my favourite reads of 2019

Another year over, and another favourite reads of the year post to write! But at least I’m not writing this in February or, as I did one year, August.

2019 was a wonderful reading year for me where I made up for being away from Australia for nearly 12 years and gulped down literature I had heard about but not managed to get my hands on - and I have only just scratched the surface! I feasted heartily on fiction and non-fiction alike. According to Goodreads, I read 108 books in 2019 - I’m sure I missed logging a couple (and I haven’t logged any I’ve read for my studies) - and of those 108:

• 2 were re-reads

• 57 were non-fiction

• 4 were poetry collections or plays (I thought I’d read more - clearly not!)

• 47 were fiction

• 10 were by men

• 98 were by women

• 5 were by women of colour.

I won’t lie, I’m surprised and really disappointed in myself for the last one, especially with the countless amazing indigenous writers in this country. I honestly thought it was more than that, as the five I read had a huge effect on me and I thought about them a lot - but that is hugely disproportionate. I clearly need to up my game in this regard to read more widely and beyond my own world view. It is something I will be more conscious of this year.

It was, as always, hard to choose my favourites of the year but I narrowed it down to these 11.

Conversations with Friends by Sally Rooney

My aunt gave me this book and also Normal People for my birthday. This was my pick of the two! It’s so compelling, thought-provoking and different. I was not the kind of 21-year-old that Conversations’ main characters are, but I was equally naive and self-righteous and this story about Frances, Bobbi and their “friends” brought it all back! All in all, it’s a very well-executed coming of age story and an interesting exploration of female friendships too. Rooney writes with the kind of restraint I can only dream of. Very worthy of the hype.

Girl, Woman, Other by Bernadine Evaristo

A worthy winner of this year’s Booker Prize - this is a magnificent book that deserves to win every prize it’s eligible for! Girl, Woman, Other shines a light on contemporary Britain in a way I’ve rarely seen in other books - other reviews have described it like a choir of different women’s voices, and I think that’s very accurate! It reads like a beautiful prose poem, with a cast of fascinating characters, all of whom have a story of either racism, prejudice, abuse, misogyny or poverty (often all of them) which they fight to overcome. The writing is so visceral and poetic - you are in these characters’ shoes, hearts, heads and beds. And you won’t forget them in a hurry.

I learned a lot reading this book, not just about issues I have been privileged not to experience firsthand but about humanity. This book is a perfect example of how fiction is often the perfect vehicle for the greatest concerns of our time.

Barefoot Pilgrimage by Andrea Corr

A beautifully written memoir that you can see is actually trying to capture the feeling of memory, of remembering. The narrative is subtle in parts, but surprisingly revealing too. Andrea is a woman who owns her success but also her vulnerabilities. The story she shares in this book is mostly about what it’s like to not have your parents alive anymore, about the preciousness of life, and the desire to capture what you remember before you too are no longer here. If you’re a Corrs fan, you’ll adore it. But you’ll also enjoy it and be moved if you like to read memoirs that are a bit different and poetic. The Corrs’ last album Jupiter Calling has the same mood - trying to capture the beauty and pain of life in one container. Beautiful, and highly recommended.

Why You Are Australian: A Letter to My Children by Nikki Gemmell

This book was a much-needed companion in January 2019. Tom and I had been back in Australia for only a few weeks and I felt dazed and disoriented, like a time traveller. Not that we doubted the decision to move back here, not for a second, but the move brought up a lot of discomfort and a lot of things I hadn’t realised I still needed to face. Gemmell quotes Les Murray (being interviewed by Ramona Koval) quite early in the book - “I came back to go mad. That’s what you do if you’ve got old, unfinished business back in a place and you go back there, you’ll tend to deal with it. “ Oh how those words rang true.

In this book, Nikki Gemmell and her husband - Australians who had lived in the UK for over 10 years and now raising a young family - decide, after a series of life-altering events, that perhaps moving home is the answer. Nikki articulates so beautifully (better than I ever could) the ache for home, for the familiar, for space, for warmth, for family; and also the resistance and sadness when you start dismantling the home and life you chose and created for yourself, even though it doesn’t feel like home anymore. Nikki wants to give her children the carefree, idyllic childhood she had. And so they begin the process to return and decide to do a trial run, spending a few months in Australia with the children, enrolling them in schools, etc. Australia is still a wonderful place, and the children love it. But Nikki does find herself wrestling with what lies underneath Australia’s sun-drenched “she’ll be right mate” reputation - the ugliness of racism and overt nationalism, tall poppy syndrome, natural disasters - and has to consider whether the Australia she grew up in is now a thing of the past.

I felt so seen reading this book - the aspects of life in London that Nikki loved but that also drove her mad were also some of my biggest joys and frustrations; her yearnings for Australia were the same as mine, and the things that she found difficult and alienating when she returned have also been some of my experiences. It’s a nostalgic but honest and (as always) beautifully written book. Highly recommended for any returning expat!

Back, After The Break by Osher Günsberg

I was not expecting this to be one of my reads of the year, but on reflection it simply had to be. In 2018 I listened to an interview with Osher where he confessed to working on edits of this book in the cab to the studio! The interview was fascinating so when I saw the book at the library last summer I was curious to give it a read.

I wasn’t prepared for how compelling a book it is - this is honest, frank and brave writing. While some of Osher’s decisions and aspects of his lifestyle are not always easy to empathise with, many of the insights he has on his road to redemption I found very relatable.

I had tears in my eyes when he writes about reclaiming a sense of identity through changing his name. His stability and sense of worth have certainly been hard-won. This excellent, compulsively readable book shines a bright light on mental illness and works hard to dispel the stigma around it. It’s a very important book and one I am still thinking about nearly a year later.

The World Was Whole by Fiona Wright

In my attempt to read all the books on the Stella Prize longlist, I picked this one up in March last year - by the end of 2019 it was still one of the best books I’d read all year. This is a stunning collection of essays about life, chronic illness, friendship, love, family, animals, travel and belonging - and particularly the need to feel at home, in many senses of the word. I absolutely loved it and it made me seek out and read all of Fiona Wright’s work, particularly her poetry. She’s a wonderful writer.

The Woman Who Wanted More by Vicky Zimmerman

Charming, funny and uplifting, The Woman Who Wanted More is a wonderful read from a talented writer. It is a celebration of food and female friendship, full of insights about life, the choices we make and the effect those we encounter have on us. Heartbreak is always best remedied with food and with good friends, and this book shows why. It's an empowering reminder that life is full of opportunities, once we are open to them. And that admitting you've failed is "not really failure; it's the first step towards the future". Highly recommended!

The Bridge by Enza Gandolfo

A very relatable story about loss, grief, guilt, redemption, family and community. I could barely put it down - one night I just kept reading until the battery on my Kindle died. The characterisation is superb, I particularly liked Sarah, the court-appointed lawyer. The descriptions of Melbourne are spot on - I spent a lot of time in the parts of the city where the novel takes place and it was a pleasant trip down memory lane, despite the sadness of the story. Compulsive and moving reading, I highly recommend it.

The Priory by Dorothy Whipple

I am yet to read a Dorothy Whipple book that I don’t declare magnificent - she is a simply wonderful writer and probably one of the twentieth-century’s most under-appreciated. The main story of The Priory takes place around the crumbling estate of Saunby, which has been in the family for generations but now being run into the ground by Major Marwood whose main priority in life is cricket. He is reluctant to spend money on anything else, including his two grown daughters Christine and Penelope (who still live in the estate’s nursery!) and his spinster sister, Victoria. All of this changes when the Major decides it’s time he remarried. His new wife, Anthea, is determined to get her new home into some sort of order and does away with many relics of the estate’s former life - including the hapless cook Mrs Nall and the Major’s beloved cricket - and, finding herself pregnant with twins (to the Major’s great horror), decides Christine and Penelope must leave the nursery and engages a no-nonsense nanny Nurse Pye (reminiscent of Sister Evangelina in Call the Midwife!) to come and live with the family and help her with the new babies. Christine and Penelope are aghast and actively look for ways they might be able to escape. Unfortunately, as they didn’t have much of an education and therefore have little chance of getting decent jobs to support themselves, their only option is to get married themselves.

Behind the scenes - or below-stairs - are the lives of the servants at Saunby, equally interesting and full of drama. There’s a love triangle between the Major’s right-hand man Thompson, a former professional cricketer, and the two maids, sweet and sunny Bessy and the manipulative Bertha, which plays out very dramatically!

It’s a fascinating novel and entirely absorbing. I love Whipple’s stories for their remarkable insights into human nature and observations about the changing nature of life, and The Priory is no exception. It’s a treat to see the characters grow and change too as they adapt to their altered circumstances - some characters start off as admirable, earnest and well-meaning but turn out to be very selfish, and vice versa. This novel also explores the lack of options available for women at the time - if a marriage did not eventuate or, even worse, failed, things really could get very desperate (and indeed they do for some women in this book). I loved the ending, as it was so hopeful, though it was also tinged with sadness, knowing that the Second World War was just around the corner.

The Confession by Jessie Burton

Of her three novels, I think this is Jessie Burton's finest and the one I have most enjoyed so far. It's an intimate, intelligent and compelling novel that explores the lives of several different women. It takes place across two timelines - the early 1980s in London, LA and New York, and 2017-18 in London. The characters are well-drawn, believable and tender - Connie, in particular, is brought to life very well, I had visions of Eileen Atkins playing her in a TV adaptation if it goes that way! - and though it's an emotional and absorbing tale, there's also a lot of humour. Rose's nice enough but ultimately ineffectual boyfriend Joe with his burrito business Joerritos, for example, and the emotional strain of spending Christmas in the middle of nowhere with your strange in-laws!

While ultimately there is one big confession which the story builds towards, The Confession actually contains many of them. So many of the characters aren't telling the truth, to others or to themselves. But it is possible, they discover, to free yourself from the ghosts of the past. New beginnings are always possible - but you have to choose them. I actually found more sage life advice in the pages of this novel than I did in some motivational books I read last year. This is a novel I can see myself rereading, and I don't say that often. 

Bruny by Heather Rose

Another magnificent novel from Heather Rose - she never disappoints. I highly recommend reading the the prologue of this book with Ludovico Einaudi’s “Uno” on the stereo - it wasn’t a deliberate pairing on my part, but an accidental one, and it only heightened the tension evident in the first few pages! Bruny is quite a departure for Heather Rose in terms of subject matter - this is a political thriller about the smoke and mirrors world of modern governments and overdevelopment - but it also delivers what she’s always done best. And as a recently returned Tasmanian, I had a good laugh at the digs she makes at this state and its inhabitants (they are so true)! Bruny is a dystopian family drama that will make you think and probably weep. The world in it is all too recognisable. Most of all, it is a plea to us all to fight to protect the places we love.

***

So, reading goals for 2020 - try to do some non PhD reading (hard but essential for the maintenance of sanity) and read more widely. More diverse writers, more indigenous Australian writing. More poetry. I want to be challenged. If you have any recommendations, please let me know in the comments.

As always, I’d love to hear your favourite reads of the last year too!

PS: As I mention every year, any links to Amazon are affiliate links. This means if you click on the link and end up making a purchase, I get a small commission. Many thanks for your support xx

be intensely yourself

A rose I spotted at Hobart’s beautiful Botanical Gardens early one morning a few weeks ago.

"Eventually I discovered for myself the utterly simple prescription for creativity: be intensely yourself. Don't try to be outstanding; don't try to be a success; don't try to do pictures for others to look at - just please yourself."

- Ralph Steiner

the emerging artist has a home

I am thrilled to share with you that my short story “The Emerging Artist” has just been published in international online literary journal Queen Mob’s Teahouse!

I’m so excited that this quirky little story has finally found a home. If you like strange, satirical fiction with its tongue firmly in its cheek, then I think you might enjoy it.

You can read it here!

Writing this story was an interesting experience. As I explained in my cover letter to the journal, the idea first came to me after attending an in-conversation event with the artist Marina Abramovic at London’s Festival Hall a couple of years ago. I had just read Heather Rose’s novel The Museum of Modern Love so was desperate to go along!

But as interesting as Abramovic herself was to listen to, I found myself really frustrated with the audience. The second part of the evening was a Q&A and unlike an event I attended last year with Liz Gilbert where you had to email any questions for the Q&A session ahead of time (which I think worked much better, and not just because they picked mine! If you’re a newsletter subscriber you already know that story), this really wasn’t that interesting at all - there was a long queue at each microphone to ask questions which were all “this is more of a comment than a question” which frankly just makes you grumpy, doesn’t it? You didn’t come to hear these people witter on!

Anyway. At one point, after about six very long-winded questions about nothing in particular, a young woman got to the microphone who introduced herself as “an emerging artist” and proceeded to give a monologue about herself to Marina Abramovic, oblivious to the fact that a few audience members had audibly groaned at her introduction (the British tend to be very reserved and polite people - but this was just after the Brexit vote in 2016 and brazen public rudeness had started to become a thing. It’s got worse since). But she was so earnest, this emerging artist. She seemed completely unfazed by the fact that no one was that interested in what she had to say, but she was trying to seize her moment anyway. It was, in an odd way, inspiring.

I understand “emerging artist” is an accepted term in the art world. In fact, “emerging writer” is becoming more common too. But what does it mean exactly? And what are the connotations of being considered “emerging”? Is it a bit like the caterpillar waiting to be come a butterfly? When have you “emerged”? Who gets to decide? There are no Emerging Bankers, or Emerging Journalists, or Emerging Doctors. They just reach a point in their qualifications and experience where they have the right to call themselves that. Is it the same for artists? I’m not sure.

I’m also fascinated - and equally irritated - by what feels like a proliferation of pretension in that world. These days pretty much everything can be labelled as ‘art’. We have devices on us constantly that can be used to create images, audio and video. And, in theory, we can all reach an audience. But I think these things have meant we’ve lost a bit of reverence for art.

But, as David Walsh (he of MONA fame) has pointed out (and which I experienced for myself on my last visit to the gallery a few months ago), lack of reverence for art is also a response to it. And it is not an invalid one.

So, with all this swirling around in my head, a few days after the Festival Hall event, I wrote the first draft of what became The Emerging Artist.

And then I drafted, and re-drafted, and re-drafted. And then drafted some more. And around the time I began the story, my lovely friend Lisa and I began meeting up after work to workshop our various projects - she with her amazing epic play in progress, me with my short stories and various attempts at a novel. Our meetings usually ended up being at Padella Pasta in London Bridge, because one cannot write well if one has not dined well. So I was extremely fortunate that I had a kind and willing audience for the earliest incarnation of the story and her feedback was so very helpful. It’s by far a better story for her input!

But one never knows how one’s work is going to be received. This story was rejected by several other journals and I got very disheartened. While I wondered whether to keep my faith in the Emerging Artist and keep sending her out, I listened to an excellent interview with writer Kristen Roupenian, who wrote the short story “Cat Person” which went viral - she shared that that story was rejected several times before it was published. In fact, Kristen found rejection was the standard response to her work!

I had been submitting stories for five or six years and gotten, like, tiny little acceptances here and there….and Cat Person, like all my other stories, had gone out to several different magazines and been rejected by them, which is par for the course … but it was still sitting at The New Yorker at that point, and I just assumed they had forgotten to send me my rejection letter! … but I think by that point I had come to understand the failure that is built into the process. It doesn’t matter how good a story is or isn’t, it’s still not going to be the right story for 99% of people. So you just have to do whatever you can to give yourself the stamina to keep rolling the dice … keep going until it doesn’t feel like failure any more [but] it feels like the process.

So this gave me fresh courage to keep going. And I’m so glad I did! Thank you Kristen.

And thank you Queen Mob’s! What an honour to be published in a journal dedicated to “writing, art, criticism—weird, serious, gorgeous, cross genre, spell conjuring, rant inducing work.” To know they thought my story was even one of those things, that thrills me down to my toes. I will have a soft spot for this journal in my heart forever.

i must begin again: a writing retreat in norwich

Serving suggestion for this post: sitting comfortably either with a cup of tea you've just made or on a train that isn't going anywhere.

Years ago, when I was writing the earliest drafts of what eventually became The Latte Years, I would often house-sit for friends for a few days when the opportunity arose, relishing a house as empty as my schedule, where I could completely dedicate myself to writing, away from the daily grind of life. Of course, when you have a deadline and only three months to deliver 100,000 words around a full time job, you suck it up and get it done. But the idea of time – a few days completely free of your usual routine and obligations, stretching out in front of you – to do that work is a really precious and luxurious thing.

I have done wonderful guided writing retreats before, and if money were no object I’d do them far more often. There’s a lot to be said for the motivation of a group setting and an experienced, inspiring teacher to spur you on. But the empty home of a kind friend or relative for a few days does just as well, and is utter bliss for the creative person.

A bit over a month ago, I went to Norwich to a sweet little cottage to house-sit, keep my aunt’s plants watered, to write and recalibrate.

I have a few projects on the go at the moment – the biggest one being what I hope will be Book 2 – but they had all been lacking much-needed momentum. About six months ago, in the midst of the bleak end of winter, I decided I would go away on my own a few days at some point over the summer, to see if I could find that missing ingredient. With all the highs and lows 2016 had delivered so far, I needed to reconnect with myself and my creative practice, without the distractions of daily life providing endless justifications for putting things off, for not making time.

Unfortunately that week at the end of July I had come down with a nasty throat infection, so on the train journey up from London I mostly sipped hot tea, read Oh Comely magazine and eavesdropped on interesting conversations happening all around me. All things I enjoy doing, sore throat or not! But I was unsure as to whether the weekend would be as productive as I’d hoped, given how poorly I was feeling. Many of the businessmen around me were drinking whisky. I considered joining them, I was sure it would help my throat.

Travelling essentials.

I arrived safely, fell on the empty house with gratitude and relief, and went to bed early. I was up with the sun the next day – a rhythm I settled into for the rest of the retreat. Each day began with black coffee made in the moka pot on the stove, sipped in the garden, where toasty warm sunshine beat down on my shoulders, bees and butterflies floated among the flowers and the coffee slowly warmed my sore throat, dry and raw from coughing.

I walked into Norwich city centre nearly every day, mostly to treat myself to a second coffee at Gosling and Guzman. “The secret to a happy life is continuous small treats,” said Iris Murdoch in her novel The Sea, The Sea, which I happened to be reading, so I took it as a sign to get a cinnamon bun too.

Lovely coffee and buns at Gosling and Guzman. And their takeaway cups are so pretty!

I was alone for the whole time, but not lonely. I slipped easily into solitude, wearing it like a comfy familiar sweater. No television, no internet, no email, no social media. Text messages were the only contact I allowed myself with the outside world. It was amazing to realise how disciplined I could be and simply not look at social media – I disabled all notifications so it was simply a matter of not allowing my finger to touch the icon, though it gravitated automatically whenever my phone was in my hand, much to my curiosity. It’s definitely far more of a habit and a distraction than I realised.

Otherwise, I gave everything my full attention – not just my writing, but books I read, music that kept me company, food I cooked.  Choosing to focus, to tune out the usual constant distractions, it was incredible how much more I noticed and took in, savouring everything from the peppery depths of my watercress soup and subtle key changes in the music I was playing, to the smell of the air, the way light changed and the burn of hot tea in my sore throat.

Watercress soup - probably *the* best thing you can eat when trying to recalibrate, it completely detoxifies the body! And it's so yummy. I made Sarah Wilson's recipe in I Quit Sugar For Life.

I did yoga daily, something I haven’t done for a few years. Pigeon pose was incredibly comforting. I spent an entire Ludovico Einaudi song in uttanasana. I did my favourite episodes of Lacey Haynes’ Home Yoga Retreat many times.

I sat with my thoughts a lot, my journal open and a pen beside me, to scribble down anything worth remembering.

Sometimes I just sat and watched the light change. The light inside the house was very soft and as it hit the table and my piles of books, it looked milky, like when paint brushes are dipped into a jar of water. My iPhone camera didn't quite capture it so I just watched and took a picture with my mind instead.

I wrote a lot. Not the sort of things I thought I would write, interestingly. As the second day dawned, it became clear to me that this retreat was less about coming away with something to show for myself (which, if you've been reading me for a while, you know I enjoy) and more about getting my groove back.

Snapped while walking the quiet streets of Norwich city centre, sipping coffee. It seemed apt!

Why did I lose my groove though? I wondered in my more melancholy moments. I didn’t think I’d feel like this. Why do I feel so empty, when my dream has come true? I wrote. Why do I feel so exhausted and, if I’m honest, sad? How did I go from so pumped, disciplined and motivated to can’t-be-fucked and what’s-the-point?

And then I re-read Dani Shapiro’s masterpiece, which I highly recommend to any writer, Still Writing. I found it such a comfort last year, where I mostly read the “Endings” section. This time, the “Beginnings” section was far more resonant.  Reading this paragraph was like a warm reassuring hug:

When I’m between books, I feel as if I will never have another story to tell. The last book has wiped me out, has taken everything from me, everything I understand and feel and know and remember, and…that’s it. There’s nothing left. A low level depression sets in. The world hides its gifts from me. It has taken me years to recognise that this feeling, the one of the well being empty, is as it should be. It means I’ve spent everything. And so I must begin again.

If you have done your job…you’ve thrown your whole heart into this. And now your job is done. And you are bereft.

I wanted to cry as I read this. I had spent months thinking there was something wrong with me. My whole body flooded with relief that another writer, let alone one I deeply admire, felt this way too. 

I gave The Latte Years everything I had. So indeed, that has been the feeling, even though I have so many other ideas and stories I want to explore, over the last six months or so - that I had nothing left, both to say nor the capacity to say it. The Latte Years had been a part of my life for a long time – scratch that, it was my life, literally! - that being without it has been very strange. It's only been recently, staring down the barrel of October, that the tunnel has had light in it again.

The first draft of what became the book that was published in January this year was started in 2010. It wasn’t necessarily the story I wanted to tell, but the one I had to. It was bossy and barged to the front of the queue. Me first, it demanded. It was a story that had been hanging around ever since the events of it had taken place, a story that had me by the throat and wouldn’t let go until I told it. I knew attempting to write anything else in the meantime would be fruitless – and indeed, it was. And now it is done. 

So what ended up happening on this retreat was nothing earth-shattering, just a lot of journaling and several short pieces of fiction. Because after years and years of my writing being about this one thing, I am finding my feet again. It’s strange, like what I imagine training for another marathon might be like. I’m back at the beginning. But this time I don’t have the energy of the first-timer, when you have no idea what you’re in for, and everything’s exciting, and it’s purely the thrill of the unknown and whether you'll actually pull it off spurring you on. Once you know, it’s definitely harder to lace your shoes up.

Writing ingredients.

And something I have to remember is that while, yes, I wrote the manuscript for The Latte Years in three months, I had actually been trying to write that story for nearly five years prior to that. So, in theory, I’m way ahead of schedule for Book 2 and I need to stop beating myself up. Now is the time for thinking, gathering, marinating and, frankly, savouring. I worked so hard. It's OK to enjoy this and take a while before I dive in again. It makes sense to me to cultivate a strong practice, a mixture of discipline and play, so that I can get the juices flowing.

Retreats tend to spark the question "how can I keep this amazing, peaceful, zen feeling going in my life once I go home?" and I was no exception! I want balance and energy in my life, but I get very overwhelmed at the idea of trying to fit in everything I want to do with my time. The answer came very clearly towards the end of my time in Norwich and it felt like it had been staring me in the face all along. I am a fairly motivated and disciplined person but the secret to me achieving anything in life is to have projects, goals and deadlines. Without those things, I flounder. I always have.

Me, doing my best non-floundering face.

But the truth is, I’ve needed to take the pressure off myself this year and have a few less deadlines, goals and to-do lists. The only thing that has stopped me from hiding under the duvet each day has been going gently. Withdrawing quietly from anything non-essential that adds nothing to my life. Writing mostly for myself, filling journal after journal, knowing it will never be read by anyone else and revelling in the thrill of that. Trying not to beat myself up about not doing everything I feel I ‘should’ be doing. Time out from life showed me that I can’t force inspiration. I can’t force a story out of me, it will only happen naturally. And perhaps it has more of a chance of happening naturally if I give myself what I need. Like, nourishing and simple meals. Creative play. Daily yoga. Time out from being ‘on’. Daily journaling of my thoughts. Meditation, sitting, supporting my throat chakra (which needed a lot of help, it was no accident I had a sore throat. More on that in the next post!). Self care. The luxury of doing nothing and not feeling guilty about it.

There was a part of me that thought I’d come away from my days in Norwich with the start of the next book, and that didn’t end up happening. But what did happen was I locked the house on the last morning, walked to the station and sat calmly and happily with a coffee and magazine (no phone!) on the train back to London, and felt flooded with a renewed sense of purpose. I was returning to my life with a bit of clarity, a clearer vision and a new pleasure in my craft; a re-dedication to my practice; and a better awareness of what I need to feel creative and balanced, and to make sure I get those things, because that is the only way I will do my work.

In that respect, the retreat was a complete success.

Reading on the way back to London.....

Next post: how I healed my throat chakra in Norwich (now there's an article for the East Anglian Daily Times!)

Have you ever gone away on your own to retreat, recalibrate, start a new project or get your groove back? What did you discover?