Review by Shanta Acharya of "Mind’s Eye: Notelets & Dialogues in Tribute to Paul Celan" by Carol Rumens

 

A poet who loves language, Carol Rumens resists attaching labels to herself. ‘Am I a poet?’ she asks and answers it thus: ‘I hope so but how can I be sure? I would rather describe myself simply as someone who loves language, and who tries to make various things with it – poems, chiefly, but also essays, plays, translation, occasional fiction and journalistic odds and ends. Poetry can sometimes bring these different genres interestingly together.’ I quote from her website. The author of twenty-four collections of poems in addition to fiction, drama, translation, poetry lectures, she has also edited anthologies and journals, not to mention her ‘Poem of the Week’ for The Guardian. It would be safe to say that language is her métier.

In Mind’s Eye, engaging in a dialogue with the life and work of the poet Paul Celan, she resurrects him from ‘the tomb of language’ by offering ‘a tribute that reflects on the fragility of life, the endurance of art, and the complexities of survival.’ As Celan pointed out, a poem ‘lays claim to infinity, it seeks to reach through time.’ Widely acknowledged as one of the greatest European poets in the postwar period, in his 1958 Bremen speech, Celan refers to himself as one who ‘goes toward language with his very being, stricken by and seeking reality.’  

In Animal People, Rumens altered our understanding of the scope of poetry, not just our appreciation of her work. Her poem, 'On Standby,' where having ‘tasted words,’ one is left in no doubt of her vocation. One of the epigraphs in Mind’s Eye is: ‘The poem is lonely. It is lonely and en route. The author stays with it.’ If the reader can join and stay the course, the poem finds company, a new home. Understanding the loneliness of a poem takes a special kind of empathy. The other is by Paul Celan: ‘But poetry too hurries ahead of us at times,’ from The Meridian Speech on the Occasion of the Award of the Georg Büchner Prize. In his speech, Celan points out ‘art forms the subject of a conversation that takes place in a room, …, a conversation that could go on endlessly, we feel, if nothing intervened.’ Something always does – from World War II death camps to pandemic hospital scenes in 2020. 

In 'Star,' about the need to hide the Star of David badge that Jews were obliged to wear during Nazi occupation, we learn how ‘the park-bench was half in shade, and roomy / enough to test the poem – the poem that’s with you // wherever you’re allowed to take nothing with you.’ In 'Corona to "Corona,"'  from Celan’s poem to hers, ‘in the wreathing of years / the word breathes differently – / a virus old as love and new as every / lover’s new mutation.’ Celan’s was a love poem: ‘We stand at the window embracing, they watch from the street: / it’s time people knew! / It’s time the stone consented to bloom.’ In her poem, 'Anniversary,' reminding us of Celan’s 100th centenary in 2020, Rumens writes: ‘Your April deathday fell, you weren’t quite fifty / and still the sun-prints travelled, still the petals remembered and novembered / all that had been golden in your time.’ 

The poems here are conversations, responses to Celan’s life and poetics. As she mentions in her 'Forenote,' the poems in 'Notelets are short letters to, or about Celan. They are not chronologically ordered, and only tenuously grounded in biographical reality.’ The second part, entitled 'Dialogues,' takes the form of conversations between Celan and 'an imaginary poem of his, un-titled and unfinished, but keeping him company during his last years of mental illness and suicide,' bringing new perspectives on grief, displacement, and the transformative power of words. The concept of this imaginary poem is just as powerful, if not more poignant, than Leonardo da Vinci working on the Mona Lisa till he died.  

In 'Dialogues,' the conversation between poet and poem reveal a wry sense of humour. 'In the Asylum' begins: ‘“Art as necessity is very bare” / you might have been thinking / when Poem interrupted: Speak, you also – / you – thin coat I wear / not quite to freeze my balls in No-one’s Where.’ This is not just entertaining with knowing interruptions, the last two stanzas leap from the verb ‘to swallow’ to an actual swallow. ‘God may have an eye, Poem said (an agnostic). / Not yours, not 20-20: not without brightness. / Here swallow this. // You hurled the empty glass. Poem flew, / a swallow. Rose and sank. / Some other spaceman raced himself to the moon. / You found the harp-string slackened.’ These poems transform and soar through the darkest of times.

In the words of Anne Stevenson, Rumens’ writing ‘testifies to the generosity of her imagination and to the persistence of her dedicated wrestle with words and meaning.’ Rumens’ richly layered poems are widely admired for their technical brilliance, subtlety of subject matter and intensity of thought. In Mind’s Eye, the conversation between her and Celan, the struggle between poet and poem, resonates with the reader. What emerges is an intense realisation of the fragility of life. I am grateful to Rumens for leading me back to her poems and that of Celan’s with a greater understanding and appreciation of the relationship between words and life.

About the reviewer
Shanta Acharya’s recent poetry collections are Dear Life (2025), What Survives Is The Singing (2020), Imagine: New and Selected Poems (2017) and Dreams That Spell The Light (2010). Her doctoral study, The Influence of Indian Thought on Ralph Waldo Emerson, was published in 2001 and her novel, A World Elsewhere, in 2015. The author of thirteen books, her poems, articles, and reviews have featured in various publications and her poems have been translated into several languages. www.shanta-acharya.com

Review by Kim Wiltshire of "The Granite Kingdom: A Cornish Journey" by Tim Hannigan

 

Tim Hannigan is Cornwall born and bred and, like many of us brought up in ‘picturesque’ tourist destinations, he spent time working in the hotel sector as a chef before managing to ‘escape.’ In Hannigan’s case, this escape took him to academia and a life as a writer, living in and writing travel books about Indonesia, before he felt able to revisit his childhood home and look afresh at the whole county of Cornwall.

For me, this is definitely a settle down somewhere comfy and immerse yourself in a different world type of book. Each chapter takes us through the geological specificities of Cornwall, the historical elements that have contributed to the folklore of the area, alongside a walking travelogue that takes the reader through the county. With pictures, maps and personal anecdotes, this book has a range of elements to engage with, which bring alive this diverse and interesting area.

Starting out at Cornish poet Charles Causley’s terraced house near Launceston, Hannigan walks along the Tamar, considering the idea of borders: who sets them, on what conditions are they set, and how / why are they important? That link to literary Cornwall carries on, unsurprisingly, throughout the book, exploring the old myths and folk tales, those writers and artists who made Cornwall their home, and those who visited – often with some very strange prejudices around the ‘native’ people and the ‘beauty’ of the area, or not as some more romantic artists seem to have decided.

There are some lovely images included, but I still found myself using my map app to find some of the areas being described, especially Causley’s little cottage. Having been an occasional tourist to the area, it was great to be able to delve a little more into the area on so many different levels. This is clearly a labour of love for Hannigan and, as you read it, his generosity at sharing this area he knows and loves so well can be felt. So, as mentioned above, settle down and immerse yourself in this world of piskeys, smugglers and the actual reality of an industrial landscape where real, actual people who may not be surfers (although it seems many are) live, love and work – for, with and often despite the tourists. Oh, and if you’re lucky enough to get the hardback version, the cover is also a beautiful artwork in its own right!

About the reviewer
Kim Wiltshire is a writer and academic, Reader and Programme Leader for Creative Writing at Edge Hill University. She writes scripts, short stories and was a British Academy Innovation Fellowship researching ways of embedding arts into healthcare settings during 2022 and 2023. 

You can read more about The Granite Kingdom by Tim Hannigan on Creative Writing at Leicester here. 

Review by Lee Wright of "Father's Father's Father" by Dane Holt

Father’s Father’s Father, the debut poetry collection from Dane Holt, explores the shaping and eventual disillusionment of masculinity, as well as the lingering effects of tragedy. The opening poem, titled "John Cena," delves into the predictable patterns of professional wrestling, where audiences anticipate the familiar rise-and-fall of matches that provide the structure and comfort many of us craved as adolescents. Cena represents a scripted form of heroism—akin to figures like Superman or John Rambo. But what if we looked beyond that manufactured persona? Could the image of the all-American hero have become stale? Is Holt suggesting that Cena’s image is tied to a version of America that overlooks its own complexities and contradictions? Rather than a "fallen" hero, perhaps Cena is one who’s now on his knees, wrestling not just with opponents, but with his own myth. 

Holt belongs to a dynamic new wave of Northern Irish poets, and the collection gives the impression of him wandering, collecting fragments, and observing what causes them to bend or break. In the poem "Humphrey Bogart," the speaker begins by recounting tales passed down by his grandfather, describing a time when men were characterised by a rugged, almost invincible self-sufficiency. Holt uses an image of a man striking a match with his thumb, waking up to a lit cigarette, and performing daily tasks with a cigarette in hand, evoking an idealised version of masculinity—one that is calm, composed. The grandfather’s memories of the past are a source of nostalgia, and The African Queen (the film referred to in the poem) fills the absence of verbal confirmation as part of their understanding of love. There’s also an image of birds filling the sky, a striking conclusion to the poem, which suggests an omnipresence of the departed, both in film and in life. All the poems contemplate a form of sadness (though not without comedy). They look at the consequences of a life that doesn’t get the chance to be redeemed, expendable people of deep emptiness, those who struggle to pick up their lives. As Holt writes in the poem, "Seven Esenin Versions": 

         I cannot deceive myself: something 
         heavy troubles my heart.   

This reader feels it too: poetry is where attention to the tender and the brittle began. 

 

About the reviewer
Lee Wright holds an MA in Creative Writing and is currently pursuing a PhD, focusing on the coming-of-age memoir and film analysis. His fiction and nonfiction have been published in Fairlight Books, Headstuff.com, époque press, and Cigarette Fire Literary Magazine.

Review by Jonathan Taylor of "Wish: New & Selected Poems" by Maggie Brookes-Butt

In his ‘Ode on Melancholy,’ John Keats famously suggests that ‘Ay, in the very temple of Delight / Veil'd Melancholy has her sovran shrine.’ And perhaps it works the other way round too: in the temple of Melancholy, there’s a shrine to Delight. 

Maggie Brookes-Butt’s life-affirming collection, Wish: New & Selected Poems, encompasses both alternatives: her poems are sometimes temples of Delight which house shrines to ‘Veil’d Melancholy,’ sometimes temples of political Melancholy, which open up to reveal Delight, Joy, Beauty. As many have pointed out, contemporary poetry is – as far as it’s possible to generalise – not always on home ground when it comes to delight or happiness or joy. Joy is all-too-often left to birthday card rhymes, seen as naïve in an age of end-game capitalism, political polarisation and climate disaster. 

The poems in Wish, though, are far from naïve: this is a grown-up, fierce, brave joy that can thrive in the teeth of political realism. In the opening sequence, Brookes-Butt stages imaginary conversations with her infant granddaughter, which are both celebrations of shared love, and honest appraisals of the future the latter has been born into. In the poem ‘Realities,’ for instance, she writes:

                    The whine of chainsaws
          plagues the forests, while glaciers silently drip. Missiles
          land on another hospital, another school. And the people 
          we love go away and we never see them again …

          But let us not go there today. Better by far to hold my hand
          and look for bears in the woods, mermaids diving
          from the rocks, Father Christmas landing on the roof, 
          dance the hokey-cokey and sing “that’s what it’s all about.”

This is what Brookes-Butt’s poems do so beautifully: they dance the hokey-cokey, find the bears in the woods and mermaids on the rocks, while still facing up to the ‘realities’ of the modern world. A dawn chorus, for example, is ‘a technicolour / torrent-of-sound, reminding, insisting, in spite / of everything – there is joy in the world, / there is so much joy.’ Even in a Second World War prison camp, the downtrodden inmates find ‘unexpected peace’ in an allotment, where they ‘grow gifts / of vegetables or flowers to give on visit day.’

Like the inmates, Brookes-Butt's poems often find 'unexpected peace,' miniature utopias, in a wider context of turbulence and degeneration. Hers is not an escapist joy, though, that turns away from horror. Rather, it’s the kind of visionary and radical joy that Friedrich Schiller and Ludwig van Beethoven might have understood – a joy that challenges present and future ‘Realities.’ Even if, in that particular poem, the poet ultimately declares ‘let us not go there today’ to her grandchild, the implication is that such realities will have to be faced in the future. And the collection as a whole holds onto a radical and joyful optimism for that future, in spite of fear, in spite of melancholy, ‘in spite of everything’:

For now leave
fear about the drowning and scorching of your world
to me. I have enough for both of us. When I’m too
voiceless to protest, too old to carry a placard, 
I’ll hand it to you like a baton or perhaps a fiery
sword, and you can run in my stead. We will defy
the politicians with lies for hair, shout down
fearfulness itself with tongues of flame. 

About the reviewer
Jonathan Taylor is director of Everybody's Reviewing. His most recent book is the memoir A Physical Education: On Bullying, Discipline & Other Lessons (Goldsmiths, 2024). He teaches Creative Writing at the University of Leicester. His website is here. 

Review by Mike O'Driscoll of "Remains" Magazine, Issue 1, ed. Andy Cox

If the visual layout and content seem familiar, it’s because Remains is the welcome new venture from Andy Cox, the publisher and editor of Black Static, the superlative and much-missed magazine of contemporary horror fiction. It features a gorgeous cover and interior artwork from Richard Wagner, whose work also graced the pages of the former magazine, but the real test of Remains resides in the quality of its fiction.

There are seven stories, including ‘Cockatrice,’ a novella from Stephen Bacon, that starts out on familiar ground—an inquisitive child more taken with the monsters of his imagination than with the real ones much closer to home—before morphing into vengeful time travel tale with echoes of Terry Gilliam’s 12 Monkeys. The shifting perspectives in a narrative that touches on infidelity, the power of the imagination, childhood sexual abuse, and the struggle to unsee the horrors one sees, are handled with great skill and compassion by Bacon.

Giselle Leeb’s story ‘Inclusions’ is a subtle and suggestive take on the haunted house theme. It maintains a certain distance from its human characters—the last of a group of writers gathered for a weekend workshop—allowing us to observe their interactions through the indifferent gaze of the house itself.

‘Her Little Ray of Sunshine’ is the story that most clearly evokes the tone of Black Static—no surprise considering it’s written by Neil Williamson, a regular contributor to the former magazine. It’s an unsettling and thought-provoking piece, reminiscent of much Slipstream fiction of the 1990s, with its quiet sense of outrage, even despair, at the extent of the psychological and physical harm men perpetrate on women, and even more so the lies and excuses we deploy to justify our weaknesses to ourselves. 

Also recalling 12 Monkeys, but this time more explicitly, is Jolie Toomajan’s ‘A Heartwarming Tale of a Girl and Her Monkey.’ The tone here is elusive, even somewhat disjointed, such that protagonist Karyan’s motives in unleashing an apocalypse are never quite clear. Yet perhaps that sense of disconnection leads her to bond more closely with the monkey she liberates than with her human co-workers, which may be precisely the point.

The remaining stories range thematically from the delusion of overweening ambition (Rich Larson), to the peril of one’s life being exploited for fictional purposes (Anna Tambour). The final story, James Cooper’s ‘Nothing Special,’ offers a particularly bleak, noirish variation on the cynicism and self-loathing engendered by succumbing to the Hollywood dream.

About the reviewer
Mike O’Driscoll is a writer living in Swansea. His work has appeared in Black Static, Interzone, the Magazine of Fantasy & Science Fiction, and numerous anthologies. His story ‘Sounds Like’ was adapted for a TV movie by Brad Anderson, as part of the Masters of Horror series. Mike blogs on different aspects of genre writing and film here. 

Review by Mike O'Driscoll of "In the Garden" by Brian Howell

Like the central figure of Hieronymous Bosch’s triptych on St Anthony, the protagonist of Brian Howell’s In the Garden is subject to his own mix of erotic and demonic temptations. In what the publishers term a plaquette, traditionally a small bronze relief, but here a chapbook illustrated with reproductions from Bosch’s work, Howell explores both the meaning and effect that the artist’s works, particularly those of a more apocalyptic bent, might have on the viewer. Anthony, our not entirely reliable guide to the paintings, a self-confessed Bosch fanatic, has come to the artist’s home town of  ’s-Hertogenbosch for a rare exhibition of his work. For reasons that remain obscure, Anthony has left his wife and daughter, Angela and Helen, at home in the UK, though he’s at pains to assure us that he has their blessing, if it’s what makes him happy. This last comment hints at Anthony’s need to justify the pursuit of his own interests, interests that are not as purely artistic and intellectual as they first seem. 

On his first encounter with one of the works—The Wayfarer—Anthony has a sort of premonition, "a shimmer of light whose provenance he could not explain," that gives him the permission he needs to stray from his purposeful travels and sink "into a hedonistic stage of life." An accomplice toward that stage appears in the form of Lajla, an expert on Bosch. She offers Anthony a glimpse into the possibilities inherent in The Garden of Earthly Delights. The world of the painting stands in contrast to the mundane, sexless reality of his life with Angela, though his nightly phone calls to her, as well as specific memories which prompt moments of guilt, appear to contradict this interpretation. His supposed surprise at Angela calling him "lover," doesn’t exactly sit with his self-depiction of their relationship. 

Through keenly described scenes from different works, Howell returns again and again to contrasting what Anthony tells us about himself, with a recognition of the more earthly desires that the paintings prompt in him. Lajla, who, because of her preoccupation with the Cathars, one might expect to be sexually reticent—she makes a point of telling Anthony of their disapproval of sexual congress—responds to his latent desires by drawing him into a world where he can indulge both his pleasures and pains. The quiet, understated ending finally allows the protagonist the first real moment of insight, albeit one that comes too late. 

In the Garden follows on from Howell’s superlative collection The Study of Sleep, in exploring the work of specific painters to illuminate the struggle between our desires and delusions, and the contradictions between our false self-perceptions and those moments when we get to see ourselves as we really are.

About the reviewer
Mike O’Driscoll is a writer living in Swansea. His work has appeared in Black Static, Interzone, the Magazine of Fantasy & Science Fiction, and numerous anthologies. His story ‘Sounds Like’ was adapted for a TV movie by Brad Anderson, as part of the Masters of Horror series. Mike blogs on different aspects of genre writing and film here. 

Interview with Lisa Bent

Lisa Bent's debut romance novel, Symona’s Still Single (2020), was published as part of the ground-breaking #Twentyin2020 cohort, which saw 20 Black British writers published in the same year by independent publishing house Jacaranda, a first in the UK. 

Her second book is called Bombshell (2024) - a romance comedy co-written with Alison Hammond, published by Penguin. 

Lisa has written for The Independent, Stylist Magazine and Porter Magazine. She is currently writing the sequel to Symona’s Still Single.

Interviewed By Saskia Kabongo

SK: What inspired you to write Symona’s Still Single, and was there a specific moment that pushed you to start?

LB: On Facebook I used to share my opinion on everything from politics, films to my dating trials and tribulations which always got the most likes and comments. When my friend sent me a competition from Jacaranda, a Black-owned independent publishing house calling for 20 Black British writers, I decided to go for it and here I am, one of the 20 published in 2020. This was and still is groundbreaking. No mainstream or independent publishing house has ever done this. 

SK: Your background is in Psychology and HR. How did that influence the way you developed Symona’s character and her journey of self-discovery?

LB: My background in Psychology has heavily influenced how I developed Symona. I wanted a protagonist that was self-aware and knew the importance of self-love to show what dating looked like from this standpoint, which I would have loved to have read when growing up.

Being your whole self is important; however, I show the contradiction of this in the workplace. My insights and experiences are not unique. The aim of including them is to resonate with those who have. For those who haven’t … yet, it’s a signpost to show, reassure and help.

The unspoken pressure to assimilate, code switch to get by and succeed while finding your voice to advocate for yourself is a journey in itself. 

SK: Did you draw from any personal experiences while writing this novel, or were the characters and scenarios purely fictional?

LB: The majority of the book is fiction. However, there are a few personal experiences within that I have changed and embellished so it’s no longer my story but it remains grounded in realism to feel believable.

SK: Writing a debut novel can be a challenging process. What were some of the biggest obstacles you faced while bringing this story to life?

LB: As I’ve never written a book before I didn’t know if I was doing it right. Letting go of self-doubt and giving myself permission to just write was a big hurdle in the beginning. Cultivating my discipline and creative process was a journey alongside rebuking the word “writer's block” to embrace taking a break. Hard deadlines are scary.

SK: The book beautifully balances humour and emotional depth. Was that intentional from the start, and how did you find that balance in your writing?

LB: I didn’t want to just write a romance novel filled with fantasy and 90’s music video dreams. I wanted to bring to life the real struggle of Black British women in their late thirties because our / their stories weren’t being told. My Facebook posts showed me I wasn’t alone. My friendship groups told me I wasn’t alone, and so I knew there would be others who felt the same. I wanted my book to highlight these important feelings for us to be seen and heard.

The balance lives in good storytelling and my vibrant, personable and relatable characters. 

SK: What was the most rewarding part of writing Symona’s Still Single?

LB: The accomplishment of following through with the creative labour and birthing a book I am proud off. 

It’s also rewarding receiving lovely messages from readers who have been touched by Symona’s story and gone out of their way to tell me. It’s always a nice surprise that I do not take for granted. 

SK: The book challenges societal pressures on women to be in relationships by a certain age. How do you think these expectations impact Black British women specifically?

LB: The pressures are a mixture of culture, tradition and society. Within society there are stereotypes, beauty trends and the rest, all of which are layered and feed into each other. The reality of the biological ticking clock is ticking can cause a lot of stress. Childlessness is another form or grief no one talks about.

SK: What message do you hope readers take away from Symona’s journey, especially those who feel pressured to "have it all figured out"?

LB: I hope readers see the importance of self-awareness, self-acceptance and self-love. How having a willingness to delve into introspection can release you from your past and provide an opportunity to change your current situation and future.

No one has it all figured it. We can only work with where we are, with what we know. In time what we know becomes wisdom and discernment, but it’s reflection that enables us to acknowledge this.

Become the best version of yourself. Hold that vision high. 

SK: How do you think past relationships shape the way people approach love? Does Symona’s experience reflect common patterns you’ve seen in real life?

LB: How we were raised and how we are treated by family, friends and lovers all contribute to what we think of ourselves, what we expect and what we think we deserve from all types of love and relationships. 

Symona’s journey is only one story of hundreds. However, at the centre no matter what your story, self-esteem, self-belief, self-worth, self-confidence, self-acceptance and self-love will be impacted to various degrees. This will also be the common pattern.

SK: Symona’s dating experiences highlight the complexities of being a Black woman in the dating world. Why was it important for you to show these realities?

LB: It was important to show it because it exists. I wanted the reader to walk alongside Symona and in-turn feel seen, heard and understood. 

SK: In London, dating can be exciting but also overwhelming. How did the city influence the way you wrote Symona’s love life?

LB: I am a Londoner, and for my first book I wanted to pull from my experiences and observations to bring it to life in a richer way that resonates with fellow Londoners.

SK: The men Symona dates each represent different challenges and relationship dynamics. Did you want readers to recognize these types of men from their own experiences?

LB: I wanted to show that while it may be easy to generalise, no man is the same and therefore no relationship is the same. The signs may be different too, but there are signs, red and green flags and it’s really important to pay attention. The book is designed to speak to as many people as possible in the hope that something resonates. 

SK: What are some of the biggest misconceptions people have about dating as a Black British woman, and did you aim to address those in the book?

LB: A single Black woman in her late thirties to early / mid-forties is loaded with accusations that she must be difficult, too picky or career driven. If you are also childless those labels also apply, though more focus given to career drive.

I also wanted to address that a woman shooting her shot doesn’t make her desperate. 

SK: As a British-Jamaican woman, how did your heritage influence the way you wrote Symona’s character and her experiences?

LB: Symona is a Black Woman because I am. It is laced with cultural flair as a result. The spiritual touch through her Grandma I would say is the clearest influence.

SK: There’s a growing demand for more authentic Black British love stories in mainstream fiction. How do you feel about the current state of representation in publishing?

LB: Due to Jacaranda’s groundbreaking competition and the death of George Floyd the literary landscape has a wealth of brilliant Black British authors which is growing. This is not only necessary but refreshing, especially as when I was growing up I had never read a romance novel by a Black British author.

SK: Did you feel any pressure to write a certain type of story to fit industry expectations, or did you stay true to your vision from the start?

My intention was not to create a Black Bridget Jones. I stayed true to my vision from the start with full support from my publisher Valerie Brandes. 

SK: You speak on topics like mental health, self-acceptance, and "showing up as your whole self." How do these themes connect to Symona’s journey?

LB: Without giving too much away, these are themes that people navigate in the journey of life. One in four people are likely to have a mental health issue in any given year, I believe it’s higher than that. I show you Symona’s journey in the hope readers will audit where they are at. 

SK: Many women struggle with self-worth when it comes to relationships. What advice would you give to those trying to find confidence in their singlehood?

LB: Being single is the perfect time to reflect, heal and bloom. To love the parts that need attention, to understand who you are, what makes you tick and to build confidence and self-worth.

Two halves make a whole, but there is so much more power and beauty in understanding you are already whole, you don’t need to seek “a better half.” 

Romance your life. Find your joy. Enjoy exploring yourself and working out what sparks you up. Take the solo trip. Get comfortable with being in your own space, alone. Enjoy the time that doesn’t require negotiating.

The work done in the single space is the grounding and foundation of who you are and what you will or won’t tolerate. Self-love is first love. You set the bar. 

SK: Symona’s Still Single is your debut novel. Do you have plans to write another book, perhaps a sequel?

LB: Bombshell is my second romance novel co-written with Alison Hammond, released November 2024.

The sequel has been cooking and taking longer than expected. Who told me to leave the book in a funny place? Lol. I mean, I could leave it there, but I think you are all intrigued to see how it all ends. 

SK: What’s next for you as an author and speaker? Are there any exciting projects in the works?

LB: This year I hope to be more visible and vocal. I am a panel guest at The Alternative Book Fair on 5th March. It’s a Jacaranda takeover at Islington Library and I will be joined by fellow romance writers Sareeta Domingo and Rasheda Ashanti Malcolm. It’s a free event, so come through and say hello.

SK: If you could tell your younger self one thing about writing and publishing, what would it be?

LB: Your story, style and voice are important. Just give yourself permission to write, and write. There is a publisher who will just get it. 

About the Interviewer 
Saskia Kabongo is a journalism student at the University of Leicester with a passion for storytelling. She is inspired by authors and their writing, always eager to learn more about their creative process. Through her interviews, she aims to share meaningful conversations that highlight the people behind the stories. 

Review by Lee Wright of "The Viaduct" by David Wheldon

The Viaduct, David Wheldon’s first novel, published in 1983, was well received at the time. Following his death in 2022, it was rereleased by Valancourt Books. The story begins with Alexander – more commonly referred to as A., since Wheldon wanted to save time during the writing process (he had originally planned to add the full name later, but A. carried thematic weight in what became a Kafkaesque story). The protagonist being reduced to a mere letter also reflects his loss of personal identity after being released from prison where he served time for writing a seditious book that purported to expose the secrets of the city’s governmental workings. 

Soon, however, he is confronted with new, unspecified charges and escapes his pursuers by fleeing down a stretch of abandoned railway tracks – taken over by nature – built on a viaduct that dominates the city. The viaduct, now blending seamlessly with the landscape, appears as though it were not crafted by human hands, but instead formed by a bizarre upheaval of the earth itself. 

A. is dressed for travel – heavy boots, sturdy canvas trousers, and a pack on his back, which he later exchanges for a worn suit, confusing those he encounters and causing them to believe he is a lawyer. What A. is journeying toward remains unclear; there is no hint of a paradise at the end of the tracks, only more towns and villages. When asked, “Where are you going?” He simply replies, “I’m going on.” 

His journey starts at the terminus, hoping to catch a train, only to find that the railway had been shut down a decade earlier. At the beginning of the novel, beneath the viaduct, several church bells toll, like the sound of a race starting gun. We learn that A.’s cell window overlooked the viaduct, and he would often gaze up at it. Such repeated, obsessive focus on something distant and unreachable might suggest themes of escapism or wistful dreaming.

There is a sense that the narrative may not just be a straightforward recounting of events, but rather a reflection of the character’s inner world – much like Bobby Western in Cormac McCarthy’s The Passenger, which also gives off a dreamlike atmosphere. We know nothing of those who pursue him. They are blunt-featured men of practised patience, like Stasi agents. Some of them pursue him on horseback; the most deadly possess a fixed stare that can make a man faint. A. gets beyond the “boundary,” and the city disappears as swiftly as it was created. 

This is where the novel loses its early tension and switches from a slow-burning thriller to a book about everything and nothing. A. meets fellow travellers and villagers who have established small communities, where one man can serve as pastor, mayor, and magistrate. A. and his companions are regarded as directionless and superstitious. The novel portrays life as a constant search for comfort or stability, but this desire for security is ultimately unattainable, illusory. Someone remarks about A. “You were a dissatisfied young man.” This kind of dissatisfaction could lead to a man’s downfall. The story is surreal, and the characters feel more like mere vessels for the author’s voice than fully developed individuals. However, The Viaduct would fit perfectly on the shelf next to works by McCarthy, DeLillo, or Kafka.

About the reviewer
Lee Wright has an MA in Creative Writing and is currently working towards a PhD researching memoir and film. His fiction and poetry have been published with Fairlight Books, époque press and Burning House Press.

Interview with Rasheda Ashanti Malcolm

  

Rasheda Ashanti Malcolm is a dynamic Author, Journalist, Writing Coach, and Festival Director, dedicated to amplifying diverse voices in literature. Her debut novel, Swimming With Fishes (2017), gained international recognition when its audio rights were acquired by Danish powerhouse Saga Egmont. Her second novel, Love Again (2020), was a standout in the prestigious Jacaranda #Twentyin2020 initiative and was shortlisted for the Romantic Novelist Association Award 2021 (Inclusion Category). Passionate about empowering writers, Rasheda is the Founder and Director of the WILDE Hammersmith & Fulham Writers’ Festival, a premier platform celebrating female and indie authors. The festival, known for its inspiring short story and poetry competitions, fosters emerging talent and champions creative excellence. With a keen eye for storytelling and a commitment to literary innovation, Rasheda continues to shape the literary landscape, mentoring aspiring authors and advocating for inclusive narratives worldwide. Her website is here. IG: @ashantirasheda 

  

Interviewed by Saskia Kabongo

SK: Love Again beautifully explores love and second chances later in life. What inspired you to write this story? 

RAM: Life and love. Also the beauty of human connection. Love’s complexities, passion, heartbreak, and hope, these offer endless storytelling possibilities. Also the desire to explore deep emotions which often fuel the creation of heartfelt romantic narratives. 

SK: Honey’s journey feels so real and relatable. Is she based on anyone you know, or did she come entirely from your imagination? 

RAM: Honey's situation was inspired by the culture of arranged marriage, but in a Caribbean home. 

SK: The novel touches on deep emotions like love and self-worth. Was there a particular scene that was the most challenging or emotional for you to write? 

RAM: Ashley's relationship with his mentally unstable mother, and Fatty's relationship with her addict mother. They were quite challenging, and both based on people's real-life experiences. 

SK: What message did you hope readers would take away from Honey’s story? 

RAM: This fake-turned-real romance novel teaches readers that love can grow unexpectedly, even from pretence. It highlights the power of emotional connection, authenticity, and vulnerability. It shows that true feelings often develop when least expected. 

SK: How did you approach writing about mature Black women in romance, especially in a genre that often focuses on younger characters? 

RAM: I consider people in their late 20s and 30s young, which the leading protagonists were. I strongly believe that readers are not bound by the rules and stereotypes of genres, and that as a creative, we can make our own rules.  

SK: Honey has a lot of emotional layers strong, yet vulnerable. How did you shape her character and her personal growth throughout the book?

RAM: Honey’s character was shaped through contrasts - her strength masks deep vulnerability, creating emotional depth. Throughout the book, she faces challenges that force her to confront her fears, open her heart, and embrace her true self. Her growth comes from learning that true strength lies in vulnerability and allowing herself to trust, and love fully. 

SK: Ashley is such an interesting romantic lead. What qualities did you want to highlight in him as a partner for Honey? 

RAM: Ashley seems to be the bad-boy type. He's confident, ambitious, cheeky, sensuous, yet vulnerable because of his past relationship with Bethany, who was unfaithful. This gave him the ability to be loyal to his true love. His deep strength comes from his childhood experience, protecting his mother and baby sister, Marley. He fell in love with Honey’s fiery nature, her boldness. I wanted to highlight his vulnerability and strength. I wanted to show that when he loved, he was capable of offering unwavering support and love, while challenging Honey to grow. His kindness, wit, and emotional depth make him an ideal partner, proving that love thrives in understanding and mutual respect. 

SK: If Honey and Ashley could give each other one piece of advice at the start of their journey, what do you think it would be? 

RAM: Honey would tell Ashley, "Let me in; you don’t have to do everything alone." She sees his strength but knows true love requires trust, openness, and the courage to share burdens. Ashley would tell Honey, "Don’t try to fix me—just stand by me." He fears his vulnerability but longs for genuine support.  

SK: There are so few books that center Black British women in a mature romance. Did you feel a responsibility to tell this story? 

RAM: Representation matters, and I wanted to showcase a Black British woman and man experiencing love, vulnerability, and growth in a mature, authentic way. It felt important to tell a story where my characters are fully seen—complex, deserving, and deeply loved—offering a narrative that reflects real-life experiences often overlooked in romance. 

SK: How do you think Love Again challenges traditional narratives about love, aging, and relationships? 

RAM: Love Again challenges traditional narratives by showing that love isn’t limited by age, (although I don't consider late 20s or mid 30s to be old) or past heartbreak. It redefines romance as a journey of self-discovery, healing, and second chances. The story proves that mature love can be just as passionate and transformative, celebrating vulnerability and deep emotional connection at any stage in life. That's why I see my genre as "Love Story" as opposed to "Romance," which seems to limit narratives and what you can do with it. 

SK: You also teach Creative Writing. How does your own writing process influence the way you guide your students? 

RAM: My writing process is deeply rooted in exploration and patience, which I encourage my students to embrace. I emphasise the importance of vulnerability, experimenting with voice, and allowing stories to evolve naturally. I guide them to trust their instincts, take risks, and understand that writing is as much about discovery as it is about craft. I encourage them to get the story out. Vomit it onto the page, then go through your vomit and arrange it 

SK: Do you see yourself revisiting Honey’s story in the future perhaps in a sequel? 

RAM: Revisiting Honey’s story is definitely something I’d consider. The feedback from readers has been incredible, especially their curiosity about Fatty and Zhara's journey. There’s so much potential for exploring their growth and relationships further, and I’d love to dive back into that world if the time feels right! 

SK: Are you working on any new books, and if so, can you share a little about what’s next for you? 

RAM: Yes, Home for Christmas will be my next romance novel, filled with holiday warmth, love, and second chances. Alongside that, I’m working on Life Happens, a Women's Fiction exploring the unexpected twists of life, friendship, and personal growth. Both stories aim to highlight women's resilience and the beauty in life's imperfections. 

SK: What other stories or themes would you love to explore in your future writing? 

RAM: I’m excited to explore themes of self-expression, healing, and personal growth in future stories. Writing to Exhale, my upcoming non-fiction book, (out in 2026) will offer guidance and inspiration for emerging writers, helping them find their voice and embrace the therapeutic power of storytelling. It’s a project close to my heart. 

About the Interviewer 
Saskia Kabongo is a journalism student at the University of Leicester with a passion for storytelling. She is inspired by authors and their writing, always eager to learn more about their creative process. Through her interviews, she aims to share meaningful conversations that highlight the people behind the stories.