Tag: creating

  • finish line

    finish line

    On a cold but sunny day in March of 2015, the idea for a novel came to me. It arrived in an instant, a flash of bright light before my eyes. I felt intense happiness, followed by trepidation and mild terror. I was about to turn 29. I had a good life in Bern and anyway, what did I know about writing books? I had never written one. But it turned out that didn’t matter so much. In German, there’s this antiquated but beautiful phrase ‘mit etwas schwanger gehen’, which means being pregnant with something. Letting a project, or an idea, grow inside you. And there the novel was, growing. Ten months later, I boarded a plane to New Zealand to research and write the book as part of a PhD in Creative Writing. Almost three years later, in late 2018, I finished my dissertation and returned to Switzerland. The manuscript had earned me the PhD, but I knew it wasn’t yet ready to be published.

    I’ll finish the book at some point, I thought. Maybe next year. I muddled through. I found a day job, then another. When the pandemic hit, I switched to writing poetry for a while. Fiction just seemed a bit too intense during those early lockdowns. After the worst of it was over, I began working on the book again on weekends and holidays. I wrote new scenes, deleted old ones and wondered what the point of it was.

    A few years passed like that. There were countless months where I didn’t look at the manuscript at all. Still, the book claimed a constant spot in my psyche. The characters, and this mysterious dark story, followed me wherever I went.

    I wanted to quit so many times. Perhaps the only thing that kept me going, apart from many supportive friends, long walks and the occasional dance party, was this irrefutable sense that if I did quit, a part of my soul would die and I’d live out the rest of my days somehow diminished, less alive. That prospect always scared me enough to return to the page.

    The novel is finished now. I mean, as finished as I can make it. A professional editor will take care of the typos still lurking in those pages. It’s been eleven years since that fateful day in early spring. I never thought it would take this long. But then I remember this poem by Mary Oliver, pinned on the wall above my writing desk:

    Things take the time they take. Don’t

    worry.

    How many roads did Saint Augustine follow

    before he became Saint Augustine?

    My novel is called Surrender because it tells the story of a military surrender at the end of the Second World War. But that one word also describes my entire experience of writing the book. I gave it most of my thirties, untold holidays, my savings, my pride, my need for certainty and control, my fear of not being good enough; I had to offer it all up and trust.

    ‘Writing a novel is kind of like scaling Mt Everest and passing by your own bones on the way,’ Karen Russell said. There was a moment about four years ago, when I realized I had to entirely gut the first half of the book. I was much too scared to attempt it for about a year and then I got to work, cursing as I typed. More rewriting followed. People kept asking whether I was ‘done’. Or how close I was to ‘done’. I have no idea, I replied. I have no idea at all. But over the last two years, the finish line started to come into view. I had seen my own bones so many times I knew I was nearing the end.

    I know I make it sound like an ordeal. But when I look back, I see that this book, this story, never asked anything of me that I wasn’t capable of giving. I grew into the difficulties, and I also learned that not everything about writing has to be difficult. That second lesson is ongoing.

    Writing is, without a doubt, bad for my posture and a danger to my social life but I am afraid I love it. I started another book now. I sincerely hope it won’t take eleven years to finish, but who knows. Things take the time they take.


    Further Reading

    My novel Surrender will be out sometime early next year, both as a paperback and an eBook, from Troubador Publishing UK. I’ll share more details soon. Navigating the thicket of book publishing is no joke but I’m so happy I chose to go indie, and do it myself (with a lot of expert help!).

    The Karen Russell quote is from Matt Bell’s brilliant book Refuse to be Done: How to Write and Rewrite a Novel in Three Drafts (2022, Soho Press). I have only followed about half of his advice, but it made a world of difference to my messy manuscript.


    This is an essay from my newsletter The Star Container, first published in May 2026. Subscribe or head to the archive here.

  • our ruins, their songs

    our ruins, their songs

    There is a poem written by the Iraqi-American poet Dunya Mikhail that has been following me around. I first read it in a workshop with the Irish poet Pádraig Ó Tuama last year and it traveled all the way home with me, not leaving my head. It’s title, stark and descriptive, is: ‘This Poem Will Not Save You’. Mikhail lists, with empathy and clarity, all the ways in which her poem will fail to prevent tragedy, death and heartbreak. The phrase ‘I’m sorry’ is repeated three times in the poem’s fifty-three lines. The poem ends like this:

    I don’t know why the birds
    sing
    during their crossings
    over our ruins.
    Their songs will not save us,
    although, in the chilliest times,
    they keep us warm,
    and when we need to touch the soul
    to know it’s not dead
    their songs
    give us that touch.

    Take a moment. Read those lines out loud. Notice how the line breaks and commas urge you on at ‘us’, ‘times’ and ‘warm’ and how, in the lines that follow, you are made to pause at the words ‘soul’, ‘dead’, ‘songs’ and ‘touch’. I say all this to remind you that your own body is also part of the poem; that you have song in you, too. For the longest time in human history, poetry was only spoken, passed on through music and speech. Birds, signing for their own pleasure, gave us rhymes, gave us poems. To write a poem is to express gratitude for that ancient gift.

    Whereas Mikhail addresses an unspecified ‘you’ for most of the poem, she switches to an ‘us’ and a ‘we’ in the final lines. Because I am in some ways quite a self-centered person, it took me a long time to see that Mikhail’s ‘we’ is not necessarily about me, at all. The language here takes you right into a war zone (‘their crossings over our ruins. / Their songs will not save us’) and I have never lived in one. I have never known that kind of despair, or known ruins like that.

    Still, I do know loss and sorrow, on another scale, in other contexts. And I believe Mikhail is being generous by writing a poem for her people (or so I guess) and yet also offering it to a larger ‘we’, knowing that despair can take many forms, that all our lives are eventually touched by loss.

    The genocide carried out against the Palestinian people in Gaza is in its third year. Although much has been written about the horrendous 7 October attacks by Hamas there is, still, next to no political support for the hundreds of thousands of innocent people being starved and killed at the hands of the State of Israel. And while the recent decision of the Israeli government to introduce a death penalty for Palestinians was widely condemned, it also, crucially, did not seem to have any consequences for Israeli leadership.

    What is unfolding in Gaza is untouchable for me, in that I cannot imagine it. But I believe the people living through those horrors. I believe their voices must be heard, I believe their truth must be written and sung and shouted from the rooftops.

    Coastal Lines Press is a publishing collective founded by people who are living and surviving in Gaza. The project was initiated last year by Palestinian writer, poet and translator Shahd Alnaami. Shahd hadn’t been writing before the genocide, but when she lost her closest friend Eman in Israel’s war on Gaza in December 2023, she began to express herself on the page. And soon, others joined her. You can buy Shahd’s writing, and that of many other Palestinians, in the form of digital zines (which you can then print yourself). Each zine you buy directly supports the artist who created it.

    ‘Hope, however fragile, is an act of resistance,’ Shahd writes. I believe reading and sharing her words is part of that resistance too.

    There is a Full Moon in Libra on April 2. In that relationship-minded sign, Full Moons can sometimes be quite lovely, though I’m not expecting this one to be so smooth. The Sun and Moon are both in a square to Jupiter, loud, and demanding to be seen. Small adjustments will not do. But if it’s a shake-up you’re after, this Full Moon may just have it and put you back in touch with desires you have long neglected. Incidentally, this week is a great moment for reading poetry, too. It’s a moment to read a poem out loud and see how it lands in your body as well as your heart.

    Sources and further reading:

    ‘My Poem Will Not Save You’ by Dunya Mikhail is part of the collection In Her Feminine Sign, 2019, New Directions Publishing Corp.

    A portrait of Coastal Lines Press in The New Arab

    Shahd Alnaami’s personal website


    This is an essay from my newsletter The Star Container, first published in April 2026. Subscribe or head to the archive here.

  • the still field

    the still field

    I’ve recently found that the cramped space of a single line or paragraph is starting to paralyze me. I’d like to, if only for a moment, express everything I am feeling and thinking. The whole end-times-fear-and-joy-and-speed of it all. Do you feel that too?

    It almost makes me want to give up words and take up painting, or music. And then I remember that painters and composers have the same raw deal: there comes a point where you must surrender and begin, maybe just with one note, one brushstroke, and you build your piece from there. If you listen quietly, if you stay with it, if you eventually get out of the way, you can give a shape to something that didn’t have a shape before and let the world have it.

    I struggle with most of these aspects of making art: I like to listen to my unformed writing by offering ‘helpful tips’ and asking premature questions about its meaning, I like to stay with it for twenty seconds and then watch six hours of ‘The Pitt’, and I don’t like to get out of the way. I like being in the way of my books and poems, for years, like a craggy boulder in a Zen garden.

    And yet, within the struggle, there’s a field I sometimes reach. I call it the still field. On the still field, I find the words. It turns out they have been waiting there for a long time, patiently. And it turns out the only thing needed for me to receive them is being who I already am. Experiencing the still field has very little to do with ‘doing’ anything, but of course I forget that every time.

    I simultaneously give parts of myself to this field, and I am fed by it, often in mysterious ways. And I am quite sure that people who are less controlling than I reach this place far more often. Nonetheless, the still field is for everyone: all the neurotic bunnies (I see you!), the intense types, the wild ones and the shy ones. Your art waits for you there, ready to be gathered up and carried over into this world, right into the glitching present.

    There’s a New Moon in Pisces today, one of the first untroubled lunations in Pisces we’ve had in a while. It is followed, just two days later, by the Spring Equinox. It’s a bit like a dusted lens being cleaned, this combo. And you might, for the first time in weeks, have a much easier time arriving at the still field. It helps, too, that Mercury will station direct on Friday and thus perhaps cause a little less travel chaos, brain fog, misunderstandings and mixed-up files than it did in the last three weeks. None of this, of course, means that things will be normal again, or even easy. It’s just not that kind of time right now.

    ‘I have decided to detach from all the terrible news’, people tell me. Others describe the utter exhaustion of trying to ‘stay engaged’. To be honest, I don’t think either option works. And I believe this New Moon invites us to leave this worn-out binary of detachment/engagement behind. Not by denying the suffering that exists in the world and inside us, but by being with it in new, unfamiliar ways. It makes me think of a passage from the book ‘Braiding Sweetgrass’ by the Potawatomi botanist Robin Wall Kimmerer:

    “Even a wounded world is feeding us. Even a wounded world holds us, giving us moments of wonder and joy. I choose joy over despair. Not because I have my head in the sand, but because joy is what the earth gives me daily and I must return the gift.”

    Let the world hold you, then. Surrender, just a little. Let yourself be fed by its wonder, even though none of your questions have yet been answered. Risk delight. Remember that you are brave.

    Sources

    ‘Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants’ by Robin Wall Kimmerer. Penguin Books, 2020.


    This is an essay from my newsletter The Star Container, first published in March 2026. Subscribe or head to the archive here.