Call for Poems on Appreciation

for Community Appreciation Day

DEADLINE: 16 APRIL 2021

Calling all Brunel students, staff and members of the local community – we want you to get creative & send us a short poem (maximum 10 lines) fitting the theme of appreciation, gratitude & thankfulness.

Brunel Writer, in collaboration with Brunel Volunteers, is celebrating Community Appreciation Day on 11th May 2021 by making a collaborative poem. 

Send your entries to brunelwriter@gmail.com by Friday 16th April with ‘Appreciation Day Submission’ in the subject line. Ideally poems will be attached to the email in either .doc format or as a PDF.

Shortlisted poems will feature on the Brunel Writer blog & social media, & may be shared as part of wider Appreciation Day communications. Please include a short third person bio & your social media handles so we can tag you, if you have them (anonymous entries are fine, too, just let us know).

Excerpts from a number of entries will be woven into a longer, collaborative community poem – think of it like a patchwork quilt made up of different colours & textures & lovingly pieced & stitched, patched & mended by many hands.

We’re also hoping to create some audio & video content of the final collaborative poem, so drop us an email if you’re keen to read/perform. We might also make a zine (a mini-book of the poem).

Here’s some inspiration to get you going:

Appreciation The act of recognising or understanding that something is valuable or important. Who are what is important to you? Why? Tell them.

Gratitude The feeling or quality of being grateful. You could try describe it.

Thankfulness The feeling of being happy or grateful because of something.

You could write a list poem of things you appreciate, value or are grateful for, or of things that you are thankful for, from the tiny and seemingly frivolous to the significant and poignant…

You could write an ode to a person, organisation or place that you appreciate…

You could capture a moment of kindness in a haiku…

Kypsel, a new way to share art

Interview with Brunel student and founder of Kypsel, Luca Mouzannar

Brunel Writer – Tell us about Kypsel. What is it and how does it work?

Luca Mouzannar – Kypsel is a platform that directly connects writers with their fans and enables them to take part in the artist’s growth. On Kypsel, writers can freely publish and sell their work with the advantage of keeping full control over their work. We allow artists to publish their work with a few clicks without interfering in the artistic and creative integrity of the product. Once a book, web comic, music track or short story is published any buyer can resell the work to their friends on their own social networks. In return, the fans get a referral commission for every converted sale.

BW – How did you come up with the idea for creating this platform? Did it come from your own experience of trying to publish/sell creative work or did you simply see a gap in the market?

LM – A little bit both actually. One of the co-founders tried to publish work through traditional publishers and faced several issues – mainly low royalties, no flexibility in claiming these and a lot of changes to the creative product. At the same time, being surrounded by artists who do good work, I could clearly see a gap in the market, especially in the era of social media where it is so simple to publish a post but very hard to publish and sell creative work. When we think that Harry Potter was rejected by many publishers before finally seeing the light, it puts a lot into perspective!

BW – Has your experience of studying creative writing at Brunel played a part in the building of Kypsel as you continuously interact with young creatives?

LM – Of course! I have met so many talented people who have so much to express and I can see how difficult it is to get our work out there. Fans should be able to decide what is good work without any buffer. I’ve seen so many artists and creative talents fall into jobs they hate because they aren’t able to monetise their craft. Before we know it, a side job becomes a main job and writing becomes a hobby instead of a craft we can live off.

BW – Why should creatives choose to publish with Kypsel? How does it benefit them over other more known online platforms such as Amazon, Google Play, Spotify, etc.?

LM – The first big advantage is that Kypsel is free to use and offers higher royalties than any other platform. Remuneration is a lot fairer and the creative product itself remains untouched. Kypsel is more of a self-publishing tool than a publisher. It is extremely easy to start and work can be published with a few clicks. It is also a non-exclusive platform which allows creatives to use all the means at their best disposal to get their work out there and see for themselves what works best.

LM – We also believe the referral engine is unique to Kypsel and will incentivise fans to buy, refer and sell the work instead of downloading it for free. It is a great way to fight piracy and we believe it will amplify the authors’ success and give them access to audiences they might not have reached when using other platforms. We like to refer to this video to illustrate a lot of the issues with the bigger platforms.

BW – Do you see self-publishing as the future of publishing art or are renowned publishing companies and music corporations still the way to go?

LM – We sincerely believe self-publishing is the future of publishing because renowned publishers and music corporations take most of the profits and leave very little for the artists who put in the work. Fans are also the ones who promote the art they enjoy, so the role of those companies is becoming more and more obsolete, especially in the era of algorithms and social media. Another issue is speed. People, especially the younger generation, enjoy content more than the form it comes in and want it faster than ever. We also tend to trust people more than big entities so Kypsel exists to cut the middleman who slows down the process and doesn’t split profits fairly.

BW – Finally, where is Kypsel headed? What can we expect from this platform in the future?

LM – We are hoping it will grow exponentially and allow young artists to express themselves so we can keep reading the stories we love and listening to music we enjoy. We want to connect artists with their fans and expand our offer to include any virtual goods such as short movies and apps. Our vision is simply to free content from the boxes that it is usually put into because of industry standards that don’t match the current realities of web and social media and we believe this can go very far.

BW – Thank you Luca!

You can visit Kypsel here and start sharing your work today!

Calling for Submissions!

Calling all Creative Writing and English students at Brunel! Brunel Writer’s new blog series focusing on work experience is launching soon and we are looking for submissions.

If you have done work experience in a creative industry – whichever it may be – tell us all about how you came across the opportunity and how you found the experience! If you have done more than one you can submit multiple blog posts but please be aware that we may not be able to publish every submission.

Please send all submissions to brunelwriter@gmail.com . We ask that the texts don’t exceed 800 words and that you include an author photo and short bio.

We look forward to reading your submissions!

The Grim Reaping of Harvey Grieves – from Brunel coursework to a short film

by Alice Lassey

The initial idea for what became The Grim Reaping of Harvey Grieves arrived in 2015. It was the start of my first screenwriting module at Brunel, and I had to come up with an original idea for a ten-page short screenplay. Our tutor, Max Kinnings, had been very fair, giving us a week to produce just a title and logline to share with the class. Being completely unable to think of a dramatic idea I could do justice to in only ten pages, I decided on a comedy about an old man running away from the Grim Reaper. Quirky, right? Original? Fun? I certainly hoped my peers would think so because the only thing rivalling my fear of sharing my work is the eternal need for validation.

Though the insistence on having us share severely unpolished ideas with the class took me some time to recover from, that second year screenwriting module was one of the most enjoyable and – perhaps more importantly – most useful of the course, and for one reason in particular. Far more than any other, this module stressed the importance of developing an idea and editing your story before even starting the first draft, ensuring that major issues are resolved before they become deeply embedded in a full-fledged script. It’s something that has helped me a lot in my writing post-graduation, and something I wish I had kept in mind while writing my major project in third year – but the less said about that, the better.

So, I wrote the script, I wrote an essay about the script (why, Brunel?), I handed it in and… I got a B+. Not bad. I guess it was actually kinda funny. After that, the script just sat in a drawer (well, on a USB, this is the 21st century) for a few years, I graduated, didn’t write a thing for a shamefully looooong time, until…

2018. I’m back home with my parents in the North, I have no job, no social life, and no local production company wants to exploit my unpaid labour in exchange for ‘experience’ (believe me, I tried hard to persuade them). In my attempts to find creative opportunities that may help me scrounge something resembling a career, I sign up to a script surgery being run as part of the Independent Directions (INDIs) festival in Leeds. The only problem is since I have barely written a thing since graduating, I have no new scripts to submit, only that old thing gathering virtual dust in the digital drawer. My assigned reader was writer and actor Gaynor Faye, and her feedback (along with the fresh eyes that come after not looking at something for years) gave me a new perspective on the script and a new desire to work on it.

So I did. And then… back in the drawer. It didn’t come out again until this year when I submitted it for feedback at the recently-formed Northern Screenwriters Table, an online writer’s group that meets bi-weekly to feedback on members’ scripts. The response was very positive, and even before the meeting went ahead, I received an enquiry from one member asking if I had spoken to a director or producer about having it made.

Up until this point, I had always considered production for this script to be a non-starter. All the advice on making short films says to keep it simple, with one location and a limited cast. They don’t say ‘how about a chase across town involving a hospital, a bus, and an ambulance?’ I had no experience in making short films, and this script seemed too complicated, too expensive to make. This changed when Simon came on board because now the project had a producer with experience compiling budgets and who knew how to go about sourcing the necessary funding. Of course, the process of making the film cannot go ahead until that funding is secured, and at this stage, nothing is certain. We have applied (and continue to apply) to a number of industry sources, and are asking individuals to invest in the project through Kickstarter, where we are offering a selection of perks (such as exclusive merchandise and behind-the-scenes access) to backers.

The journey from that class in 2015 to here has been a long one, and with any luck, it will end up longer still, seeing the project through production, post-production, and the festival circuit. Most of it until this point though, has been spent with the script sitting untouched on my computer, so I suppose the moral of the story is (and this is something I am still reluctant to learn myself) – your work goes nowhere if you never show it to anyone. And if you do… perhaps you’ll find someone as passionate about it as you are.

If you’d like to find out more about The Grim Reaping of Harvey Grieves, or perhaps even invest (and getting your hands on some exclusive perks), the Kickstarter page can be found here: https://www.kickstarter.com/projects/simonbg/the-grim-reaping-of-harvey-grieves

Tomorrow’s launch of the Kickstarter campaign will be accompanied by a livestreamed launch event on YouTube (https://www.youtube.com/watch?v=U7klydtYaQI&feature=youtu.be&fbclid=IwAR3zBWr8HX0t3Nki28KjYaAHD9JmvrltavwM3sdlOo1vYPlOY_Wg9AYB4xk) and Facebook Live.

You can follow the project on social media (Facebook, Twitter, Instagram) at @harveygrieves.

Alice Lassey graduated in 2017 with a first-class honours degree in Theatre and Creative Writing. An aspiring filmmaker, she currently writes on film at her blog Extended Cut (www.extendedcut.co.uk) alongside developing script and prose fiction projects. She can be found on Twitter and Instagram at @alicelassey.

The Brunel Writer Prize 2020

Every year, The Brunel Writer Prize is awarded to the student whose article submission for the Creative Industries module on Brunel University’s Creative Writing Programme is the highest graded. This year’s winner is Perri Wickham. Perri’s article shows how she used the various skills acquired through the Creative Writing course in an exciting industry environment.


HOW MY SHORT FILM ‘LONDON MADE ME’ FEATURED ALONGSIDE RAPMAN’S ‘BLUE STORY’ SCREENING

by Perri Wickham

During an unproductive day of tapping through Instagram stories, I came across the LDN Filmmakers application.  The week-long course was organised by the Mayor of London and Digital Cinema Media to help applicants write, direct, and produce a short film.  I immediately swiped up, excited to put my screenwriting skills to use outside of my Creative Writing degree, to finally get behind the cameras, and to connect with aspiring filmmakers.

The application process was straightforward.  I had to write down my personal information and in 250 words, explain why I wanted to participate.  I felt this was a fantastic opportunity for me to get equipped with new skills as I had never made a film before, and to put my vivid imagination into action.  A week later, I received a notification to say that I was successful.

Industry members from Chocolate Films Production led the training at Genesis Cinema.  During the introductory session, they gave us a brief to base our plot on London.  They told us that each of our films would feature alongside the screening of Rapman’s new movie ‘Blue Story’ at Genesis, which turned the pressure up a notch.  ‘Blue Story’ is an adaptation of Rapman’s 2014 YouTube series of the same name that explores gang rivalries in London. 

I teamed up with six participants, and we were allocated a mentor for support.  We brainstormed ideas about what London meant to us, and how we could capture our message cinematically through the plot as well as visuals.

Initially, there was a miscommunication on our first idea, as everyone had slightly different visions, which was confusing.  Thanks to our mentor, we managed to narrow it down enough to pitch to the other groups and their mentors.  Receiving feedback was essential as it helped us to clarify our concept and make it appropriate for younger viewers, as our film was going to be screened in schools. 

My group and I decided to tell the story of a protagonist, who on her way home, reflects on London’s vibrant culture and how it shaped her into a successful adult, using flashbacks of her past.  It only made sense to add an inspirational spoken word poem to talk the audience through her journey.  Since I am a poet, I volunteered to write and perform the voice over.

After receiving training on how to use film equipment, we solidified our storyboard, then set out to film in Stepney Greene.  The first day turned out to be experimental, and we decided to extend our filming location to Stratford as it had more landmarks that would benefit the visuals.  We spent the next two days knuckling-down, ensuring that we had enough footage to make a high-quality final draft. 

The final day of the course was crucial, as we had to complete a rough draft of our edits and create a shot list for Chocolate Films, who would polish it.  We had a guest visit from Amani Simpson, the creator of his autobiographical short film ‘Amani’, and one of the main actors, Ellis Witter.  It was inspiring to see a director who had no experience, establish connections, and gain enough funding to compose a successful short film with over one million views.

On the 24th November, I attended my first red carpet premiere in Hollywood.  Okay, it was at the Genesis Cinema.  Watching my first short film on the big screen was a powerful experience, as I was able to witness how a project, I made in under a week could transform into a dynamic yet professional piece. 

LDN Filmmakers taught me that if you strongly believe in your vision, it is possible to execute it with the right equipment, no matter the time constraints.  Now that I’ve gained confidence as a filmmaker, I am determined to make my mark in the film industry, and that starts now.

You can find Perri’s short film “London Made Me” on LDN Filmakers.

Perri Wickham is a flourishing Creative Writing Graduate looking to make her mark in the Entertainment Industry.  Hailing from Southeast London, where the trains run slower, Perri currently freelances as a blogger for Fledglink, a journalist/comms assistant for Brits + Pieces, and writes poems as well as scripts in her spare time.  If she goes MIA it means she’s working on a special project.  Her material is very audacious!

We Wrote a Book During a Pandemic

by Chloe Perrin

In May 2020, Britain went indoors and stayed there. Out of this sudden extreme burrowing came a flood of tweets and Insta posts documenting the myriad of activities the country was using to keep itself occupied while the world outside shut down.

Some people learned to knit. Others took up yoga.

We, the Horror, Sci Fi and Fantasy module class of 2020, wrote a book.

(Look! our book is the #1 hot new release on Amazon!)

Robots, Rogues and Revenants is an example of what happens when a group of writers are told to use their imaginations during possibly the most anxiety inducing period of their lives. And when you read the anthology of short stories for yourself, you’ll get to experience first-hand the kind of book a global catastrophe makes.

While it’s nice to have something soft and comforting during a time of such ridiculous uncertainty, some of us decided instead to really lean into the catharsis of creating something even scarier than the situation we were already in. I’m not exaggerating when I say this book contains a deliciously wide variety of nightmares, from the relentless pestering cries of the undead to the best canned meat you’ll find this side of London.

And I’m warning you now. There is gore. Lots and lots of gore.

You won’t be safe from it in the non-horror genres either – even our high fantasy authors decided to splatter a sizeable amount of blood on their pages, mixing magic with deaths so bloody they would make George R.R. Martin squirm.

But don’t worry about it too much. If gut squeezing, bone snapping horror isn’t quite what you’re into at the moment, we can respect that. When locked inside for months on end escapism is the name of the game, which is why entire pantheons of gods live in this book. Feeling terrified by the present day? Go back centuries to a time where deities and fairies mixed with mortals. Or maybe you’re simply missing the present we had only a few months ago, and just one more party will do – no problem. The amazingly cosplay-able rave witches of London have got your back.

And there’s the future, of course, where you’ll be provided with a service that allows you ownership of a late loved one’s memories – and in that vein I should really warn you that one or two stories will definitely have you wiping away a tear. Sadness is a catharsis too, and who doesn’t need a good cry while the outside world upends itself?

There is something wonderfully unique about Robots, Rogues and Revenants, not just in what it is but when. This book is a time capsule of a group’s imaginations during a global pandemic. Real life will always influence the stories we produce, making each story in this anthology probably the strangest insight into the strangest time a lot of us have ever or will ever live through.

Which is exactly why you should pick it up right now and read it.

(All proceeds to NHS combined charities)

Chloe Perrin is a North Walian writer living in West London. Her writing has been featured in previous anthologies such as Hillingdon Literary Festival’s We Are Here and Brunel University’s Letters to my Younger Self, and her one act play The Ghost We Live With was produced by Studio Brunel in 2019. She hopes to continue creating funny, strange, and oddly depressing pieces until someone finally stops her.

Book cover design contest: #Horror #Scifi #Fantasy anthology

Brunel University London’s 2nd year undergrad Creative Writing students are preparing to launch their latest anthology of short flash fiction.

Robots, Rogues & Revenants is a collection of flash fiction in the horror, sci-fi and fantasy genres, and will be published in e-book format later this year.

The competition for the cover design is open to all Brunel University London Undergraduate students. If you win, as well as seeing your design on the book & your name credited in the book, we will send you your own e-book copy, and it’s a great addition to your CV.

The design needs to be:

  • High-resolution, 300 dpi .png/.jpg format OR Photoshop .psd format
  • Dimensions: 2,560 (height) x 1,600 (width) pixels
  • Please keep back-up copies of your working files so they can be easily edited.

Entries must be submitted by:
Monday 13th July 2020
by 5pm

to Mr Frazer Lee via email (frazer.lee@brunel.ac.uk) with the subject header:
‘ROBOTS, ROGUES & REVENANTS’

See the previous genre anthology covers for inspiration:

Good luck & happy designing!

Screen Love

by Benjamin Parameswaran 

Picture 1

Lines across space will find,
New means to spend some time,
If only for some peace of mind,
It uncorks a realm not quite sublime.

Heads of this hydra may bite one another,
Trying to express to others,
That they themselves are lovers.

Growing fonder, watch out for it
A pedestal, on which they now stand,
A looking-glass for the wistful hearted,
Always shatter-proof upon reflection.

These trees grown together need firm earth,
For wires without roots prevent disclosure,
There is no rain or sun inside this house,
Life travelling on with an electric hum.

Hold on, effort is without limits,
This garden is vast and you were born in it.

Screenshot 2020-06-07 at 16.36.17

When I was a small boy, my mother used to set me writing tasks. Sometimes I wrote about my day, other times I came up with fantasies taken from whatever I could find. She wanted me to read, read, read. But being half-stubborn mule, more concerned with games, I failed at this task. Now at the age of 25, I read at the pace of a snail and have found a love in writing that I once denied myself.

Working in a Supermarket During Lockdown

by Lucy Parish

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I got the text asking me to come back to work almost straight after I had to leave my university accommodation.

My first shift was mere days after Boris Johnson’s lockdown speech (despite his apprehension to use the word lockdown) and I saw small changes quickly ricochet through the store that I’ve worked at now for almost four years.

I noted that the colossal neon green sign now looms menacingly over the line outside, which trails back further than the naked eye can see. Customers rattle their silver trolleys impatiently, keeping two meters away from the person ahead. I sigh.

A week passes, and flimsy PVC screens go up, forming a barrier between me and the customers. Hastily laminated signs appear on the staff room door letting us know face masks are available in the office if we need them. I don’t take one.

Now as I walk through the store, customers freeze when they see me, standing back to let me pass. It’s abnormal and I can’t help feeling as though I have the plague. I saw two people with gas masks on yesterday, actual gas masks. The flashbacks I got to that Doctor Who episode were rather jarring.

Customers can only buy three of one item per household, but I must admit, denying an old man his fourth Twix bar won’t be a high point of my life. Despite this, my hand hovers steadily over the security button each time someone tries to argue about how much they desperately need four two-litre water bottles rather than three.

It’s been two weeks now, and arrows have been stickered on the floor mapping out the safest route through the store. They’re adhered to for the most part. I’ve stopped counting how many times I’ve been told to ‘keep safe’ and ‘thank you for what you’re doing’ as it was reaching the seventy thousand mark. I hear rumours about colleagues being coughed on, and xenophobic name-calling, and my mind boggles how the culprits have managed to get so far in life.

I keep seeing discarded gloves on the floor and in trolleys outside the store, and it’s proving very difficult to keep my cool.

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Four weeks have passed now, and we’re nearing the end of April. Easter has come and gone and the majority of the chocolate eggs have been reduced to 50p. The line outside is just as long. I miss hugs and talking in person with my nan.

If one more person asks when we’re getting more flour, I might have to quit.

At five and a half weeks, restrictions on items have lifted. Other things are changing too. It seems more people are paying with cash than ever before, with almost every person managing to make contact with my hand as they pass the money over. Someone actually licked their fingers to gain traction on a twenty-pound note before handing it to me yesterday, I couldn’t hide my disgust. The now scuffed arrows stickered on the floor are promptly ignored and are a laughing point when people arrive at my checkout. I don’t laugh with them.

Seeing the same people every week is slowly getting to me, leading me to the realisation that I’ve taken social interaction for granted my entire life.

During the sixth week, my mum offers to pick me up but I politely decline and walk home in the stifling heat. I pass a shirtless man wearing a face mask.

People are no longer moving out of the way when I get close, unless I tell them to. Occasionally I’m put on self-scan (with the machines that protest that there is nothing in the bagging area, when in fact there is), and it’s almost as if we’re not in lockdown. A man actually touched my shoulder as I was swiping my card to approve his alcohol today. I was rendered speechless.

The eighth week is here, or maybe the ninth, the weeks are starting to blur – or perhaps that happened a while ago. Lockdown is beginning to ease or so it seems. I dream about Prezzo, and TikTok.

I also stop social distancing, admitting a sort of defeat. I dart past people down aisles and sidestep trolleys, embracing this new normal.

No one talks about lockdown at work anymore, it’s just there, lurking.

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Lucy Parish is a first year Creative Writing student at Brunel University London. When she’s not working in a supermarket, she loves to read, write, and cuddle her dog.

An Hour A Day Keeps The Blues At Bay – The Rambles of a Wannabe Traveller

by Becca Arlington

It’s day whateverteenth of lockdown and I’m beginning to wish I had written down each small achievement so I remember this significant period of history in the future, instead of just crossing out all of my painstakingly-well-made plans in frustration.

The most exciting part of each day is probably the hour long walk around my little town; discovering more back roads and wooded areas than I ever thought could fit into the sleepy suburb.

Never have I ever spent so much concentrated time with my parents.

Never have I ever struggled so much to get motivated.

And never have I ever felt guilty for not doing enough home workouts, or even more importantly, not buying a puzzle on Amazon Prime.

My sister got six months of Disney Plus so at least I can binge watch childhood favourites and belt out the classics at the top of my lungs. I might be 25, and I might pitifully still live at home, but there’s always Disney.

I hope the novelty of pub quizzing doesn’t wear off once normality resumes, because I’ve probably done about 1,234 online quizzes with friends at this point. At least my small amount of general knowledge will be increasing daily.

Perhaps I should be going on Zoom dates, that would be quite a story for the grandchildren; “we met in the midst of an apocalypse and could only make eye contact through a screen; it was the Romeo and Juliet of our era don’t you know.”

My dad and I got symptoms. He was so lethargic and feverish for at least two weeks and I had some headaches and no sense of smell or taste, but we are the lucky ones and I am so grateful for that.

I feel I should be doing more to help, but deadlines are coming and creeping faster than normal and my Monkey Music children in my online classes won’t monkey around by themselves. As I attempt to teach them virtually, I hope and pray that the dystopian tales that speak of school children only being taught by screen don’t last longer than lockdown.

I made banana bread the other day, so I am now an official quarantine cliché; but it was very tasty, so I have no regrets. This may be my last ever foray into the world of baking now that flour is scarcely seen on shelves, whilst it’s viewed as an essential product for all of us bandwagon-jumping novices.

I think back to the beginning of last year when I was travelling the world and the possibilities seemed endless. How lucky I was that it was a year prior to pandemic. I give myself wanderlust every day as I attempt to finish my very belated scrapbook and travel blogs. What a difference a year makes. It all feels like a distant memory when so much is now an impossibility. Goodness knows when I can tick off the next country on my ever-growing bucket list. At least the world gets greener as humans stay indoors.

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The daily walks are a reminder that nature continues to flourish, and the sunny weather has brought an abundance of wildlife to the forefront of my senses. The flowers smell stronger, the birds tweet louder and I even saw a rat running across my road just yesterday. I think it was a big ‘FU’ to humans. “Ha, I’m not in isolation b****tches.”

But then the rain began in earnest and the hail indicated that the ten plagues may well be coming for all of mankind. The sun seemed a glimmer of hope during such a bewildering time, but it had been snatched away by the grey clouds of impending doom.

Daily walks have now become replaced with short bursts on the Wii Fit and I am naturally baffled that it told me I haven’t lost any weight. Although I did only just have an Indian takeaway, something to look forward to during the repetitive cycles of eat, sleep, repeat. Its warm and inviting boxes were sprayed within an inch of their life with what remained of our nearly-exhausted supply of Dettol, but the food inside brought back memories of my time in India, and, uh-oh, the wanderlust begins again.

To take my mind away from the unforgiving urge to travel, I FaceTime my niece. She might be a six-month old sausage dog, but she understands how to smash through lockdown unperturbed and constantly grateful that her ‘hoomans’ are always around. I note down her top tips and am then informed by my mum that she has signed me up to sing to my road in a lovely little street party. It’s the small things right now, so I don some rainbow clothing and sing about the rainbows to a socially distancing, but very kind audience.

It’s lockdown and it’s strange. I’m up one day and very far down the next, and the world might never be the same again; but I am not alone, and I am one of the fortunate ones. I am trying to hold on to each small moment and remember that this too shall pass.

 

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Becca Arlington is studying for a Master’s in Creative Writing at Brunel University. She works part-time as a music teacher for young children and is currently blogging about her recent six-month trip around 19 countries. You can find her on Twitter at @beccablogs360.