My short story, ‘Michael’

Have a read of my short story, ‘Michael’, first published in Quadrant Magazine. The story is part of my collection titled ‘The Crystal Ballroom‘ (Ginninderra Press) – stories of love and loss in the singles dance scene. Hope you enjoy the story.

Michael:

He’s waiting at the bottom of the ramp, just inside the steel fence that cordons off the entry to the station.  He said to give him a ring from her mobile when the train passed Gosford.  She quickens her pace, adjusts the overnight bag on her shoulder. She is close enough to see the soft fold of his graying hair, the clear smooth glow of his skin.  In his white socks and slip-on loafers he looks very English.

It wasn’t easy to get herself on a train and up to the Central Coast.  It took a lot of encouragement on his part and a steely determination on her side of things to get out of Sydney.  But now she’s glad already that he kept pressing.  ‘It will do you good,’ he said on the phone, ‘to get out of the city for a couple of days.  It will give you a new perspective on things.’

He knows about her tendency to brood and her struggle to manage the drowsiness that follows.  They talk about these things on the telephone.  He also struggles to get through the days, suffers with the same lethargy.  He says he prefers to tell people he has ‘chronic fatigue’.  People understand the term ‘chronic fatigue’.

He sees the deepening of laugh lines around her mouth and eyes, her face browned by the sun, her hair spiked and in shock.  He tells her that she looks the same as he remembers.  She assures him he looks very well and living away from the city obviously agrees with him.

Would she like a coffee?  Or would she prefer to have a shower first?  Some people needed to have a shower before they could do anything.

For goodness sake.  It was only a couple of hours on the train.  She would like to wash her hands though.  They smelt of the tuna sandwich she’d eaten on the train.

Sure, sure.  He’s been waiting all day for a coffee.  They’ll go somewhere close by.

She’d agreed on the phone that there’d be no post mortem.  ‘Don’t worry,’ she said.  ‘I’m happy to be in the present.  I don’t need any analysis.  You’re the one who goes on and on … on the telephone.’

How well she remembers that first time she had seen him.  He was at one of the Saturday night dances that she used to frequent.  He was standing at the side of the hall, his thick blonde hair brushed back off his forehead. He’d asked her to dance, said she danced well.  Then they’d met up regularly and got to know each other.  He wanted them to hire a hall and practice their dance routines.  ‘But we mustn’t get involved, you and me,’ he warned.  ‘Too dangerous.’  They were sitting in his car at the time, so close in the front seat that she could smell the Palmolive soap on his skin.  She watched his hands as he put the car into gear and reversed up the driveway.

Now, he opens the back door of his car and motions for her to get in.

‘Sorry about the mess,’ he says.  ‘It’s easier if you sit in the back.  Easier than moving all that stuff on the front seat.’

It’s the same car as last time, an orangy-red Mitsubishi with scratches down the side, the same cracked glass of the headlights.  She slides across the vinyl of the back seat, her eyes dazzled by a blaze of early-summer sunlight passing through the spotted salt stains on the windscreen.

He puts her bag in the boot and she pushes the tapes and DVDs and beach towels a little more to the other side.  She snaps on the seatbelt, looks through the window at an older man in loose baggy clothes slumped on a wooden bench staring at the concrete of the pavement between his knees.  She imagines she can hear his sighs.

Michael opens the window across from the driver’s side as he drives, then rests his arm along the empty front passenger seat and turns to speak to her. ‘Is it too windy for you?’

She reminds him his fast driving makes her nervous.

‘I didn’t know that.  I’ll slow down, now that you’ve told me.  I’d better anyway because I’ve lost my license.’

‘Again?  Every time I see you it’s the same story.’

‘That’s a bit harsh.  It’s a lesson I still need to learn.’

It’s like being in a taxi in a way, sitting in the back like this, not too close to the driver.  A memory flashes into her mind of when she was a child and had seen a taxi parked by the side of the road.  She’d looked in as she walked past.  The driver had his hand between a woman’s legs and the woman, an older woman, not a young woman, maybe the same age as she is now, had a funny glazed look on her face that she, Madelaine, had never seen before.  She remembers it vividly.  The man, the odd position of the two of them in the front seat, the look on the woman’s face.

‘How come you’ve lost your license again?’ she asks.

‘The twelve points were up,’ he says.  ‘You lose three points for an infringement?’

‘Parking infringement?’

‘No.  If you get an infringement in the holiday period they double the points, so it doesn’t take much from there to get to the twelve points.’

‘Speeding?’

‘You’ve got to be very careful where the schools are, which are forty.  Six double demerit points.’

With one arm resting on the ledge of the open window he runs his fingers through his hair.  He’d been ringing every few weeks since they reconnected.  Sometimes she tries to ring him, to save him the expense of the long telephone calls, but he’s impossible to contact.  It was only recently that he gave her his address.  No answer machine, no mobile, no internet, and he doesn’t answer the telephone.  In fact he said he pulls the phone out of its socket.

He belongs to some strange group that he won’t give a name.  Calls it a meditation group, but she knows it’s something else.  At first she thought it must be AA but now she thinks it might be some kind of a secret sect.

He honks his horn at the woman in front as they wait at a roundabout.  ‘This wouldn’t happen in the U.K.,’ he says. ‘They don’t know how to use roundabouts here.’

It was always his dream to work hard and then retire young and live somewhere by the sea.  He finds a place to park in the shade on the top floor of a shopping centre, so they can walk straight in.  He takes her hand when they get out of the car.

‘We’re holding hands are we?’ she says. She lets him do it, passively leaves her hand in his.  ‘Don’t forget they smell fishy.’

He shrugs.

They find a seat near the back.  She had been looking forward to sitting by the water somewhere and breathing in the salt air, rather than sitting in a shopping centre, but doesn’t express her disappointment.

On the phone he’d said something about telling people in the cafe that she’s his wife.  That they could read their newspapers while drinking coffee each day.  She said they’d look like an old married couple if they drank coffee hidden behind their separate papers.  That’s when he said he’d tell everyone they were married.

‘They only give you one shot of coffee at this place,’ he says.  ‘Other cafes give you two.’

Shots?  The word reminds her of the days when his drinking was out of control.  Not that she knew him then.

Now that they are seated together he says, ‘I knew it would be like this.  That we’d pick up from where we left off.  No different from last time.’

 *

How dull all sounds are by the water, she thinks.  Dull but sharp, like the cheepings in the branches of the trees in front of the motel.  It must be the serenity of so much water.  She decided to take the motel option even though he said she could stay in the guest room at his house.  His front door was broken and you had to climb in through the back, the water taps were temperamental, the sliding glass door on the shower needed to be handled just so, the carpet in front of the television only to be walked on with bare feet.

‘Why don’t you get the lock fixed?’ she asked when they walked back out to his car.

‘Not before I go away,’ he said.  ‘When I go to Europe to visit my mother I’ll get the door fixed.’

His mother again.  He’s been saying for the last two years that he’s going back to the U.K. to visit his mother.

Madelaine chose to stay at the first place he showed her, a motel across the road from the beach.  It was just a couple of minutes drive from his house, so they could still meet up each day.    It’s an upstairs room, with two beds and a view of the road and the palm trees in front.

She lay on top of the covers on the spare bed of the motel room, reading.  He said if it was him, he’d sleep on that bed.  You’d get more of a through breeze.

He’s been to the beach for a swim.  He arrived unannounced at the sliding screen door, knocked and walked in.  Now he is looking at himself in the mirror in front of the bed.  He turns from side to side inspecting his body, admiring his reflection, bare chest above the white shorts, says something about her being a good five years older than him.

‘I’m not older than you,’ she scowls.  ‘You say that every time.  We’re the same age.’

He rubs her foot a little.  It doesn’t really matter so much, does it?  We’re friends, aren’t we?  He was getting ready to say that they’d known each other for a long time, when she turns on him and says, If you say we’ve known each other a long time again and it doesn’t matter, I’ll scream.

 *

The family, who own the motel, are very friendly.  The old grandfather sweeps the leaves on the driveway each morning and the grandchildren go off to school with a bang of their screen door.  The children’s father hands the local newspaper up to her through the railing when he sees her sitting outside her room eating breakfast.  They probably watch when Michael picks her up in his car and she climbs into the back seat.

Now that she’s here on his home territory he won’t go on any walks with her, won’t show her where the tracks lead.  Says it’s best if she finds out for herself.

She says in the city she wouldn’t head out on an unknown bush track on her own.

‘The city,’ he sighs from the front seat where she can’t see his face.  ‘Ah … I keep thinking they’ll design a new Almanac Cognac.’

‘Cognac?’

He laughs.

It’s a shame he didn’t take her with him when he went for a swim, she would like to know the best place to go for a dip.  She’s enjoying being a passenger though, being chauffeured around.

‘I tried to ring you at Christmas to see how you were going,’ she says.  ‘I know it’s a difficult time for you, with no family here.  I tried at least six times – in the mornings and in the night times.’

‘There’s no point in ringing in the mornings,’ he says.  ‘The phone doesn’t go back on till after coffee.’

‘What do you mean?’

‘I take it off the hook when I go to sleep, I don’t want people ringing from the other side of the world.  They forget it’s an eleven hour time difference.  So I don’t put it back on the hook until I come back from having a coffee.  I don’t want the phone breaking up my morning routine.  And at night time I don’t come back in from the garden until after eight.’

Probably avoiding his mother.  ‘I’ve rung after eight,’ she says.  ‘You’re so hard to contact.  It’s a wonder you’ve got any friends at all.  I sent you a Christmas card by the way.  Did you get it?’

He shakes his head.

‘That’s a shame.  I sent the card to your post office box, like you said.’

‘I’m going to get rid of my post box at the house.  Every time the postman rides his bike up he ruins the grass.’  He sniffs deeply, with a heaving of his chest.  ‘When I go to the shopping centre there’s nowhere to park in the holiday period and people park on the lawns.  I guess it’s like that in the city?’

‘Probably.  I try and walk everywhere.  I’m trying to lose weight.’

‘That’s good.  Cutting back on the pasta?’

Her eyes narrow at the back of his head.  ‘I don’t eat pasta.’

He twists around and smirks.  ‘That’s right.  You’re into healthy foods.’

Back at his place he’d tried to play with her bare feet when he sat next to her on the couch.  She’d pulled them away. On the bed in the motel room he’d hugged her and wanted to lie back on the bed.

When he turns off the motor she opens the door slowly and lets the strong salty wind flood into the car in one cool, cleansing breath.

His words are carried off into the breeze.

*

They’ve had an altercation, in a café down near the beach.  The diamond in the nostril of the girl behind the coffee machine had flared beneath the fluorescent light.   The girl was silently mouthing the words to a song playing in the background when Madelaine got up and walked out.

‘You should speak up sooner,’ he called after her.  ‘You should speak up before it gets to this point.’

She has heard this before, or something like it.  She turned around briefly but did not stop.

‘You send knives into the heart when you speak like that,’ he called.  ‘Madelaine?’

She kept walking until she got to the bush track by the sea.  She heard the echo of her own footsteps on the earth.  He made her so angry.  She wanted to be free of him.  He made it so impossible.

‘You need to be careful,’ he’d said.  ‘Or you’ll go under.  All the way under.’

An insistent fly buzzed near her face.

She walks.

The track keeps weaving away from the sea and makes it difficult to keep close to the water.  She has no idea where she is headed or how far she needs to go to escape her anger.  Tree roots stumble away from her sandshoes.  Flies buzz too close to her ears.    She brings to mind a bird that she saw with friends recently.  She can’t recall exactly who she was with and where she was, just that someone said, ‘Look at that bird.  It’s so big.’  A black and white bird with a large wing span flying through a gorge.  Maybe that’s where she was?  Cataract Gorge, in Launceston.  Walking along that track alone, but with all those other people going in the same direction.  The best part was approaching the gorge and being so surprised to see such natural beauty in the middle of a city.

She walks.  After all, she’s free as a bird.  Her children are grown up and lead their own lives.  He always said he prefers a woman who’s had children. There’s something about women who’ve had children that he finds very appealing.  The sound of the wind in the trees; the setting sun over her shoulder casts shadows on the dirt track.  The sweet smell of earth. So why did she come then?  She wanted to get out of Sydney, that’s all.  A change of scene.  She needed a holiday and she didn’t want to be alone.

As she moves deeper into the bush of the landscape – the ebb and the flow of the waves to her left – she begins to forget his limitations … and her own.

Loneliness.  That’s all.

In the mid-afternoon haze, she just feels the need to keep going, to keep moving on.  When she’s ready she will go back and apologise for her behaviour.  After all, they’ve known each other a long time.

She lets him diminish from her thoughts, and moves deeper into the tender late-afternoon light.  The sea, always in motion, not too far away.  She walks, and the great swelling of sound begins to recede behind her.  Her feet at last on the ground.  ‘Put your feet on the ground, sit up with a straight back,’ the counsellor had said in an attempt to get her to pull herself together.  Perhaps the counsellor was uncomfortable with all the tears.  But who knows?  The last counsellor had let her cry, but not too much.  Do they let you cry for a set period of time at those places?

They’d slept together only once.  It took him five years to speak to her again.  Five years.  Later, he said something about her breasts reminding him of his mother’s.

The bird sounds have softened, got gentler, more mellow.  As the sun makes its slow arch, she observes the changes in the bush, what is revealed, and what is hidden.  It’s so peaceful she’s almost afraid to breath.

There is no specific place she is heading towards.  She could stop at any time, turn around, go back.  The stillness of it all.  An insect flitters between the twigs.

The landscape of shrubs and trees she has been moving through is now more like a rainforest.  She watches the filtered light between the long thin strands of fern.  All around is a canopy of leaves –  fern leaves, frond leaves, mossy leaves – bright green leaves skating on the breeze.  And tree trunks:  hollered out, split in two, grooved and gnarled.

She looks up.  What direction are the clouds traveling?  She’s lost her bearings.   She forgot to look for the position of the setting sun before she entered the forest.  It is so hot.  She is sweating.

But, as she walks on she is happy in her own self.  In a new self, not the old one that she’s left behind.

She looks back the way she’s come.

Is she lost?

She reminds herself not to panic and, standing there absorbing the landscape, breathes in deeply to the count of four, and then out again … four, three, two, one.

She sees another insect on a rollercoaster with the air.  The web of a spider made visible in the glow.

In the humidity and sleepy afternoon light, she could keep going forever, all the way back to Sydney.

Copyright © Libby Sommer 2023

Writing Is Not Unlike A Sushi Roll

Sometimes there would be a person in one of my creative writing classes who was obviously very talented.  I can bring to mind one in particular.  You could sense people holding their breath as she read, and often her hands shook.  The writing process opened her up.  She said she had wanted to write for years.  She was so excited about writing that she straight away wanted to write a book.  I said to her, slow down.  Just practice writing for a while.  Learn what this is all about.

In Japan becoming an itamae of sushi requires years of on-the-job training and apprenticeship.  After five years spent working with a master or teacher itamae, the apprentice is given his first important task, the preparation of the sushi rice.

Writing, like becoming a Sushi Chef,  is a life’s work and takes a lot of practice.  The process is slow, and at the start you are not sure what you are making.

Futomaki  (“thick roll” – rice on inside, nori on the outside)

Uramaki   (“inside-out roll” – rice on outside, nori on the inside)

Temaki     (“hand roll” – cone-shaped roll)

That’s how it was for me.  I thought I could jump in and write a book in 6 months.  In fact, it took me 20 years to write a publishable manuscript:  ‘My Year With Sammy’ (Ginninderra Press) the story of a difficult yet sensitive child, was my first published book in 2015. Five books have followed since then.

So cut yourself some slack before you head off on a writing marathon.

Writing is like learning to prepare the rice for sushi:  the apprenticeship is long, and in the beginning you are not sure whether a Futomaki, a Uramaki or a Temaki will be the end result.

Why Do You Write?

‘Samuel Beckett, answering a hopeless question from a Paris newspaper – “Why do you write?” – said it was all he was good for: “Bon qu’a ca.” Georges Bernanos said that writing was like rowing a boat out to sea: The shoreline disappears, it is too late to turn back, and the rower becomes a galley slave. When Colette was seventy-five and crippled with arthritis she said that now, at last, she could write anything she wanted without having to count on what it would bring in. Marguerite Yourcenar said that if she had inherited the estate left by her mother and then gambled away by her father, she might never have written another word. Jean-Paul Sartre said that writing is an end in itself. (I was twenty-two and working on a newspaper in Montreal when I interviewed him. I had not asked him the why of the matter but the what.) The Polish poet Aleksander Wat told me that it was like the story of the camel and the Bedouin; in the end, the camel takes over. So that was the writing life: an insistent camel.’ – extract from the Preface of The Selected Stories of Mavis Gallant.

Writing Tip: Exercise the Writing Muscle

Writing as a daily practice is a way to exercise the writing muscle. Like working out at the gym, the more you do it, the more results you get. Some days you just don’t feel like working out and you find a million reasons not to go to the gym or out for a jog, a walk, a swim, a bike ride, but you go anyway. You exercise whether you want to or not. You don’t wait around till you feel the urge to work out and have an overwhelming desire to go to the gym. It will never happen, especially if you haven’t been into health and fitness for a long time and you are pretty out of shape. But if you force yourself to exercise regularly, you’re telling your subconscious you are serious about this and it eventually releases its grip on your resistance. You just get on and do it. And in the middle of the work out, you’re actually enjoying it. You’ve felt the endorphines kick in. When you get to the end of the jog, the walk, the bike ride, the swim, the gym workout or the Pilates, Yoga or Zumba class, you don’t want it to end and you’re looking forward to the next time.

That’s how it is with writing too. Once you’ve got the flow happening, you wonder why it took you so long to turn up on the page. Bum on chair is what I say to my writing students. Through daily practice your writing does improve.

In The Artist’s Way, Julia Cameron’s book on discovering and recovering your creative self, she refers to daily writing practice as the morning pages. She recommends writing three pages of longhand, strictly stream-of-consciousness—moving the hand across the page and writing whatever comes to mind every day.

Author of Writing Down the Bones, Natalie Goldberg refers to writing practice as timed exercise. She says you might time yourself for ten minutes, twenty minutes, or longer. It’s up to you, but the aim is to capture first thoughts. “First thoughts have tremendous energy. It is the way the mind first flashes on something. The internal censor usually squelches them, so we live in the realm of second and third thoughts, thoughts on thought, twice and three times removed from the direct connection of the first fresh flash.”

Her rules for writing practice are:

1. Keep your hand moving.
2. Don’t cross out.
3. Don’t worry about spelling, punctuation , grammar.
4. Lose control.
5. Don’t think. Don’t get logical.
6. Go for the jugular.

In Creative Journal Writing, author Stephanie Dowrick refers to the same process as free writing; writing without judging, comparing and censoring. “Continuing to write when you don’t know what’s coming next and especially when you feel your own resistances gathering in a mob to mock you.”

Daily writing practice has been described as clearing the driveway of snow before reaching the front door. In other words, it’s what we do as a warm up before the real writing takes place.  And it’s a way to loosen up and discover our own unique writing ‘voice’.  That’s what publishers are looking for when they read through the slush pile.  The storyteller’s voice.  The authentic writing voice of the author is what engages the reader.

Copyright © 2022 Libby Sommer

My Poem ‘Twisted Tea’

Have a read of my poem ‘Twisted Tea’ first published in ‘For Ukraine: by Women of the World‘.

Dr Diann Rogers Healey, founder of the Australian Centre for Leadership for Women called for and brought together a collection of poetry and prose by 35 writers from Australia, Fiji, New Zealand, United States, and the United Kingdom. We wrote in solidarity with those impacted by Russia’s invasion of Ukraine.

All proceeds from the sale of the book will go to United Nations Women Australia for assistance in Ukraine. Available on Amazon and other online outlets. Please read the book and review.

Twisted Tea

I splattered the last of my favourite

loose leaf tea all over the floor today,

when I lost my grip on the lid.

Twisted Oolong produced in Ukraine

it said on the label.

But it is a time of such sadness,

a spilt canister of loose leaf

is hardly worth mentioning.

So many shattered tea sets

buried in the rubble.

Ceramic pots and porcelain mugs,

smashed.

Fierce railroads bombed, buildings, farms.

Civilians tortured.

“Filthy scumbags,”

said President Zelensky.

“What else can you call them?”

I watch a woman sob on camera.

“Their soldiers are barbaric.

They don’t understand.

They are murderers.”

It is hard to consider sipping tea

without crying into the cup.

Will the small tea plantation

—out of the line of fire for now—

be spared?

I’m holding as tight as I can

to the thought that one day

we’ll be able to celebrate

with a pot of rare twisted oolong loose

leaf tea produced on a small farm

tucked away somewhere

in a corner of Ukraine.

Copyright 2022 Libby Sommer

What Is Flash Fiction?

Have you tried writing flash fiction yet? What does flash fiction mean?

‘A flash fiction piece is a self-contained story (beginning/middle/end), 1,000 words or less, that can entertain, intrigue, and satisfy a reader during an F5 tornado. That’s it. No genre restrictions, age requirements, or prior experience needed. Just quick, clean stories.’ – Writer’s Digest

‘Part poetry, part narrative, flash fiction–also known as sudden fictionmicro fiction, short short stories, and quick fiction—is a genre that is deceptively complex.’ – The Review Review

‘Flash fiction is a fictional work of extreme brevity that still offers character and plot development. Identified varieties, many of them defined by word count, include the six-word story, the 280-character story, the “dribble”, the “drabble”, “sudden fiction”, flash fiction, nanotale, and “micro-story”.’ – Wikipedia

I like writing in a short form. I’ve been told I have the sensibility of a poet because I have the ability to distill, so the short form suits me. You may be more of a long distance runner, rather than a sprinter, and prefer the long form of a novel.

Have a read of my flash fiction titled It’s Pot Luck When You Move Into A Unit, winner of the short short fiction UTS Alumni Competition a few years ago. Hope you enjoy it.

It’s Pot Luck When You Move Into a Unit

A nice quiet weekend? the woman downstairs said.  What do you mean? I said, through the open back door, a bag of rubbish in each hand.  She smoothed her ironing on the board and said, They weren’t around over the weekend—with the baby.  She looked happy.  I’m lucky living on the top floor, I said.  She nodded towards the other side of the building.  Jim isn’t so luckyhe’s got the woman upstairs, she said, When he plays the piano and she thumps on the floor.   She put the iron back on its stand.  She’s heavy-footed, that woman.  Bang, bang, bang.   I hear her coming down the stairs every morning at six, and the slam of the front door. 

That night the wind knocked my vase off the window ledge.  I lay awake wondering if the noise of the smash had woken up the people underneath—the ones whose barbecuing sends smoke and disgusting meat smells into my unit.  Nothing clings to your furniture like the stink from last week’s burnt fat.   Sorry about the crash, I muttered to the floor, It was the wind.

Copyright © Libby Sommer 2018

Why not try your hand at writing in this short form and enter a flash fiction competition. Good luck

First Proofs

I’ve corrected the first proofs of my first poetry collection, ‘The Cellist, a Bellydancer & Other Distractions’ and posted them back to my publisher, Ginninderra Press.

So what are first proofs?

According to Wikipedia:

In printing and publishingproofs are the preliminary versions of publications meant for review by authors, editors, and proofreaders, often with extra-wide margins.

Proof, in the typographical sense, is a term that dates to around 1600.[4] The primary goal of proofing is to create a tool for verification that the job is accurate. All needed or suggested changes are physically marked on paper proofs or electronically marked on electronic proofs by the author, editor, and proofreaders. The compositor, typesetter, or printer receives the edited copies, corrects and re-arranges the type or the pagination, and arranges for the press workers to print the final or published copies.

So now I’m waiting for my publisher to send me final proofs. A proofreader will check the final proofs before I post them back.

Also front and back cover images and information are now being finalised.

Then comes printing of my new book. A very exciting time.

It will be about a month until release of ‘The Cellist, a Bellydancer & Other Distractions’. In the collection there is a poem about a cellist, another about a bellydancer, and one about distraction. 45 poems in total.

I’ll let you know when I’ve got a publication date.

My Flash Fiction ‘Sober Sixty’

Libby Sommer and 'Grieve" anthology

Have a read of my flash fiction ‘Sober Sixty’ first published in the Grieve Anthology, August 2020, Stories and Poems of Grief and Loss.

Sober Sixty

Samantha’s single women friends were envious, although she assured them Johnny wasn’t perfect. Mood swings, challenging stuff like that.

Nobody messed with Johnny. Nobody knew better than he did, he was always watching YouTube and learning new facts and figures. Also, he rode a motorbike and practiced shooting at weekends. There were Facebook groups for bike riders and a rifle range nearby. Johnny was proud of being a rev-head and a good shot with his gun, and not many people could disagree that he had unusual interests for a man his age.

Sober since forty and counting, he said about his sobriety. They didn’t talk about his twenties and thirties.

There’s a photograph of the two of them from Christmas day. Johnny had tried to lower himself to Samantha’s height for the photo so they’d be on the same level. Stand up tall, she’d said. Stand to your full height. That’s right, he’d said. You like things big.

What does ATP in ATP Cup stand for? was the type of thing Johnny would call out while she poured him a glass of water before setting out on a stroll around the block.

Samantha thought she knew the answer, but didn’t want to risk being wrong. She’d learnt to tiptoe around his wildness and dreaded the fighting when she wasn’t attentive enough to his needs. Dry drunk, AA called it. The unpredictable rages were doing her head in. She knew she needed the courage to walk away.

Now she’s getting by a day at a time.

Her friends say she’s one of the lucky ones. She’s dodged a bullet.

Copyright Libby Sommer 2020

Grieve 2020 Anthology available from Hunter Writer’s Centre website or Booktopia https://hunterwriterscentre.org/bookshop/

My Prose Poem ‘Amber Puppy’

My prose poem ‘Amber Puppy’ was first published in Quadrant magazine in September 2019.

I do enjoy writing prose poetry. Prose poetry is a cross between a poem and a prose piece, although, according to Wikipedia,  prose poetry is poetry written in prose form instead of verse form, while preserving poetic qualities such as heightened imagery, parataxis, and emotional effects.

Have a read of my poem and tell me what you think:

Amber Puppy: 

What can an amber puppy mean in a world of Siris and driverless cars?

I was older, one of the Baby Boomers. Life was a series of warnings:  Don’t fall over rugs or loose cords, don’t overeat, don’t go to bed before nine, drink coffee after midday, watch too much Netflix. When the new puppy arrived one birthday, rich brown as a raisin, I heard it shadowing me: Don’t trip on the dog’s lead.

There was much to be anxious about. One day, walking through the park – the rain had eased, spring waterfalls spilled into the creek, soon we would cool off under the trees – I lost my grip on the lead. Into the bushes he fled, disappearing into green. Since when did parks swallow small dogs? I drove home in a frantic car. My best friend. I’d loved him and he’d loved me.

The days staggered past like drunks. I prayed silently, absorbed sunshine, climbed steps, wrote Letters to the Editor. Don’t panic, don’t shallow breathe, don’t think the worst – you could hear it all around. A reclining Buddha could show you how to deepen the breath. A bird call at first light could tell you when to get up. A storm could remember to fill the dams and the water tanks – I was meandering between the trees when I saw him scampering through the creek. Splashing around then shaking himself dry. A muddy escapee. A barking survivor.

Where had he been these three long days? I could wash him, wrap him in a towel, take him home. Unexpected good news could still happen. Dogs off-the-leash need to stay close to their mistresses. Trees shed their leaves in winter and dogs run away, but find their way back. Seventy-two hours later, what can an amber puppy tell you in a world of Botox and identity theft?

See the difference between holding on and losing your grip.

Copyright © 2019 Libby Sommer

9 Tips for Managing Writers’ RSI

Repetitive strain injury often starts gradually but can soon become severely debilitating. But there are ways to nip it in the bud – and alleviate the worst symptoms.

1. Take Frequent Breaks

Take short, frequent breaks from repetitive tasks such as typing. A 10-minute break every hour. Use the computer only as much as you have to. Small hand movements, like scrolling on a screen, seem to set off RSI.

2. Type using both hands

It’s like playing the piano; correct fingering is essential. We tend to overuse one side of the body.

Become ambidextrous, e.g. use the mouse in your other hand, lift the kettle with the other hand.

3. Move

Get up from your desk every 30 minutes and move your neck and shoulders to release tension.

4. Use a Fountain Pen

When writing by hand, use a thick grip fountain pen that flows really well, rather than a ballpoint pen. Needing to push down on the pen, even lightly, makes the inflammation of RSI worse.

5. Check the ergonomics of your work station

Keep wrists straight and flat when typing. Sit with thighs level, feet flat on floor (or on footrest), sit up straight, shoulders relaxed, upper arms at sides, not splayed out, forearms horizontal or tilted slightly downwards, so knees and elbows are at a right angle. Keep the top of your screen at eye level and adjust the position of your keyboard, so it’s easy to reach without stretching or hunching. Don’t slouch. Use good posture. To keep wrists straight and flat use a gel wrist rest for the keyboard and the mouse.

6. Keep wrist straight when sleeping

Don’t curl your hands into a fist when sleeping. Some people wear a brace to keep their sore wrist straight.

7. Strengthen the supporting muscles

A physio will give you exercises to do to strengthen the arms. e.g. bicep curls

8. Stretch

Stretch neck, shoulders, arms, wrists. I find yoga is excellent for a full body stretch. The downward facing dog pose can cause discomfit in the hands, but I try to remember to flatten the knuckles to reduce pressure on the wrists.

9. Massage

Like yoga, a regular massage helps keep the body aligned and pain free.

Hope you find these tips useful. Good luck.