity and nature while simultaneously confronting ecological destruction, social injustice, and economic hardship.&nbsp;Central themes include the survival and wisdom of the natural world, the violent and often thoughtless impact of human activity, and the search for peace and meaning amidst personal and global turmoil. The collection is characterised by a deep sense of place, rooted in Truro, Nova Scotia, but extends its commentary to global issues such as the war in Ukraine and the legacy of colonialism in Canada. As summarised by Irish Poet, John Ennis, the work chronicles a world of both immense natural beauty and stark human failure, where "poems of survival balance ecological and man-engendered deaths" and where, despite significant loss, there is still "a happiness / in the songs / of the day’s melting ice."Overview of the Collection 'A Life Between The Brackets' is a collection of poems by Canadian poet Chad Norman, published by the Ireland-based ShadowScript Publications. The book is structured into eight distinct sections, each exploring a different facet of the collection's overarching themes. Author: Chad Norman Publisher: ShadowScript Publications ISBN: 978-1-9191909-6-9<figure id="figure-rgu9ohpiwsmgze17xh"><img id="rgu9ohpiwsmgze17xh" src="https://cdn.durable.co/blocks/8tetpGgntuxHXbtLtG0vkD6GRqke3eBwTYsVQ88WB11XxSyLFkdnZp8vBIDDlNBL.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/8tetpGgntuxHXbtLtG0vkD6GRqke3eBwTYsVQ88WB11XxSyLFkdnZp8vBIDDlNBL.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure>Structure The collection is organised into the following eight thematic sections: 1. Wisdom: Poems focusing on observation, nature, and introspection. 2. Humans Otherwise: Narratives and reflections on human lives, family, and memory. 3. Ukraine: Poems directly responding to the war in Ukraine. 4. Observe The Observer: Meta-reflections on poetry, relationships, and the act of seeing. 5. For Others: Dedicatory poems and reflections on specific individuals, communities, and events. 6. Industrial Ave.: Poems centered on the intersection of nature and industrial environments. 7. Religiously Brief: Short poems with spiritual or philosophical undertones. 8. Truro Town: Poems grounded in the author's local environment of Truro, Nova Scotia.<figure id="figure-k2v4vdv77mgze1w8j"><img id="k2v4vdv77mgze1w8j" src="https://cdn.durable.co/blocks/25DJIESv7s1bgFWw6uAfDfNsLyBSBpWDKxWLzbX3b79qXvWuTRktpR6PSUyk0rM3.png" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 1/1; object-position: center center;" data-corners="default" data-aspect="1:1" data-caption="" data-positionX="undefined" data-positionY="undefined" data-fullWidth="false"/></figure>Core Thematic Analysis The collection weaves together several powerful and recurring themes, creating a complex portrait of contemporary life. 1. The Natural World as Teacher and Witness A predominant theme is the profound wisdom and intelligence found in the non-human world. The poet frequently positions himself as a student of nature, learning from animals, trees, and the changing seasons. • Non-Human Teachers: In the acknowledgements, Norman explicitly thanks "teachers, for the most part those that are not human, sharing their intelligence and secrets about how to live this life." This sentiment is echoed in poems like "PROMISES TODAY, PROMISED," where the poet seeks entry into the woods to learn how birds "would show / I could be among them." • Intimate Observation: The poems are filled with meticulous observations of animal behavior, celebrating the survival of individual creatures. Examples include a starling learning to feed itself ("THE PROVISIONS OF PERFECT TIMING"), the poet’s attempt to save an injured ant ("ACCIDENT AT THE MILL"), and gaining the trust of numerous birds and a chipmunk ("THE CLAPPING MAN'S CLAIM"). • Nature's Intrinsic Value: The collection champions the inherent worth of the natural world, separate from human utility. The return of honeybees is described as a "miracle" ("THE MEANING OF AMAZEMENT"), and the poet finds solace and connection in the forest, which has "many" chances, unlike a failing father ("WILFRED AND THE HARDWOODS").2. Ecological Crisis and Human Negligence Juxtaposed with the reverence for nature is a sharp critique of human impact on the environment, ranging from corporate destruction to individual thoughtlessness. • Habitat Destruction: The multi-part poem "A PRESTIGIOUS HEADACHE, AND THE SIX-QUESTION CURE" is a direct and furious indictment of an ecologist, referred to as the "bird-lady," and a power corporation for the "butchery" and "decimation" of a young forest to solve the problem of "crows crapping on their trucks." The poem details the loss of habitat for foxes, deer, and mice, concluding that "Preservation has little to do with disregard." • Pollution and Litter: In "CONFESSIONS OF A HOMEOWNER AND THE NEW LITTERS," the poet documents the proliferation of pandemic-related waste ("Mandatory Masks," "Gratis Gloves") and cannabis containers. He describes collecting over 70 masks from a schoolyard and seeing rubber gloves polluting drains, lamenting the carelessness of his "unintelligent / species." • Climate Change and Natural Disasters: The poem "A TIME AND PLACE FOR EFF WORDS" addresses a series of disasters in Nova Scotia—Floods, Fires, and Hurricane Fiona—linking them to a larger pattern of environmental imbalance and questioning humanity's role: "I wonder if we know what's going up? / There's no question about what its coming back as."3. Social and Political Commentary The collection extends its critical lens to pressing social and political issues, grounding global events in local and personal experience. • Violence and Hate Crimes: "THE FAIREST OF FARES" is a poignant memorial for Prabhjot Singh Katri, an immigrant Sikh taxi driver murdered in Truro in 2021. The poem decries the killing as "a crime committed with hate as a weapon" and recalls a personal, respectful encounter with the victim. • Indigenous Reconciliation: The poem "JULY FIRST TWENTY-TWENTY-ONE" is dedicated to "the Indigenous children found and those yet to be." It reflects on the horror of the discovery of unmarked graves at residential schools, stating, "I know my country well / and today there is no doubt / it will be turned inside out." • War and Peace: The "Ukraine" section directly confronts the Russian invasion. "THE RAPE OF UKRAINE" is a short, brutal poem, while "THE MORNING ACTIVIST" offers a starkly contrasting image of hope, dedicated to the mothers of Ukraine: • Political Protest: "SAILING TO THE KREMLIN" is a tribute to Alexei Navalny after his death, casting him as the captain of a ship of opposition whose followers must continue the voyage. The poem repeats his name as a "nautical and symphony."4. Economic Hardship and Labor The poems also touch upon the precariousness of modern labor and the human cost of economic decisions. • The Experience of Labor: In "THE NUT AND THE BOLT, 2021," the poet describes working a new job in an "endless warehouse," sweeping up "what's been left by the workers / who were told their jobs are over." He feels their losses in the "talkative air" and reflects on the shock of losing an income. The discovery of a single, unused nut prompts a meditation on lost potential and broken promises. • Critique of Academia: The blurb by John Ennis notes the collection includes "a swipe at academia." This is most evident in "A PRESTIGIOUS HEADACHE," which critiques an ecologist whose education seemingly enabled, rather than prevented, environmental destruction for corporate convenience.Author and Publication Details About the Poet Chad Norman lives and writes in Truro, Nova Scotia, Canada. His career includes the 1992 Gwendolyn MacEwen Memorial Award For Poetry, with judges Margaret Atwood, Barry Callaghan, and Al Purdy. His work appears internationally in various publications. A recent book, Parental Forest, was published in 2024. Notably, his poem "The Shoulds" was selected for the Lunar Vagabond Collection, part of a time capsule scheduled to be sent to the moon in November 2024.- Conor MacGiolla Bhuí, October 2025. ©*ShadowScript Publications is an independent publisher with offices in Galway City and Dublin, Ireland, launched in 2023 with a particular interest in poetry and short stories and a commitment to using paper sourced only from sustainable forestry and to diversity, inclusion and equality. Viva la forests!&nbsp;<figure id="figure-sela723aydrmgzdy4uh"><img id="sela723aydrmgzdy4uh" src="https://media.gettyimages.com/id/2151393223/photo/painterly-beech-forest-scenery-with-the-luminous-sun.jpg?b=1&amp;s=2048x2048&amp;w=0&amp;k=20&amp;c=h9d6dereHKZPO9aDPSQ4HSVCZtvm95yATZ7Veh0N9wE=" alt="Painterly beech forest scenery with the luminous sun" title="Painterly beech forest scenery with the luminous sun" class="object-cover bg-gray-100 " style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://media.gettyimages.com/id/2151393223/photo/painterly-beech-forest-scenery-with-the-luminous-sun.jpg?b=1&amp;s=2048x2048&amp;w=0&amp;k=20&amp;c=h9d6dereHKZPO9aDPSQ4HSVCZtvm95yATZ7Veh0N9wE=" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure>

'A Life Between The Brackets' by Chad Norman

A girl touches the grass while walking in the meadow.

Introduction: The Cartography of Healing<figure id="figure-gr909wlqj4mgxz2zn5" class="selected"><img id="gr909wlqj4mgxz2zn5" src="https://cdn.durable.co/blocks/34hVadTtfJR23sqSg7V1deAeqpgDYzfCxcbfvabRG1BHK7hXhhsw07EiBrF7xRMg.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 1/1; object-position: center center;" data-corners="default" data-aspect="1:1" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/34hVadTtfJR23sqSg7V1deAeqpgDYzfCxcbfvabRG1BHK7hXhhsw07EiBrF7xRMg.jpg" data-mce-style="aspect-ratio: 1/1; object-position: center center;"></figure> The forthcoming poetry collection by Attracta Gill is conceived not merely as an anthology but as an intentional emotional cartography. Its mission is to chart the human spirit’s journey from the fractured landscape of trauma toward an integrated state of self-discovery, offering her readers not just a map but a mirror to their own profound work of mending the self. The collection’s narrative architecture is built upon a central thesis: that true healing is not a linear march, but an alchemy that requires the confrontation of trauma to build the capacity for love; the strength of that love to withstand the crucible of loss; and the wisdom gleaned from loss to finally forge an authentic sense of belonging. To this end, the work is deliberately structured into four thematic sections: Trauma Recovery, Love, Loss, and Belonging. This blog delineates the curatorial logic behind this four-part structure, articulating how each theme functions as an essential stage in a larger, cohesive narrative of psychological reclamation and the courageous unfolding of the self. Section I: Trauma Recovery: Breaking the Silence This collection begins with Trauma Recovery as its foundational act. This section serves as the initial incision, a courageous first step into the past to shatter the suffocating silence that perpetuates suffering. Here, in this liminal space, the unspeakable is finally given language, and the emotional resonance of buried experience is brought into the light. The curatorial principle for this section is anchored in the psychological truth that: One of the most damaging parts of developmental trauma is the silence… The poems gathered here are instruments designed to give voice to that which has been suppressed. Works such as "The past is not in the past" and "Childhood Trauma" directly excavate the deep-seated origins of pain. In juxtaposition, titles like"The Body knows how to recover from trauma: just listen" and "The Whispering Storyteller"introduce the collection’s primary healing modality: a turning inward to heed the body’s innate wisdom and the quiet truths it has held in trust. Once this silence is broken and acknowledgement begins, the spirit is prepared to turn toward the constructive forces that make repair possible, leading organically to the collection’s next vital theme. Section II: Love: Forging a Cloak of Self-Worth Following the raw honesty of Trauma Recovery, the "Love" section functions as the critical reconstructive phase in the healing arc. This is where the narrative moves from excavation to fortification, exploring the painstaking process of rebuilding the capacity for profound connection; first with the self, and then with others. The multifaceted nature of love is explored through the lens of empowerment and self-sovereignty, guided by the principle: Grow a cloak of Love and the debt is to yourself… This section showcases love not as a passive or romantic ideal, but as an active, internal resource essential for survival and growth. The poems selected illustrate a spectrum of this restorative force: • Self-Love and Agency: Poems like "I want myself" and "Wild Woman" champion the reclamation of personal desire and untamed authenticity. • Familial and Foundational Love: The juxtaposition of titles like "A Fathers Love" and "My Fathers Daughter" explores the dual perspective of love as both an external force that shapes us and an internal identity we inhabit; a bond that is both given and received. • Compassionate Connection: Works including "Curious Compassion Companion" and "Rupture and Repair" examine the practice of extending grace, both to oneself and in relationships with others. • Hope and Resilience: The inclusion of "Flame of Light and Hope"and "Without Wings, I learned to fly" establishes love as the very fuel for resilience. To truly build a capacity for love is to become vulnerable to its absence. The strength forged in this section is therefore not a shield against pain, but the very tool required to finally face the profound grief of the next. Section III: Loss: The Alchemy of Grief The third section, "Loss," is positioned not as a regression into despair, but as an essential deepening of the healing process. Authentic recovery requires passage through the crucible of grief. This section validates the painful realities of betrayal, sorrow, and letting go, framing them as integral to the path toward wholeness. The curatorial approach here is one of radical acceptance, centered on the quiet affirmation: Just as you are… These poems give sanctuary to difficult emotions, performing a kind of alchemy that transforms pain into wisdom. A narrative arc emerges within the section itself: poems like "Betrayal," "Shame," and "Bye Mam" offer an unflinching space for raw, visceral grief. Following these, works such as "The Wound is the Birthplace," "Grief showed me the way," and "The Wisdom of Trauma" reposition these harrowing experiences as catalysts for profound insight and personal evolution. By moving through the fires of loss and integrating its lessons, the individual sheds old identities defined by pain. This process clears the path for the emergence of a more authentic self, one who is finally ready to find their place in the world. Section IV: Belonging: Reclaiming Place and Voice The final section, "Belonging," stands as the culmination of the journey charted in the preceding themes. It defines belonging not as assimilation, but as a hard-won state of internal alignment that arises from the emotional work of the entire collection. This is not a final destination but an arrival into a deeper way of being. This section celebrates liberation and integration, speaking directly to "trauma travellers" and urging them to use "movement as your ally" and to "Dive Deep." Belonging, in this context, is a commitment to profound self-knowledge; an ongoing, courageous exploration of the reclaimed inner world. The poems selected narrate this triumphant stage: • Breaking Free: Titles like "Let me be Free," and "No Turning Back" articulate the definitive act of liberation from past constraints. • Finding Community: Poems such as "Welcome the Misfits" and "Relational Gentle Kindness" explore the solace found in connections built on mutual understanding. • Embracing Authenticity: Works including "My Voice," "Shine on you gorgeous survivor," and "I am good" serve as powerful declarations of self-worth and the right to exist fully and without apology. This final chapter marks the arrival into a state of wholeness, where the "trauma traveller" is no longer defined by where they have been, but by the resilient, powerful, and authentic presence they now inhabit. The Unfolding of the Self The four sections of this collection are not disparate chapters but a deeply interconnected, archetypal narrative of the soul's reclamation. This thematic architecture mirrors a universal human quest, guiding the reader from Trauma Recovery to Love, through Loss, and into a profound state of Belonging. Ultimately, this collection offers readers not a prescription, but a living document that breathes with them. It is a testament to the resilience of the human spirit, a guiding light for anyone on the path back to themselves.&nbsp;*Original art by Ruth Evans ©

The Cartography of Healing

Open Book with Digital Data Stream in a Library

Coming into the weekend, let's take a deep dive into Isabel Kelly's book, 'Is-Abel'.<figure id="figure-hctm15o5srmgumgcpt"><img id="hctm15o5srmgumgcpt" src="https://cdn.durable.co/blocks/3sOz5A3dD3XmheffYBN6Fud1slqdPVJfnBUOsunaGBVFKTHOKEIWWneNAtiFHTbK.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/3sOz5A3dD3XmheffYBN6Fud1slqdPVJfnBUOsunaGBVFKTHOKEIWWneNAtiFHTbK.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure> 5 Life-Altering Truths from a Memoir Forged in the Care System What if the name you’ve cherished your entire life, the one link to a family you never knew, was a lie? Not a malicious lie, but a clerical error, a casual oversight in a file that unravels your entire sense of self? This is not a hypothetical question. For Isabel Kelly, it was the first of many lessons in a life where identity is a constant battle against a system that often prioritises procedure over personhood.Her memoir, 'IS-Abel - An Inspiring Story of Survival and Hope Through Northern Ireland’s Care System,' is a profound exploration of this very quest. Her story is not just one of survival against a backdrop of trauma, but a source of powerful, counter-intuitive lessons about the human spirit. It pulls back the curtain on the care experience, revealing how a system designed to protect can inadvertently erase, separate, and stigmatise the very children it’s meant to serve.This post shares five of the most impactful takeaways from her journey. These are not just anecdotes from a difficult past; they are profound insights into how a life is shaped, how the heart forms bonds in the most unlikely of places, and how true strength is often forged in the fight to prove you are more than a label.1. A Single Misspelled Word Can Undermine a Lifetime of Identity For most of her life, Isabel Kelly knew herself as “Isobel.” It was the name given to her by the system, the name on her school records. She cherished it as the one thread connecting her to the biological family she never knew, particularly to her grandmother and great-grandmother, who were named Isobella. The discovery, years later upon receiving her first passport, that her birth certificate actually read “Isabel” triggered a profound identity crisis.This was not just a clerical error; it was a fundamental severance from her roots. The misspelling severed the only generational link she had, stripping her of the one thing she thought was truly hers. In a letter investigating the error, the Sisters of Nazareth revealed the systemic carelessness that led to this lifelong wound:It must have been distressing to find the variation in forenames Isabel/Isobel. Again, I’m afraid this is a constant problem for us using the archives. I suspect often children were received without written paperwork accompanying them. Perhaps being ‘handed over’ by someone unrelated to the child who could only give the name verbally, resulting in phonetic recording.This wasn't just a typo; it was the system's first, and most intimate, act of erasure. A theme that would repeat in the separation from her siblings and the societal labels she was forced to fight. It serves as a stark reminder that within large, impersonal systems, a single stroke of a pen can alter an individual's sense of self and their place in the world.<figure id="figure-tr17rumrrlmgumhc5q"><img id="tr17rumrrlmgumhc5q" src="https://cdn.durable.co/blocks/5fvfwwGdWCvrxAM1eiUKjXQ2th56VYaUQLtzjOCgsSVazSKxSjdgSOpnwwmW1qjL.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 1/1; object-position: center center;" data-corners="default" data-aspect="1:1" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/5fvfwwGdWCvrxAM1eiUKjXQ2th56VYaUQLtzjOCgsSVazSKxSjdgSOpnwwmW1qjL.jpg" data-mce-style="aspect-ratio: 1/1; object-position: center center;"></figure> 2. We Can Form Powerful Attachments to the Sources of Our Pain One of the most unsettling revelations in Isabel’s story is the complex bond she maintained with the Mother Superior, a woman who ran the “harsh and cruel environment” of the children’s home. Despite the trauma she endured there, Isabel found herself inexplicably drawn back to visit her for years, well into her adulthood. This psychological portrait is made more complex by the fact that the Mother Superior welcomed her warmly, taking great interest in her life and reminiscing about the “‘good aul days’”. This counter-intuitive pull speaks to the deep psychological need for attachment, even in the most damaging circumstances. Isabel's own words capture the complexity of this connection: Despite the trauma I endured at the children’s home, when I reached adulthood, I returned many times over the years to visit the Mother Superior. I was inexplicably drawn back to visit this woman, this surrogate mother, an attachment that I had formed that could not easily be shaken off. Her story reveals a difficult truth about trauma bonding: for a child with no one else, the figure of authority, even an abusive one, can become a surrogate parent. This creates a powerful emotional connection that survival instincts refuse to let go of, illustrating a psychological dissonance that defies simple logic. 3. The System Can Make Siblings Strangers Under the Same Roof Imagine growing up in an institution, separated from your parents, only to discover years later that your own brother and sister were living in the very same building the entire time. This was the shocking reality for Isabel. At St Joseph's baby home, she was systematically separated from her siblings, not for any reason related to their well-being, but for the administrative convenience of the nuns. The cruelty of this separation was compounded by the fact that she wasn't even aware of their existence. The truth only came to light when a worker, planning Isabel’s second birthday party, casually asked if her brother and sister were invited. The reason for this profound and unnecessary loss was brutally simple: it was done to make it easier for the nuns to "manage their workload." In a powerful contrast to this institutional cruelty, a small act of humanity followed the discovery. The worker who had learned of the siblings told her father, who “insisted that they too join me on weekends at their home.” It was a moment of grace in a system that so often prioritized efficiency over the most fundamental of human needs. By treating children as tasks to be managed, the institution created a wound of separation that never needed to exist. <figure id="figure-ip6nsbl3omgumiu5p"><img id="ip6nsbl3omgumiu5p" src="https://cdn.durable.co/blocks/758ixquHfCuZrMVw0vaLja9p8j84tleaNrDDzSzX7kZgeWmRSpKRg8RqroWtVNqn.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionx="undefined" data-positiony="undefined" data-fullwidth="false" data-mce-src="https://cdn.durable.co/blocks/758ixquHfCuZrMVw0vaLja9p8j84tleaNrDDzSzX7kZgeWmRSpKRg8RqroWtVNqn.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure>4. The Heaviest Burden Is Proving You Are Not a Stereotype For Isabel, the fight for her future didn't end when she left the children's home; it simply moved to a new battlefield: society's prejudices. Being labeled a "foster child" came with a heavy set of misconceptions; that children from care are "bad kids," "delinquent," or "damaged goods." This forced upon her an immense and draining emotional burden: the need to constantly prove her worth to a prejudiced world. This wasn't an abstract struggle; it was a daily, visceral reality. She despised the inevitable questions about her surname, which was different from her foster family’s. She admits, “I would lie through my teeth but get caught out, anyway. Triggered by all the uncomfortable questioning, my body would tremble in fear, worried that people would know my secret.” Her frustration and the injustice of this expectation are captured in this powerful reflection from her memoir: Let me unveil a truth: children in foster care should not bear the responsibility of constantly having to ‘prove their worth’. It is a societal lens that distorts reality, casting shadows on the potential, resilience, and untapped brilliance within each of us. This highlights the exhausting emotional labor placed on children who, through no fault of their own, are forced to spend their energy justifying their very existence and potential. They are not just surviving their past; they are fighting a daily battle against a future that society has already tried to write for them. 5. Forgiveness Isn't Condoning the Hurt; It's Releasing the Burden For decades, Isabel carried the weight of bitterness, anger, and resentment for the abuse she suffered; a burden that, in her words, “threatened to eclipse her potential.” The turning point in her journey was not a change of heart about the injustices she endured, but a conscious decision she made for her own well-being. Prompted by a pastor's advice, she came to a profound realisation about the nature of forgiveness. She understood that forgiveness was not about excusing her offenders or minimising her pain. It was a tool to free herself. It was a way to release the control that those who had hurt her still held over her life. By forgiving, she was not condoning their actions but releasing herself from the heavy burden of the past so that she could finally move forward and reclaim her future. This is perhaps one of the most transformative lessons from her story. As she concludes, she wished she had forgiven people "much earlier than I did." Forgiveness, in its truest sense, is an act of self-preservation. A final, powerful step in reclaiming one's own life from the shadows of trauma. <figure id="figure-8elyxdzgdwvmgumjrms"><img id="8elyxdzgdwvmgumjrms" src="https://cdn.durable.co/blocks/3bgG0GXCzQf3R9z0avm7b3eOxn5pKyaFf2KlLzyUXCcFUiO4CwJq7vL4xBojh3xm.jpg" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionX="undefined" data-positionY="undefined" data-fullWidth="false"/></figure>The Strength That Remains Isabel Kelly's story is a raw and unfiltered look at the failings of a system and the deep scars it can leave. The misspelling of her name, the separation from her siblings, and the societal stigma she faced were all symptoms of an institutional logic that too often erases individuality for administrative ease. But woven through the pain are even more powerful threads of resilience, hope, and the indomitable will to define one's own life. The five lessons shared here are a testament to a spirit that refused to be broken by circumstance, stereotype, or trauma. Isabel's story is a powerful testament to finding one's own voice after it has been silenced. What is our collective responsibility to ensure every child in care has the chance to be heard? -Harry Hickey, October 2025. *Isabel's book is available for purchase on Amazon.

IS-Abel - An Inspiring Story of Survival and Hope Through Northern Ireland’s Care System

fountain pen on paper with ink text closeup

We've now completed edits on Lyn Maloney's book, 'The Plainest Jane Of All' (oh, how we love that title!) and, after considerable thought on genre placement, here's what we finally agree on...<figure id="figure-4z0mafkolpmg98p0qq"><img id="4z0mafkolpmg98p0qq" src="https://cdn.durable.co/covers/31tRqFYIvJZuoaFxhMsMPyFF2pnibODKZpkJQSlmCnMynKVHsmh65pWsntbBLdXB.png" alt="" title="" class="object-cover bg-gray-100 " style="aspect-ratio: 16/9; object-position: center center;" data-corners="default" data-aspect="16:9" data-caption="" data-positionX="undefined" data-positionY="undefined" data-fullWidth="false"/></figure> Lyn's novel sits most securely in contemporary Irish literary fiction with elements of social realism. It blends gritty depictions of small-town rural life, intergenerational memory, and personal struggle with moments of black humour and deeply felt emotion. While it carries shades of coming-of-age through Jane’s personal growth, the narrative is far more sprawling, touching on community decline, political history, generational trauma, and the raw messiness of rural and pub culture. One might also pitch it as Irish social-drama fiction with strong crossover potential for readers of memoir-like narrative fiction, given its semi-oral storytelling style. The prose is highly descriptive, often cinematic, with a dense layering of imagery and atmosphere. At times it veers towards the baroque, with long sentences, colloquialisms, and cultural references grounding it firmly in the Irish vernacular. There’s a distinct oral-tradition cadence here; the kind of storytelling that feels like it could be told aloud in a smoky bar, complete with interruptions, jokes, and digressions (we've all been there). This makes the style authentic and immersive. Dialogue is sharply drawn, earthy, and true to life. It captures the rhythms of rural Irish speech with a naturalism that adds weight to character conflict. Perhaps the novel’s greatest strength lies in its characters. Figures like Joe, Finian, and Jane are vividly realised, each with flaws, humour, and raw humanity. Joe in particular emerges as a tragic, layered figure, a man forged by the Troubles of Northern Ireland, yet worn down by age, loss, and bitterness. His relationship with Boyho, the dog, humanises him beautifully. Jane, meanwhile, is a more contemporary counterpoint: young, restless, frustrated, and yearning for change. Her misadventures (such as the chaotic pub scenes and perilous encounters with drunken men) capture the vulnerability and resilience of modern Irish womanhood. Secondary characters; the reckless Roisin, the drum-wrecking Colm, the sharp-tongued Finian, work well within the novel’s heightened realist frame as they provide comic relief and menace in equal measure. This is a vivid, character-driven novel rooted in Irish social life, politics, and identity. It will appeal to readers of Roddy Doyle, Edna O’Brien, or Kevin Barry, writers who blend humour, grit, and social commentary. For those seeking authenticity and immersion, it will be deeply rewarding. ©ShadowScript Team, October 2025.

'The Plainest Jane Of All' by Lyn Maloney

6 Mind-Bending Truths Uncovered in ‘The Spirit Dragon’s Keeper’ by Catarina Lilliehöök (50+ 5 Star Amazon Reviews). For nine-year-old Mila, a Sámi reindeer herder from the frozen lands above the Polar Circle, reality shatters the day strange men in dark coats with bearskin collars appear on the mountain. Her world of snow and migrating herds vanishes in a black flash, punctuated by her mother’s terrified scream: “Run, Mila! Run!” She awakens in the sweltering heat and rigid discipline of Long Si, a mysterious dragon temple in South China. Here, she is an outcast; a foreign girl in a world of boys, a prisoner forced into a life she never chose. But deconstructing this narrative of captivity reveals a foundation of secrets, each one a narrative earthquake that redefines everything she thought she knew about her captors, her enemies, and the very foundation of her own identity. 1. The Man Who Stole My Life Was the Only One Who Could Save It From Mila's perspective, Master Li is the architect of her misery. He is the cold, demanding captor who stole her from her family, cut her hair like a boy's, and dragged her across a continent to a foreign prison. Her hatred for him is the one constant in her upended life; he is the man who decides her every move, the reason she can never go home. He is her jailer, and the story is one of captivity. But this foundational truth is the story’s first great lie. Master Li never abducted her from home. Following a prophecy, he arrived at a slave market to find that a sinister group known as "the Nefarious" had gotten to her first, abducting her and selling her to two men. Masked, he didn't just buy her freedom; he seized it, jumping from nowhere to rip a sword from his back and charge in a rain of strikes, disarming her captors and knocking them senseless. His protection was ongoing, as he fought off "common thieves" and other "bad men" throughout their perilous journey. This complete narrative reversal recasts the entire story. The cold, distant demeanour Mila perceived as cruelty was a necessary facade, a shield for a dangerous nine-moon trek across hostile lands. The character archetype of the "jailer" is masterfully inverted, revealing him to be not just a rescuer, but a constant, silent protector. “I followed the signs.” “And they took you all the way to Scandinavia?” “No, only as far as the slave market.” “And how can you be sure you didn’t go wrong in a place like that?” “The oracle bones told me clearly. And besides...” He places his stick in one of the holders. “The Nefarious got to her first.” 2. A 'Snake' in a World of Dragons Is a Dragon in Disguise At Long Si, Mila's identity as an outcast is cemented by her birth year. She is told she was born in the Year of the Snake ("Ta shu she"), an unlucky and inferior sign in a temple dedicated to the dragon. Her primary bully, Yong Da, relentlessly uses this to torment her, spitting the word "Snake" as an insult. This label becomes the core of her shame, reinforcing her belief that she is weak, unwanted, and will never belong. The truth, however, is a revelation that shatters this core belief: Mila was born in the Year of the Dragon. This isn’t a minor calendrical correction; it's a fundamental re-writing of her identity and destiny. The label that defined her as an outsider was a complete falsehood based on a critical error. Master Li, the man who held her destiny, admits his mistake came from misinformation he received at the slave market. This adds a fascinating layer of complexity to the all-knowing mentor archetype. The man who orchestrated her rescue also inadvertently caused her years of suffering through a simple, human error. The thematic resonance is powerful: the names we are given can build a prison, but a single truth can tear it down. “You are no more a snake than me or Cook Ma.” 3. The Ancient Temple Wasn't Built on a Secret, It Was Built Around One Long Si appears to be an ancient, formidable fortress dedicated to the rigorous training of martial arts. The students believe their purpose is to become skilled fighters, preparing to defend against the lingering threat of ancient warlord clans. The temple is a place of discipline, history, and physical prowess, its power seemingly derived from centuries of tradition. But the true source of the temple's power is something far more mythical. In secret tunnels beneath the fortress, Mila discovers a living, breathing, ancient spirit dragon named Hidden Eyes. The magnificent creature has sharp teeth and claws, and golden scales across its massive undulating body, locking her gaze with crystal eyes. This mythical being is the "secret weapon" the students are unknowingly being trained to protect. This twist elevates the story's genre, transforming it from a grounded martial arts drama into a high-fantasy epic. Long Si was not merely built on a secret location; it was constructed around a secret, living deity. The narrative brilliantly grounds its world in grit and discipline, only to reveal that myths are terrifyingly real and slumbering just beneath the flagstones. I am Hidden Eyes, spirit dragon of Long Si. The voice is in my head. Otherworldly, rich, carrying the strength of a thousand mountains. 4. True Power Doesn't Come From You. It Comes Through You The training at Long Si is gruelling and physical, centered on mastering fighting forms and building strength. Power is measured by one's ability to "eat bitterness like sweets" and physically dominate an opponent. Mila, smaller than the boys, consistently struggles to meet this standard. Yet Mila possesses a unique and counter-intuitive power: heart magic. She discovers she can see the "spirit core" or "heart orb" of others and, in moments of courage, literally borrow their unique qualities and strength. This fascinating magic system completely redefines the concept of strength, subverting the story’s initial premise. Power is not something you possess in isolation, but something you can courageously connect to and channel from the world around you. First, Hidden Eyes explains the principle behind her power: “Courage. When you are courageous, you have earned the right to borrow.” Later, in the heat of battle, Mila understands its profound application, realizing that the key is not to fight with her own strength, but to channel the strength of others through herself: “I can hardly breathe. It’s not mine; it’s their strength I must use! When you are courageous, you have earnt the right to borrow.” 5. The Enemy We Were Trained to Fight Was an Ally on a Secret Mission For years, the students of Long Si are told that their sole purpose is to train to fight a dangerous threat from ancient warlord clans. Every lesson and every vow is aimed at preparing them for this eventual conflict. The warlords are the clear and unambiguous enemy that gives their harsh lives meaning. The most stunning narrative reversal comes when Mila is sent on a mission to infiltrate the most powerful warlord cartel and deal with its leader, the formidable Laoban. There, she discovers the truth: Laoban is actually Master Li’s missing younger brother, the Second Master of Long Si. He has been on a nine-year, deep-cover mission. But this was no simple infiltration. He conquered the enemy from within, killing their previous leader and seizing command of the entire cartel himself. This twist elevates a classic espionage reveal into a staggering act of personal sacrifice and strategic brilliance. The story’s primary antagonist is unmasked as its most dedicated hero, a man who gave up his name, home, and honour to command the very forces he was sworn to destroy. It’s a masterful subversion of expectations that completely demolishes the line between friend and foe. “Uncle is not a prisoner.” “He is Laoban,” says Wei Wan. 6. My Lifelong Bully Wasn't Just Cruel. He Was Magical From Mila's first day at Long Si, Yong Da is her primary antagonist. He is a physical brute; strong, cruel, and relentless. He represents everything Mila's intuitive, spiritual nature is not. The story meticulously builds their rivalry as a classic "brute vs. mage" conflict, pitting his artless physical strength against her hidden spiritual power. The final, shocking cliffhanger completely subverts this established character archetype. Sneaking into an empty practice hall, Mila discovers Yong Da alone in a corner. He is not training; he is kneeling on the floor, secretly tracing circles of glowing blue light in the air. Yong Da, the brute, has magic of his own. This last-second reveal reframes their entire history. Their conflict was never a simple clash of opposites but a battle between two different kinds of magic, one overt and one hidden. The narrative masterfully dismantles the trope it so carefully constructed, proving that the brute was a mage in disguise all along and setting the stage for a far deeper, more complex rivalry. A person is kneeling in the furthest corner. I see hands tracing circles in the air around a glowing blue light. For a second, I am dumbstruck. Magic? ... I would know that hard steely frame anywhere. Yong Da. Conclusion: The Stories We Tell Ourselves The story masterfully inverts our every assumption: a jailer becomes a saviour, a mark of shame becomes a sign of destiny, an enemy leader is a self-sacrificing hero, and a mindless brute is revealed to be a fellow magician. These reversals prove that the reality we perceive is often just the first layer of a much deeper, more surprising story. The truths that define our world can be turned on their head by a single, well-kept secret. It makes you wonder: how many 'truths' in our own lives are just waiting for the right secret to be revealed? #fantasybookseries #EpicAdventure #thepolarsaga

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'We Were Happy Here' by John Ennis

'A Life Between The Brackets' by Chad Norman

The Cartography of Healing

IS-Abel - An Inspiring Story of Survival and Hope Through...

'The Plainest Jane Of All' by Lyn Maloney

6 Mind-Bending Truths Uncovered in ‘The Spirit Dragon’s K...