‘Rhythm seems to be the first or formal relation of part to part in any whole…’ This week, Sally has been thinking about rhythms, in her life, writing, and the works of others. Listen for a meditation, via James Joyce, Jean Rhys’ Good Morning, Midnight (1939), and Sally’s work in progress, on the suturing of experience, and the spaces between moments of being. Joyce’s reflection on rhythm, among others, can be found in full here.  Sally is currently in the early stages of writing out the rhythms and images of her next book – a passage from which appears in this episode - following an unlikely set of characters, including Katherine Parnell, from the realm of fable, fairytale, folklore, and history. The guitar music accompanying Sally’s discussion of the fire is by Dylan Gwalia. The closing track is ‘Thursday’, by Paul Sebastian. This episode was edited and produced by James Bowen. Special thanks to Andrew Smith, Violet Henderson, Kris Dyer, and Maeve Magnus.

This week, Sally has been reflecting on her ‘orphan power’, a phrase once applied to her by Will Self, and her relationship with orphaned literary characters such as Jane Eyre. Listen for a meditation on isolation, belonging, and the communities that art can provide. The extracts performed here involving Jane Eyre and Miss Marple are from Sally’s first coming of age novel, Girl with Dove (William Collins, 2018). The wonderful piano music in the opening section is 'Rain', by Paul Sebastian. This episode was partially inspired by Sally being asked to speak at a symposium on ‘The Impact of Lived Experience on Care Associated Research by Care Experienced Researchers’, convened by Dr Annie Skinner, a Visiting Research Fellow at Oxford Brookes University. More information on Dr Skinner’s work can be found here. This episode was edited and produced by James Bowen. Special thanks to Andrew Smith, Violet Henderson, Kris Dyer, and Maeve Magnus.    

This week, we join Sally at home, on a sunny autumn day. Listen for a meditation on play, weather, and our relationships with everyday objects. The passage from David Copperfield can be found here. More from Sally on the kaleidoscope mentioned early in the episode can be found here. This episode was edited and produced by James Bowen. Special thanks to Andrew Smith, Violet Henderson, Kris Dyer, and Maeve Magnus.

‘Caesar, I never stood on ceremonies, / Yet now they fright me.’ This week, we join Sally in the early morning, after a Shakespearean dream. Listen for a meditation on the boundaries between sleeping and waking, dreams and reality, and confidence and hubris. Calpurnia’s full speech can be found here. The wonderful piano music in the opening section is ‘Tuesday’, by Paul Sebastian. This episode was edited and produced by James Bowen. Special thanks to Andrew Smith, Violet Henderson, Kris Dyer, and Maeve Magnus.

‘I hate walking, it seems so pointless to me…’ This week, Sally has been musing on the importance of mobility, reflecting on the increasing role of her blue scooter in her life. Listen for a meditation on the importance of transport, both physical and imaginative, via Thomas Bernhard, Agatha Christie, and Elizabeth Bishop. Miss Marple of Bourne End has previously appeared in Sally’s first novel, Girl with Dove (2018). Available from all good booksellers. The guitar music in the opening section is by Dylan Gwalia, and the piano music in the closing section is ‘Doubt’, by Paul Sebastian. This episode was edited and produced by James Bowen. Special thanks to Andrew Smith, Violet Henderson, Kris Dyer, and Maeve Magnus.

This week, Sally offers us a series of vignettes from her travels, both past and present. Follow her on a journey around Europe, through the eyes of the child, adult, and writer. The wonderful piano music in the opening section is ‘Sunday’, by Paul Sebastian. This episode was edited and produced by James Bowen. Special thanks to Andrew Smith, Violet Henderson, Kris Dyer, and Maeve Magnus. A note on the sound: This was recorded on location, while Sally taught at the Rosemary’s House writing retreat in Greece, without Sally’s usual recording equipment. As such, we regret that the audio quality is not up to its usual standard!

‘A gift, a love gift / Utterly unasked for / By a sky’ This week, Sally has been reading Sylvia Plath’s ‘Poppies in October’ (1963). Join her for this brief mediation on living generously and the restorative powers of reading poetry. The text of the poem can be found here. This episode was edited and produced by James Bowen. Special thanks to Andrew Smith, Violet Henderson, Kris Dyer, and Maeve Magnus.

‘There’s always hope where there’s poetry…’   This week, Sally is preparing for her narrowboat, Cerian, to journey upriver for maintenance. Join her in her engine room for a discussion of Somerset Maugham’s novel The Painted Veil, meditations on kindness, and reflections on how poetry helps us to create our own rhythms in a noisy world.    More information on The Painted Veil (1925) can be found here.    The poems read from in this episode are ‘Auguries of Innocence’ by William Blake, ‘“Hope” is the thing with feathers’ by Emily Dickinson, and ‘The Waste Land’ by T.S. Eliot.    The original piano music is ‘Doubt’ and ‘Sunday’ by Paul Sebastian. The original guitar music is by Dylan Gwalia.    This episode was edited and produced by Lucie Richter-Mahr.    Special thanks to Andrew Smith, Violet Henderson, Kris Dyer, and Maeve Magnus. 

‘Silence, quietness, that’s a way of living…’ This week, we join Sally in the attic room of her family home, where she has been reading Rose Tremain's first novel Sadler’s Birthday (1976). Follow her on a journey through the spaces in life where we find quietness, and the ways we make ourselves fit into them, in writing or otherwise. The piano music in the closing section is ‘Tuesday’, by Paul Sebastian. This episode was edited and produced by James Bowen. Special thanks to Andrew Smith, Violet Henderson, Kris Dyer, and Maeve Magnus.

‘But the darkness is a kind of blanket, and she comforts me…’ This week, we join Sally on a sleepless night, on a journey through Millet’s The Gleaners (1857), via her character Pond Man. Follow her through this meditation on voice, place, and the spaces in between events. More information on the painting can be found here. The wonderful piano music in the opening section is ‘Doubt’, by Paul Sebastian. The guitar piece is by Dylan Gwalia. This episode was edited and produced by James Bowen. Special thanks to Andrew Smith, Violet Henderson, Kris Dyer, and Maeve Magnus.