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The Quiet Fight and Flight of Florence Morgan

When Florence’s baby was born dead, she found she couldn’t cry. Not at first. She had known for some time that it was dead. She voiced her concern to Doctor Foster just the week before, calling him to the house to listen to her still, silent belly.

“Nonsense, Mrs Morgan. I have never seen a young mother as healthy as you,” he declared.

He would hear no more of it and didn’t even bother to open his Gladstone bag or write anything down. Before he left her house, she heard him talking to George in his study about how women flapped too much at the slightest thing. George apologised for his wasted time.

The baby’s face was squashed and swollen and covered in scratches made by tiny fingernails. It would have been a girl. She would have been a girl. Florence named her Lucy out loud, but in her head she called her Little Lost Lucy. She was tiny and beautiful to her mother, and Florence held her cold, grey body and sang lullabies under her breath until the hospital nurse decided to separate them. One to the morgue, one to the ward. Florence wanted to go to the morgue too. So much. She clung to Little Lost Lucy with the last shred of her strength and determination, and the nurse had to fetch two more nurses to help her.

When her arms gave up her baby, Florence let out a noise like a wounded animal. The noise left the room, travelled down the corridor, and reached into every ward. All eighty-seven patients shifted in their beds, even the very sick ones. All of them knew that a mother had lost a child. It was that kind of noise.

Florence was wheeled into a ward where six new mothers sat cooing over their living babies. She was expected to recover from her grief surrounded by the happiness of others. The mothers did not speak to her because they didn’t know what to say. Nor did Florence speak to them, but that was because she couldn’t speak. She was afraid that, if she opened her mouth, the noise would come out again. It was waiting there, somewhere deep down in the darkness, like a patchwork dam holding back a lakeful of tears.

Doctor Foster visited. He patted her hand and ignored the glare she fixed on him. Muttered something about weak hearts. Florence closed her eyes tight shut and when she opened them again he was gone.

George visited. He said ‘There, there. Never mind’, and Florence wanted to wrap her hands around his neck and squeeze extremely hard. But, of course, she didn’t. In George’s humble opinion, there would be others. Florence was not quite twenty. George was not quite thirty. Plenty of time.

Florence dared to open her mouth at last. “I don’t want others. I wanted Lucy.”

Little Lost Lucy, her heart whispered.

“Lucy? What kind of name is that?” George said. “Not that it matters.”

Not that it matters.

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A Failed Experiment and (Almost) Another Cat

So, I’ve been experimenting because there was an expanse of shiny whiteness on my office wall with scribbles on it like ‘Get milk’, ‘Weed the garden (again)’ and ‘***Don’t rescue another cat; you have enough now***’.

But it would be so much better if it said things like:

Chapter 5 – Whenever he smells apples, he is overcome with a murderous rage.

OR, Chapter 12 – Astonishing mid-plot twist: The monkey was never meant to be there, but only the nun knew.

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Flambards by K.M Peyton

Everyone has that book, or series of books, that defines their childhood and influences their future lives in some way. This is mine. What’s yours, and why?

When I first discovered ‘Flambards’ by K.M Peyton, I devoured the whole series, and returned to them again and again. They had everything; a strong heroine who was so real to me she was like a best friend, a hero who had his weaknesses but it still gives me pangs when I think of his sad fate, and a First World War setting – not on the front line, but on the home front – which pits the rise of automobiles and airplanes against the decline of horses and cavalry, and delves into women’s rights and the crumbling of social divisions. Cleverly, the house – ‘Flambards’ – is a mirror that reflects this era of change in Britain. Its fate is directly affected by all that is going on around it, and yet it is also a symbol for everything the heroine is experiencing. She is tied to it. It becomes her heart.

Flambards taught me, like no other books I read in my childhood, that