Imagine finding these photographs abandoned on a cafe table.
What preoccupied the individuals at the time the pictures were taken? What message might they have wanted to share? What clue could they hold to your protagonist’s past?
If you write or create something prompted by this, please send an email to judydarley(at)iCloud.com to let me know. With your permission, I’ll publish it on SkyLightRain.com.
Such Small Hands by Andés Barba is an intense, eerie little book that beautifully captures the complexities and conflicts of childhood. Told initially through Marina’s eyes, it begins with one of the most vividly painted car crashes I’ve read, drawing you into the surreal cadence of a tragedy from the point of view of a seven-year-old girl: “The car falling, and where it fell, transforming.”
Before long, Marina learns to recite the appropriate lines: “My father died instantly, my mother in the hospital.” However, it is as though the enormity of the situation has rendered it inconceivable, so that she utters the words without the level of distress the grown ups surrounding her expect.
Confounding expectations is an enduring trait for Marina, as she goes on to unsettle the girls of the orphanage that becomes her home. Her strangeness is an enigma to the other children, attracting them and repelling them in equal measure.
After her doll is stolen and dismembered, Marina invents a game that the other girls can’t resist. Each night, she chooses one of them to be ‘the doll’, ordering the others to strip the chosen one naked and reclothe her in the scratchy dress allocated to ‘the doll’.
The game is frightening, and yet overwhelmingly alluring to the children. They are repulsed and discomforted, each night both dreading and longing to be selected.
But before Marina devises the game, author Andés Barba inserts a scene that chillingly foreshadows it.
A line of caterpillars, which they’ve been warned not to touch, marches across the playground, Marina, alone as she almost always is, watches the caterpillars with obsessive scrutiny. ”It made her dizzy to think that they were dangerous, that they stung. Marina picked up a stick. She thought of a number: four. She started counting from the head of the procession. One. Two. Three. Four. And the fourth one she jabbed with the stick.”
It’s an act so methodical, and so seemingly callous, and it sends a ripple of shock through the yard. In the second when she stabs the caterpillar, all the others stop moving, a detail that fascinates Marina. “How had the news travelled from one to the next?”
In a local woodland, I happened across a flash of magenta pink. Intrigued, I reached out, turned it over and discovered a curious work of art – a figure tucked up as though in bed, inside a slipper limpet.
How could you explain this delightful oddity? Alternatively, could you focus on the theme of ‘overturned’?
Use either of these as the basis of a story.
If you write or create something prompted by this, please send an email to judydarley(at)iCloud.com to let me know. With your permission, I’ll publish it on SkyLightRain.com.
Time, in Sheenagh Pugh’s hands, has a tendency to turn gleefully slippery. In Afternoons Go Nowhere, her tenth collection, Pugh turns her poetic sorcery to humanity, history, geology, nature, and the spaces between all those magical things.
Silken strings of words offer up glorious catches: bewildered kings, harangued statues, a lord’s horse, a bored husband building cairns, and monks speculating about saints exhale alongside bus passengers “postponing goodbyes”, not to mention glacial water scooping “a hollow in limestone.” In Pugh’s eyes, it seems, each of these has equal gravitas.
Lit by Pugh’s keen gaze, every plant, stone, animal or person has the potential to grow playful or impatient, coy, attention-seeking, or ashamed. Unexpected characters emerge humming tunes that seem familiar, but which curl with their own original lilt.
Sometimes a summer storm can creep in like a wall that hangs in the sky and threatens to fall. The contrast is so vivid – a perfect metaphor for a country’s political state or a family in crisis.
What do these forbidding clouds bring to mind? How could you use them in a story?
If you write or create something prompted by this, please send an email to judydarley(at)iCloud.com to let me know. With your permission, I’ll publish it on SkyLightRain.com.