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Book Launch Speech – Introducing Irish author, Cullen Kennedy and his debut fantasy novel, 'Fireborn. Crown of Serraphion'. 30th October, 2025.&nbsp;Good evening, everyone and welcome to The Huntsman Inn, It’s a genuine privilege to be here tonight to celebrate the launch of a truly extraordinary debut ‘Fireborn’ by an even more extraordinary (and, indeed, handsome young author as it reads in his bio towards the back of his book!), Cullen Kennedy.<figure id="figure-vqswdh1wk7mhmfg8t2" class=""><img id="vqswdh1wk7mhmfg8t2" src="https://cdn.durable.co/blocks/37ZSrOP40yg0jIY7bpSSAKJkYsdX3HRoyWFk3BxKNx9slFDSXXKMWUrgQGTH7D6s.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/37ZSrOP40yg0jIY7bpSSAKJkYsdX3HRoyWFk3BxKNx9slFDSXXKMWUrgQGTH7D6s.jpg" data-mce-style="aspect-ratio: 1/1; object-position: center center;"></figure>Now, every writer’s journey is unique, but Cullen’s path to publication is one that deserves particular recognition. Most of us, when we set out to write a book, imagine long hours hunched over a laptop, fingers tapping away, coffee cups piling up, and ideas spilling faster than we can type them. But Cullen didn’t have that luxury. His words weren’t written by hand. They were written by will.Cullen, as many of you know, lives with multiple physical disabilities and uses a wheelchair. But that chair has never been a limit since we’ve come to know him. It’s been a platform from which he has built worlds. And the tool that made that possible wasn’t a pen or a keyboard, but eye gaze technology. Yes. Every word, every sentence, every chapter of this dark and complex novel was written not through touch, but through determination. Through the steady, patient, deliberate act of writing with his eyes.<figure id="figure-rqybx7pd8lmhmfih7d"><img id="rqybx7pd8lmhmfih7d" src="https://cdn.durable.co/blocks/cHvDL4JMobevbFYkjOKnB2myLbMzs4ds7wg12Z2NzEPDCNfWVVG91iwNK2BMze4A.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/cHvDL4JMobevbFYkjOKnB2myLbMzs4ds7wg12Z2NzEPDCNfWVVG91iwNK2BMze4A.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure>That’s more than a process. That’s perseverance in its purest form. Over two years, Cullen worked tirelessly, collaborating with the ShadowScript team to bring his imagination to life; not just to finish a book, but to build an entire universe of myth, darkness, and raw humanity.What struck each of us who worked alongside him was not just his creativity, but his clarity. Cullen writes with an intensity that makes you feel every shadow, every heartbeat, every flicker of light that fights to survive in the worlds he creates. His characters are scarred but defiant and in that, I think we see something of the author himself.This novel isn’t just a dark fantasy. It’s a triumph of spirit, imagination, and sheer persistence. It’s a reminder that art finds a way, even when the body resists. It’s proof that the human mind, when fuelled by passion and courage, can overcome limitations most of us can hardly imagine.Cullen, you’ve shown us all what’s possible when talent meets tenacity. You’ve shown that no barrier can silence a creative soul determined to be heard. On behalf of everyone at ShadowScript, and all those gathered here tonight; congratulations.&nbsp;<figure id="figure-8521cpjgs0vmhmfkhee"><img id="8521cpjgs0vmhmfkhee" src="https://cdn.durable.co/blocks/36VY5sOGOiCrIko8cYNH7uyl5s5gEJpX2ZE0IWp7TjP1yavj3cqix1odA8QlN2eV.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/36VY5sOGOiCrIko8cYNH7uyl5s5gEJpX2ZE0IWp7TjP1yavj3cqix1odA8QlN2eV.jpg" data-mce-style="aspect-ratio: 1/1; object-position: center center;"></figure>It’s my great honour to introduce the author of ‘Fireborn’ the brilliant, resilient, utterly unstoppable and, of course, handsome, Cullen Kennedy.-Susan McKenna, Publisher and Author © November 2025.&nbsp; &nbsp;

Book Launch Speech – Introducing Cullen Kennedy

Clear Water Wave. Pure Drinking Water, Water Splashing. Blue Water Textured on White Background.

Let's take another deep dive into "Where’s Mum? Stories of Love, Loss And Menopause" by Michael Meyer Author The collection of short stories, "Where’s Mum? Stories of Love, Loss And Menopause" by Dr. Michael D. Meyer, sets out with a clear and ambitious goal. As stated in its introduction, the book is intended to serve as a "fictional blueprint" and a "platform of discussion" designed to break the "shrouded bubble of silence" that so often surrounds menopause. Rather than being a clinical text, it deploys fictional narratives to explore a universal life stage that profoundly impacts individuals and their loved ones. This analysis deconstructs three primary thematic currents woven throughout these stories: 1. the profound impact on intimate relationships, 2. the transformative personal journeys of all characters involved, and 3. a sharp critique of the societal culture of ignorance that compounds the suffering associated with this transition. The Erosion and Reconstruction of Intimate Relationships The stories in this collection consistently frame menopause not as a solitary medical condition but as a relational phenomenon that fundamentally tests the foundations of marriage, family, and friendship. The narratives strategically place the menopausal transition at the epicenter of domestic life, interrogating the stress fractures that appear in intimate bonds and, in some cases, the paths characters take toward repair and deeper connection. The Menopausal Catalyst: Marital Strain and Dissolution Across the collection, Meyer posits the onset of menopausal symptoms as a primary catalyst for marital crisis. The physical, emotional, and psychological changes experienced by the female characters place an immense and often unarticulated strain on their partnerships, leading to communication failure, loss of intimacy, and, frequently, the dissolution of the marriage itself. • Communication Breakdown: A recurring pattern is the collapse of effective communication. In "Marriage Counselling," JP's attempts to discuss their relationship are repeatedly "shut down" by his wife, Maggie, creating a chasm of misunderstanding. Similarly, in "Where's Mum?", the "joking banter" that once characterized Stephen and Ann's marriage vanishes, replaced by conversations that "sparked arguments or harsh words." • Loss of Intimacy: The stories graphically depict a diminishment of both physical and emotional intimacy. Ryan, in "Rich Man Broke," finds himself a "rich man, but he was broke" in spirit, starved of the passion and connection that once defined his marriage to Fiona. In "A Happy Ending!", the friendship between two couples fractures after Neill's infidelity, an act committed while he is "in love again" with another woman, underscoring how relational decay within one marriage can destabilise surrounding bonds. • Separation and Divorce: In several narratives, these accumulating strains lead to the formal end of the marriage. Stephen and Ann's growing distance results in their separation during a family holiday in "Where's Mum?". In a more dramatic confrontation, JP serves Maggie with divorce papers in "Marriage Counselling," a shocking act that forces her to confront the reality of their fractured relationship. This pattern of escalating marital corrosion, driven by silence and misunderstanding, demonstrates that the primary crisis of menopause is often relational, a reality that inevitably ripples outward to affect the entire family unit. Familial Fractures and Realignments The author strategically deploys the child’s perspective to illustrate how the relational impact of menopause extends far beyond the marital couple, affecting parent-child dynamics and intergenerational bonds. The stories explore these wider familial fractures, often through the confused and hurt perspectives of children. • The Child's Perspective: "Where's Mum?" offers a poignant analysis of the emotional toll on a child. Young Ben is left heartbroken and confused, wondering what he’s "done to make his Mum not like him anymore" as her affection and presence recede. His older brother, MJ, reacts with anger, roaring that his mother "forced him out by being a bitch" before moving in with his father, illustrating the divisive impact on siblings. • Intergenerational Bonds: The dynamic between Ann and her mother, Una, in "Where's Mum?" highlights how even established family relationships become strained, with interactions marked by "loud talking, almost shouting." The crucial turning point for reconciliation is catalyzed not by the adults, but by Ben’s tearful plea to his mother. Ann only agrees to trust Una and see a specialist after she collects a sobbing Ben into her arms and admits, "You and Nana are right. I need to do something different." These narratives argue that while menopause can shatter familial bonds, it can also create the conditions for their realignment, often through the unexpected intervention of the family’s youngest members. The Path to Reconciliation and Deeper Connection Several stories present narrative arcs where couples successfully navigate the crisis, working to rebuild their relationships and forge even stronger connections. These narratives contrast different methods and outcomes, suggesting there is no single path to healing. • Shared Endeavour: In "Broke Man Rich," the narrative posits running not merely as exercise but as a form of non-verbal therapy. Ryan and Fiona reconnect through this shared physical challenge, creating a space for healing that culminates in Fiona’s powerful apology: "I had absolutely no control over my feelings or actions." • Therapeutic Intervention: "Beyond Marriage Counselling" details a more structured approach. Maggie and JP engage in formal marriage counselling and attend a Tantra retreat to consciously rebuild their intimacy, demonstrating a commitment to using external tools and guidance to repair their bond. • Informed Partnership: The resolution in "A Happy Ending!" presents the collection's ideal outcome. John and Helen's marriage is saved after both independently seek education about menopause. Armed with knowledge, they are able to reframe the crisis as a shared journey, approaching it together with patience and mutual understanding. The profound changes in these relationships are mirrored by equally significant internal transformations within the characters themselves, suggesting that external repair requires internal evolution. Narratives of Profound Personal Transformation The stories consistently argue that menopause is not merely a series of symptoms to be managed but a period of profound change that initiates a crisis of identity. This transformation is not limited to the woman experiencing it; it forces those in her immediate circle, particularly male partners and children, to confront new realities and redefine their roles, often leading to unexpected personal growth. The Woman's Journey Through Crisis and Identity Shift The collection provides a multifaceted portrayal of the menopausal woman's internal struggle, moving beyond stereotypes to explore the complex psychological and physical challenges that redefine her sense of self. • Emotional and Psychological Turmoil: The characters’ internal states are depicted with raw honesty. Maggie from "Marriage Counselling" struggles with "internal feelings of judging others constantly, coupled with rage." Fiona in "Rich Man Broke" becomes "very quick to anger," while Helen in "A Happy Ending!" experiences a "crippling depression." • Cognitive and Physical Decline: The narratives detail the debilitating physical and mental challenges. Catherine’s contribution, "Fog-Outs," powerfully describes the experience of brain fog, where Cora's "mind went blank" in the middle of a sentence. In "A Walk to the River," Niamh endures debilitating menstrual cycles and physical pain, highlighting the severe bodily toll. • Social Isolation: These internal and external changes frequently lead to self-imposed isolation. Maggie realises she had "effectively ostracised every one of her friends." Ann from "Where's Mum?" begins to spend "much more time alone," retreating into long, solitary walks and runs to cope with her internal state. This period of crisis, however, is often positioned as a crucible from which a new, more authentic identity can emerge. The Emergence of a New Self A powerful narrative pattern across the collection is the emergence of female characters who navigate the menopausal transition and find a changed, and often stronger, sense of self on the other side. • Post-Transition Identity: In "Where's Mum?", the "new version" of Ann is described as "calmer and less intense" than her former "football-obsessed version." Her son, Ben, comes to love this new mother "even better," suggesting that transformation, while painful, can lead to a more authentic self. • Newfound Passions: Characters frequently discover new interests that redefine their lives. Maeve from "Not Fair," who enters surgical menopause at a young age, discovers a love for the outdoors and wild camping, a complete reversal of her previous preferences. Similarly, Maggie in "Beyond Marriage Counselling" finds a passion for writing, channeling her experiences into a creative outlet. • Self-Advocacy and Healing: Dr. Emily's journey in "Feckin Hippies" functions as the collection's most direct polemic against a rigid pharmaceutical paradigm. By having a medical doctor find healing through psilocybin after conventional HRT treatments fail her, the author intentionally subverts medical authority and validates 'outlawed' knowledge systems, reframing them as "natural plant medicine." This process of transformation is not exclusive to the female characters; their partners and sons undergo equally significant changes, becoming integral to the narrative of healing. The Male Partner's Journey: From Confusion to Advocacy The stories chart significant character arcs for the male partners and sons, who are profoundly affected by their loved one's menopausal journey. Their experiences are not presented as isolated patterns but as an evolving spectrum of male response to crisis. • The Supportive Partner: At one end of this spectrum is John from "A Happy Ending!", who moves from ignorance and silent anguish to become an actively informed partner. His transformation represents the foundational ideal of a shared journey built on education and empathy. • The Specialist: Ben's arc in "Where's Mum?" represents a deeper level of engagement. He evolves from a confused boy who misses his mother into a committed medical professional who undergoes "intensive training on the menopause" to become a "leading specialist," channeling personal pain into professional dedication. • The Advocate: The most profound transformation is that of James from "Anguish Story." His "unequivivocal anguish" following his wife's suicide fuels a public mission. He becomes a reluctant leader, creating the "Understand Menopause" support group and thus converting private tragedy into a form of social advocacy. These personal transformations, which move from private understanding to public action, unfold within a wider societal context that the collection actively critiques. Beyond the personal and relational dramas, the stories collectively serve as a powerful critique of a society and a medical system that systematically misunderstand, misdiagnose, and marginalise the experience of menopause. This culture of silence and mismanagement is presented as a central antagonist, directly exacerbating the suffering of the characters and their families. The Pervasive "Culture of Silence" The stories repeatedly identify a societal reluctance to discuss menopause as a root cause of conflict and tragedy. This silence isolates individuals and prevents them from accessing the knowledge and support necessary to navigate this life stage. • Ignorance as a Root Conflict: The author’s introduction establishes this as a systemic problem, noting that "most types of doctors" receive "no formal education about the menopause." This is echoed in "Where's Mum?" with the observation that "Nobody ever talked about that subject back then." • Tragedy in Isolation: The devastating outcome in "A Walk to the River" is directly linked to this silence. The narrative makes clear that Niamh’s disappearance is the culmination of a lifetime of silenced female suffering, including a forced teenage marriage, the catastrophic loss of her first baby, subsequent miscarriages, and debilitating menstrual pain. The author uses the setting of "rural Catholic Ireland" as a sociological shorthand for an institutionalized culture of shame, repeatedly emphasizing that "nobody talked about anything like that" in relation to all these traumas, thus framing Niamh's tragedy as systemic rather than merely personal. • Gendered Exclusion: In "Anguish Story," James’s attempt to join a women's support group is rebuffed with the statement, "Menopause is a woman’s issue." This narrative device critiques the gendered siloing of the topic, which actively prevents the mutual understanding required for couples and families to heal. This general culture of silence is reflected in the specific and often inadequate responses of the medical establishment, which the stories meticulously deconstruct. Portrayals of Medical Intervention: From Mismanagement to Hope The collection offers varied depictions of the medical establishment's response to menopause, contrasting ineffective or harmful treatments with the possibilities of informed and empathetic care. The stories interrogate the significant gap between rote prescription and patient-centric solutions. Ineffective/Harmful Interventions Informed/Effective Care Palliative Sedation: Ann in "Where's Mum?" is prescribed Valium, which only makes her "strange." In "Anguish Story," James's wife receives Xanax prior to her fatal overdose, suggesting such sedatives mask rather than treat the underlying issues. Specialized Knowledge: The narrative champions expertise. Una actively seeks a "special doctor who can help Ann," noting that "very few doctors know how to treat the menopause," while Ben is inspired to become a leading specialist himself. One-Size-Fits-All HRT: The difficult journey of Dr. Emily, a doctor herself, is illustrative. She suffers adverse reactions as she is cycled through "a different combination of HRT," highlighting the failures of a non-individualized approach ("Feckin Hippies"). Patient-Centric Approach: Positive outcomes are linked to personalized care. The GP in "Fog-Outs" takes blood samples to "determine the best course of action," while the specialist in "A Happy Ending!" explains that it may "take a few attempts to see what works best." The narrative posits that in direct response to the failures of this conventional medical paradigm, many characters are compelled to explore alternative paths to healing. Exploring Alternative and Integrative Paths The narratives validate non-pharmaceutical and integrative approaches, presenting them as legitimate and sometimes superior routes to well-being. This turn toward alternative modalities is framed as a direct consequence of the shortcomings of the conventional medical system, empowering individuals to reclaim agency over their health. • Holistic Retreats: Several stories feature healing retreats as catalysts for change. The women's retreat in "A Happy Ending!" focuses on natural remedies, diet, and meditation, while the Tantra retreat in "Beyond Marriage Counselling" provides a space to heal relational intimacy through non-medical practices. • "Natural Plant Medicine": "Feckin Hippies" offers a direct contrast between conventional and alternative medicine. After HRT fails her, Dr. Emily finds success with psilocybin mushrooms, which allow her to "release and accept" the changes in her body, reframing a "recreational drug" as a therapeutic tool. • Lifestyle as Medicine: The power of diet and exercise is a recurring theme. In "Fog-Outs," Cora is advised to add fish to her vegetarian diet to combat brain fog. In "Broke Man Rich," Ryan and Fiona use the discipline of marathon running as a powerful tool for both physical fitness and marital repair. Conclusion: Beyond a Woman's Issue The collection "Where’s Mum?" powerfully reframes menopause, moving it from a private, medicalised "woman's issue" to a significant relational, familial, and societal event. Through its diverse narratives of breakdown and repair, crisis and transformation, the book argues that the physical symptoms of menopause are often secondary to the emotional and relational damage caused by a pervasive culture of silence and ignorance. The stories deconstruct the isolating experience of this transition and rebuild it as a shared journey that demands participation from partners, children, and the medical community alike. Ultimately, the message identified in this analysis is an urgent call for empathy, open communication, and shared understanding as the only viable path through this universal human transition. ©Susan McKenna, Director, Book Hub Publishing. October 2025.

A Deep Dive into "Where’s Mum? Stories of Love, Loss And Menopause"

The Plastic Paradox: Why Everything You Think About Food Packaging Might Be WrongUnpacking the weekly groceries often leaves us with a familiar sight: a growing pile of plastic packaging. Fruits, vegetables, meats, and salads are all sealed in plastic wrap, trays, and bags. For many, this brings on a wave of cognitive dissonance. A feeling of environmental guilt clashing with the undeniable convenience and protection this packaging provides. We value the extended shelf life and hygiene, yet we worry about the waste piling up in our landfills and oceans.This tension between our environmental concerns and our daily habits is at the heart of the plastic paradox. But what if our common assumptions about this material, its harms, its benefits, and even our own role in its lifecycle, are incomplete?&nbsp;A study by researcher Anne Hayden MSc into the attitudes of consumers, food producers, and regulators in Ireland reveals a series of surprising and counter-intuitive findings. The story behind the plastic wrap in your kitchen is far more complex than you might think.<figure id="figure-af10h903ogmh0szhjn"><img id="af10h903ogmh0szhjn" src="https://cdn.durable.co/blocks/1dLKyj0g3qbRRyb33oRiYW4FKiVFyzDJihhsrlT0kaFberUo0jAPtN00WJ26FU4f.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/1dLKyj0g3qbRRyb33oRiYW4FKiVFyzDJihhsrlT0kaFberUo0jAPtN00WJ26FU4f.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure>1. We Believe Plastic is Bad for the Planet, But Our Actions Are Conflicted Consumers generally hold a strong, negative perception of plastic's environmental impact. This is backed by research, such as a 2016 Swedish study by Lindh et al., which found that while 62% of consumers perceived plastic as the worst environmental offender compared to materials like glass or paper, their actual purchasing decisions were more influenced by practical factors.&nbsp;When it comes to choosing a product, attributes like packaging that is 'easy to open' and 'suitable for home storage' are often more important to shoppers than the material itself. This highlights a major gap between our general environmental anxieties and the practical, convenience-driven decisions we make in the supermarket aisle every day.2. You're a Great Recycler, But Your Efforts Might Be Wasted There is good news when it comes to our intentions. Research conducted by Anne Hayden found that an overwhelming 95.7% (66 out of 69) of surveyed shoppers in Dublin, Ireland, make the effort to recycle their plastic food packaging. This indicates a strong public commitment to doing the right thing.The surprising twist, however, is a major knowledge gap about what is actually recyclable. When the Irish shoppers who knew some plastics couldn't be recycled were asked to provide an example of a non-recyclable item, the single most common response was "Don't Know." This uncertainty points to a breakdown in public information and labeling clarity. The issue is compounded by industry practices; in the same study, two of the three Irish food companies surveyed confirmed they do not use recyclable plastic food packaging, stating that the price is "too high." This reveals a frustrating disconnect: consumers are diligently trying to recycle packaging that producers, citing high costs, never made recyclable in the first place.3. We're Worried About Health Risks, But There's a Major Disconnect The potential health risks associated with plastic food packaging are a common concern, but research from Ireland reveals a significant disconnect between the views of consumers, producers, and regulators.• The Consumer View: A significant portion of Irish consumers (43% of the sample in Hayden's study) believe there are health effects from plastic packaging. Crucially, when asked to specify what those effects were, the most common answer was that they "did not know." This finding points to a general public anxiety that is driven more by vague apprehension than by specific, actionable information.• The Industry View: The perspective from producers is starkly different. All three Irish food companies surveyed for the study stated unequivocally that there were "no health effects from plastic food packaging."• The Regulator View: The official position comes from the Food Safety Authority of Ireland (FSAI). In an interview, Dr. Bernard Hegarty of the FSAI clarified the agency's stance: The issue, therefore, is not necessarily that plastic packaging is dangerous, but that a "trust gap" exists. Consumers are uncertain, producers are certain of safety, and regulators are confident in their guidelines. This gap highlights a public unease that official assurances have not fully resolved.4. Plastic Packaging Is Solving a Problem That Might Be Bigger Than Plastic Waste To fully understand plastic's role, we must examine the primary purpose highlighted by the research itself: preventing food waste. Plastic packaging performs several critical functions: it prevents tampering, maintains freshness, prevents contamination from microorganisms, and extends the shelf life of food. These benefits are directly connected to another massive global environmental issue.&nbsp;As the research notes, "Food packaging prevents bacterial contamination, which allows for a longer shelf life and eventually will reduce food waste." While plastic waste is a visible and pressing problem, food waste has an enormous environmental impact of its own. Citing a powerful statistic from the literature, the Environmental Protection Agency (EPA) estimated that thirty-four million tonnes of food were thrown away in 2010 in the United States alone. This presents a complex trade-off. We must weigh the environmental impact of plastic packaging against its crucial role in reducing the staggering environmental problem of food waste.Conclusion: Beyond the Bin. Rethinking Our Plastic Future Our relationship with plastic food packaging is filled with contradictions. We worry about its impact on the planet but prioritize convenience. We diligently recycle without always knowing if our efforts matter. We harbor vague health concerns that are not shared by producers or regulators. And we often overlook the vital role plastic plays in preventing the colossal problem of food waste.The path forward is not simply about eliminating plastic, but about innovating it. The study highlights promising developments on the horizon, including "biodegradable," "active," and "intelligent packaging." These technologies aim to extend shelf life, monitor food safety, and reduce environmental persistence. As packaging technology evolves, how do we build a system, through regulation, consumer pressure, and corporate responsibility, that values both the plastic that preserves our food and the innovation that preserves our planet? Now, that requires some thinking!-© Niall MacGiolla Bhuí, PhD. October 2025.&nbsp;<figure id="figure-mgbv48101mh0t08je"><img id="mgbv48101mh0t08je" src="https://cdn.durable.co/blocks/2lRvqCLniTDaRfGI2YbRXOy4JdlBQ9RxAbtSbiPMJjjD48ptYE9xjYGP9pU3NG4C.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/2lRvqCLniTDaRfGI2YbRXOy4JdlBQ9RxAbtSbiPMJjjD48ptYE9xjYGP9pU3NG4C.jpg" data-mce-style="aspect-ratio: 16/9; object-position: center center;"></figure>

The Plastic Paradox: Why Everything You Think About Food Packaging Might Be Wrong

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://cdn.durable.co/getty/23wzSqLKsPHCTh9BHu787qa2kplkpGPaC89dRZBIXjQxT64TRHDMZCMTeGyYebt5.jpeg" 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://cdn.durable.co/getty/23wzSqLKsPHCTh9BHu787qa2kplkpGPaC89dRZBIXjQxT64TRHDMZCMTeGyYebt5.jpeg" 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 ©

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'We Were Happy Here' by John Ennis

'A Life Between The Brackets' by Chad Norman

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