Announcing the new Pardalote Press production!

I’m absolutely delighted to announce the forthcoming arrival of the new Pardalote Press production, my latest collaboration with the wonderful Lorena Carrington!

It’s a beautiful little book titled Secrets of the Good Fairy House, which will be out at the beginning of June and distributed nationally through our distributor Peribo. Below you can see the book’s gorgeous front and back covers which Lorena created, as well as the lovely page Peribo have for the book in their June catalogue.

Secrets of the Good Fairy House is a unique exploration in words and images of the magic a beloved childhood home can confer on people, through its sheer atmosphere and the objects in it too. Both in words and images, it’s a mix of memoir–about my childhood home in rural France and Lorena’s in regional Victoria–and fiction, to create what we hope will be an enticing, imaginative blend. Each page features a space or an object or an aspect of the good fairy house, and, as well,  there are interactive elements at the end: an encouragement to create memory maps(with ours as samples), ideas on how to use the ideas and concepts in the book to create your own exploration of your own ‘good fairy house’, and a maze game, for a bit of fun 🙂 We absolutely loved creating this unique little book, and we hope many readers will take it to their hearts too. It’s for a general audience, for adults as well as younger readers, and makes a great gift too.

Secrets of the Good Fairy House is a beautiful small square book of 48 pages, in full colour, retailing at $25.  The ISBN is 9780645563429. It will be available in all good bookshops across Australia, and can also be pre-ordered, via your local bookshop, or directly via our website.

Story for the season: Christmas in the Kennels

Introduction: It’s a bit of a tradition for me to publish a Christmas story in this festive time of the year, and this year’s no exception. I first wrote this story quite a few years ago, but it’s never been published anywhere, not in print or online. To tell you the truth, I’d forgotten about it in fact until I came across it again in my files just a couple of weeks ago, and thought it still worked pretty well. It’s a story for a general audience, for both kids and adults.

It’s a seasonal story with a difference, told from the point of view of dogs in boarding kennels and was inspired by the fact that when our kids were growing up, we had a lovely dog called Tess, a Border Collie cross(see pic just below) and when we occasionally went down to Sydney for Christmas, she had to go into boarding kennels nearby, as we couldn’t take her with us. The kennels were run by some very nice people who were always kind to the dogs, but Tess was not very keen on being there, she just loved being with us, of course. There were always lots of dogs there, of all sorts, and one day, as we were picking Tess up, the idea for this story jumped into my mind. (Tess by the way also features in my picture book with illustrator Katrina Fisher, A House of Mud , published by Little Pink Dog Books, 2020).

So now, without further ado, here’s the story: Christmas in the Kennels. Hope you enjoy!

CHRISTMAS IN THE KENNELS

by Sophie Masson.

Look, Tess, this is a nice place, lots of space, and those trees, aren’t they beautiful and shady!

You’ll be happy here. There’s lots of other dogs.

See?

Mum, Dad, do you think she understands we’re coming back? She looks sad…

Of course she does. Come on, children. We’re late. Bye-bye, sweet Tess. We’ll be back soon, we promise.

That would have to do, Tess supposed. It didn’t make it much easier, being left behind, but holding on to the promise would have to do. She had little choice anyway. What dog did?

That’s right, my dear, look on the bright side, said a gruff voice from the next cage, where a St Bernard sat with his chin on his paws, looking at her. Tess started, for she had not been aware she’d spoken out loud.

They look like good people, the St Bernard went on, kindly. They’ll be back.

Hmmm, sniffed an elegant black poodle on his other side, if they were so good, they wouldn’t leave you here, would  they, while they went off to their Christmas!

Please, Miss ffrench-French, said the St Bernard gravely, you must be patient and bear our lot with fortitude and show the world the true honour of a dog.

The poodle snorted loudly and was about to reply, when a mournful-looking Labrador broke in. It’s fine to think so, Professor, he said, turning to the St Bernard, but still, you must admit that it is strange. All year, they pet us and love us, but then disappear to this Christmas, and never take us. And I never stop wondering why. What is this place that wants no dogs near it?

I don’t know what it is, said Tess, perplexedly. This is the first time my people have left me here. I think they must only just have found how to get to Christmas.

It’s a place they go to every year, my people, said a Scottish terrier excitedly, they are bidden there by a fat man in a red suit, who you must never, never bark at.

Perhaps it’s a kind of kennel, suggested a timid-looking young spaniel, waving her plume-like tail.

Don’t be foolish, Carla, snapped the poodle. People don’t go to kennels. Only we do.

Christmas is a place wherever people are, said the Professor firmly. It is a place they carry with them, because even the kennel-people talk of it, and they do not move from their house.

Only people? said the spaniel. Not dogs?

Of course not, said the poodle. Whoever heard of dogs going to Christmas? No, it’s a place for people, and people only, whether they stay, or go away.

There was silence for a moment while they all thought about this, then the spaniel said anxiously, But even if people go away, they always come back, don’t they?

You are only ten moons old, Carla, said the poodle, contemptuously, what would you know? They don’t always come back.

Hush, hush, Miss ffrench-French , said the Professor, quickly, but too late.

All at once, a terrible sound tore into the air, a sound such as Tess had never heard before, not a yelp, not a bark, not even a howl, but a shriek, a scream, a veritable ululation of madness and grief.

And Tess saw that what she had taken to be an bundle of dark rags left in the empty cage opposite, was in fact a dog. A pitiful, shaking beagle, with a dull coat and thin legs and haunted eyes.

Tess was shaking too. She stared at the beagle, the dull coat, the haunted eyes. The terrible shriek rent the air again, and the same pain was on everyone’s faces, the pain of a big dark empty world, an endless space of lonely abandonment.

We can’t do anything, whispered the Professor sadly, nothing at all. You see…

But a woman was coming towards the dogs, rattling keys, tutting, and so he fell silent.

Now then, Bess, said the woman, opening the beagle’s door so that Tess saw the other dog was not even locked in; now then, Bess, what’s upset you this time, sweetie? And she got down on her knees, and gently patted the beagle’s shuddering head, and made her lie down on the little blue rug in the cage, and then she left. Once again, the beagle lay limp and listless, just like old clothes on the floor of her cage. Tess could not take her eyes off the pitiful sight.

 Her people left her here two moons ago, hissed Miss french­ French’s haughty voice. They left her here, and they didn’t come back.

Weren’t they good people? breathed Carla.

They seemed like good people, said the Professor heavily. I was there when they brought her. They  fussed  over her, petted her, said goodbye with many promises. But they didn’t come back . And they still haven’t come back.

Silence, while they all digested the awful fact, then Tess whispered, But why, why hasn’t someone else come to take her? Why is she still here?

They’re kind-hearted people, in the kennels, said the Professor gently . They tried to find her a home–they even tried to adopt her themselves. But she won’t leave her cage: you can see she’s not locked in. She won’t leave the rug her people left for her. she thinks that if she stays here, in the same spot, with that same rug, that they ‘ll be back one day. She can’t bear to go anywhere else, not even out in the yard, in case they do.

But, said the Labrador with a sob in his throat, they won’t be back , will they…

No, said the Professor sadly, I’m afraid they won’t. They can’t. He whispered something to Tess , then to the poodle , then down the line , and as he spoke, the same look flashed on all their faces , even the poodle’s. They were nearly all quiet, though; all but the spaniel, who lifted up her muzzle to howl in fear and pity, for she was too young to keep silent before the mention of death. But everyone gave her such a glare that she subsided, twitching.

It was not a pleasant night, that night, for Tess; and the next day was grey and damp and gloomy. But the kennel-people seemed cheerful enough, they hummed under their breath as they hosed out the cages and let the dogs out to run in the yard. Tess ran a few paces, more from habit than conviction; the other dogs did the same, all but Bess, who sat in her cage crouched over her blue rug.

Well, my friends, said the kennel -lady, when she’d herded them all back in, we’ll give you an extra big feed today, because I’ll have no time tonight. She seemed excited, and hummed whilst filling the dishes, and in her hurry to get back to the house, forgot to lock the shed where she kept the dog food.

The rain came in the afternoon, drizzling at first, then thick grey ropes of it. The dogs were all in their cages, chins on paws, looking out at the rain, talking softly of this and that and watching the glow of the kennel-people’s house, lit up already for the dark afternoon. Their keen eyes could see busy shadows passing across the lit windows and their sharp ears could hear cheerful noises, and somehow, it made them all feel strange, jumpy, even a little excited. Only Bess did not move, hunched in her corner.

The rain eased towards night, then stopped altogether as the big white moon began to rise in the clear sky over the trees. The dogs ‘ chatter eased with the rain and stopped in joyful wonder at the sight of the moon, and peace descended on the kennels, a strange deep hush that was made up of  tiny sounds, like the noisy silence of the sea.

All at once, ears pricked, heads turned, hackles rose. There was another sound, not made of moonlit night, but of something different. Tess sat bolt upright. A whisper.

Human. Rough, young. Normally, she would have barked, loudly, but tonight, she did no such thing, just rose stiffly to her feet and peered in silence at the people out there. A girl, a boy, stumbling a little; the girl round­ bellied, with a lovely face the colour of honey and long dark hair, the boy thin, pale, pinched face, sad blue eyes.

This is the place, Sal. I worked here once. The dogs were cool. There was a shed…it was dry, warm.

Oh, Tone, why don’t we just ask at the house? They’ll help us…and the dogs…I’m not sure about the dogs…Oh Tone, I’m afraid. I wish we could…

Tess could see the girl’s frightened brown eyes flashing over the kennels, the dogs silent and tense in their cages, listening but not barking at the intruders, not yet.

You know they’d call the cops, if we went to the house. And dogs are cool, repeated the boy. They’re kind. Not like people. Come on, Sal. You’ll be safe there, I promise. There’s hot water there, I remember. And spare blankets… I’ll help you. I won’t leave you.

There was a strangeness to his voice, thought Tess. A roughness that might turn fierce, that might be frightening, but with a timid tenderness in it , something not quite sure of itself, and deep underneath , a fear, a fear that all living creatures know well, the aching fear of loss. Held by the strange silver night, and the things she heard in the voices, Tess stayed quiet and, like the others, watched as the boy and girl made their way to the shed and disappeared into its darkness. Now the dogs stirred. We should bark and alert the kennel-people , whispered Miss ffrench-French. They should not be here, those people. They are intruders.

No, they’re just poor strays, said the Labrador, quietly.

Strays should go to the pound, Gelert, snapped the poodle.

Miss ffrench-French, said the Professor, that is not a fate to wish on one’s worst enemy. And that girl is carrying a pup in her belly, if I’m not mistaken.

All the same, sniffed the poodle, they should not be here. But despite her stern words, she did not bark, or yelp, or draw any attention from the brightly-lit house to the dark shed. Like the others, she waited, uneasily still in the moonlit night.

No-one took any notice of Bess, sitting huddled in her corner, almost as still as before, but with her ears twitching, feebly, once or twice.

Do you hear that, whispered the spaniel, presently, her body trembling all over. That noise, oh , what is it?

It’s the pup, said the Labrador, with his eyes huge in the moonlight. It’s the pup, coming. I remember when…

Spare us your stories, snapped the poodle. Oh, it really is too bad. We should bark. Someone should come, to help that girl.

We could help, said the Scottie excitedly, jumping up and down on the spot. We could do something …something, er…something really useful.

Oh, and what do you propose, my dear Jock? said the poodle with heavy sarcasm, silencing the Scottie.

The spaniel turned towards the Professor. Oh sir, what do you think?  What can we do?

Don’t call me sir, said the St Bernard, rather glumly. Professor is my title. Er…my dear , I think Miss ffrench­ French is right. We should bark, and alert the people in the house. I think it is the only thing to…

But all at once, a new voice interrupted him. An odd voice that sounded cracked or rusty, as if it had been left out too long in the rain.

My rug, said this voice. It’s a baby’s rug.

The dogs all turned in amazement. Bess was standing at the wire door of her cage, and she had a limp blue thing in her mouth. The rug.

After a while, the Professor said, gently, That’s a lovely thought, Bess, but a rug won’t do anything…

Then from the dark shed came muffled screams, and then a tiny, thin cry. That little cry was like the opposite of Bess’ shriek, before. Tiny as it was, it seemed to fill the whole world. It resounded in the dogs’ ears like fear, and like joy. Tess felt the mystery of it tingling in all of her being, so that she wanted to lift her muzzle to the sky and cry her heart to the moon. And she saw that the others did too.

No, said the cracked voice of the beagle, don’t do that, my friends. Tess looked at the beagle and saw that her haunted eyes were filled with the mystery too, and that the mystery, somehow, had reached her sooner than the others, and caused her to stagger up onto her feet at last. You’ll frighten the baby, and the mother too, if you howl, went on the beagle. My people always said I must be quiet, near the baby. They all stiffened at those words, but the beagle’s eyes were not mad with sorrow now but calm and determined.

But Bess, said the Professor, humbly, at last, you know we only wanted to mark the birth of the child.

I know that, said Bess, but they don’t. And they’ll be frightened. And you’ll alert everyone in the house.

That would be for the best, then, grumbled the poodle, and almost jumped back in astonishment when Bess replied, quietly, Why, so it would be, Miss ffrench-French. But later. Later. For now…

And she pushed at the wire door of her cage. It opened, and she stepped out. She picked up the blue rug and trotted off towards the shed. They all watched her go, in an aching silence. Only the poodle spoke.

Well, really, the ungrateful chit, after all we’ve done, you’d think she’d think of us…

Hush, Miss ffrench-French, said the spaniel, not timidly at all. And so determined was her voice that the poodle subsided without another word.

Tess stood behind the wire of her cage in the moonlight and watched the dark space at the mouth of the shed. She was thinking of the human pup in there, of its parents, and of her own people. Her people had little ones too, though they were not so small as that unknown one in there, and she had never seen them very small. But once, she’d had a pup herself; a little black one, with white-pointed ears. He had tumbled over her, and she had let him bite her ears, and her tail, and put up with his frantic barking, and his foolish tricks, for he was her pup. In time he had grown up, and gone away, and for a while she had missed him, and howled.

But after a time, she’d grown used to his being gone. Now, she remembered him again, his bright mischievous eyes, and the white points on his busybody ears. Somewhere in the world, he was, and perhaps had fathered pups of his own. The thought made her tail twitch, and her ears prick, and her body fill again with the tingling sensation that was like fear, and like joy.

Look, said the Professor, look, my friends…

And there was Bess, and the boy beside her. He staggered a little, his pale face was no longer pinched, but somehow puffy, his blue eyes shone with the bright strangeness of tears, and his voice trembled with a tenderness that was no longer timid, and no at all rough.

Oh dogs, dear dogs, he whispered, she’s so lovely, so lovely, like you wouldn’t believe!  So lovely, like her mum. So lovely, our little daughter. He paused for a while, then went on, An’ dogs, I think I’d better…I think we’d better go down to the house . She…they need proper care. They’ll call the cops, maybe, and then, well…His shoulders sagged. But otherwise it’s not fair to my love. Not fair to our little one.  No more runnin ‘, see? No more. No matter what.

The moon shone on his face, and there was a smile on it, growing and spreading. And it was as if the moonlight itself was in that smile, as if it grew from it, and filled the whole of that place. He reached  down to Bess, and stroked her ears, and he said, almost as though he was speaking to himself, Christmas…it’s Christmas. Never meant much to me, before. But I’ll never forget this one. Never.

The dogs watched him go, running towards the house, with Bess at his heels. Their sharp ears heard his knock, the surprised voices at the door, their keen eyes caught the succession of wary, then astonished, then urgent expressions on the faces of the kennel-people, caught in the yellow flood of light at the door. They saw how the people came hurrying across the lawn and into the shed to fill it with soft exclamations, and warm cries of delight and concern, with Bess making soft sounds, her nose pushed into the boy’s hand, and he was stroking her, his face filled with light.

The dogs stood there at their wire doors and watched the girl and her baby being helped gently, oh so gently, towards the welcoming house. They watched not in silence, this time, but with a chorus of joyful barks and shouts and yelps and howls that filled the moonlit night and made the people shrug a little, and smile, but not tell them to hush. And just as the people disappeared into the full yellow light of the house, the spaniel said, thoughtfully, Did you hear what he said, before? He said it was Christmas.

All eyes turned to the poodle, sitting silent on her haunches, staring up at the moon. Tess saw that Miss ffrench-French’s elegant nose twitched slightly, and her groomed black sides moved in and out rapidly, as if she’d been running. But when she spoke, the poodle’s voice was very quiet, and soft.

Yes, Carla, she said. That is quite right. It is Christmas, right here amongst us, in the kennels.

Text and photo copyright ©Sophie Masson.

Republishing in print of three of my fantasy novels

I’m very pleased to announce that Cold Iron, The Green Prince and The Firebird, my three YA fantasy novels that were originally selected for the fabulous Untapped project and republished as ebooks available to buy and borrow, will now also be republished in print, by Brio Books/Booktopia. The books were originally published in the late 90’s and early 2000’s, and were popular with readers, so it’s wonderful to see them acquire a new lease of life in both print and e-editions. And just look at their striking new print covers, below! (You can also see a link to the page for each book, under its cover.) The novels are being published over July, August and September this year within the Untapped series, which includes lots of other wonderful, previously out of print books by a large range of fantastic Australian authors, both for adults and young adults. You can check out the whole series here. All books are available to be pre-ordered now.

Out July 26th. Originally published 1998. Also published in the US as Malkin. Short blurb and more details here.
Out August 30. First published in 2000, shortlisted for the Aurealis Awards. Adapted into a stage play in 2001 (script for play available for purchase at Australian Plays Transform) Short blurb and more details on the book here.
Out September 27. Originally published in 2001. Shortlisted for the Aurealis Awards. Short blurb and more details here.

The Buyers: a short story to enjoy

Well, here we are now in the festive season: Christmas, Hanukkah, Yule, New Year, all the lovely celebrations that happen at this time of the year. It’s not been the easiest of years for anyone, that’s for sure, but still we reach towards hope and joy as we approach the end of 2021. It’s a time when people like to relax and read, watch and listen to light, happy, warm stories full of love and magic and the unexpected. And it’s also a giving time. So I’d like to combine those things today and offer all my readers a short story I’ve written recently. It’s called The Buyers, it’s for adults, it’s set not long before Christmas, and I hope it will bring a smile to your face. You can download it from the link below.

(Do feel free to link to the story from this post but please note it is fully copyright-protected and cannot be used commercially. My authorship should also be acknowledged, if you share the story).

May you all have a peaceful and happy festive season, whatever you celebrate, and a relaxing and fun holiday break. And see you next year!

Interview with designer Bettina Kaiser

Artist and designer Bettina Kaiser created the beautiful cover for A Hundred Words for Butterfly. Today I’m delighted to welcome her to my blog for a behind-the-scenes interview.

Bettina, tell us about your process in creating the cover for A Hundred Words for Butterfly. What preparations did you have to make? What stages did the work go through? What inspired you? And what materials/media did you use?

I really enjoyed reading your book. Currently we are in COVID lockdown, and so the timing was perfect to let myself be transported to Basque country through the story. As I was reading it, I was also researching the places online: Saint-Jean-Pied-de-Port, a beautiful little town and the place where most of the story takes place. The Camino de Santiago and the rolling hills and picturesque Basque countryside it covers. I then allowed myself to get lost a little in Basque traditions. The colours of the houses and window frames, the tricoloured flag, the beret, incredibly delicious looking food.

I empathised with all three characters in the story as well: Alex walking the trail (I love walking), Helen being the illustrator and loving to draw (a fellow artist), and Tony researching his family (an interest I share).

From there I had a few creative ideas of what the cover could look like. Conceptually, they were based on elements in the story that I found significant: the cobblestone streets, the wayfinding symbols of the Camino, Basque colours and symbols, but also the family photos that you sent me and the more recent photos from your visit there.

The art materials I used were just what I had on hand in the studio: acrylic paint, ink, gouache, paper scraps. From there I put together a few layouts to explore three main concepts: picking up the title, the butterflies, and doing a flat lay with other aspects of the interwoven stories, the cobblestones causing Helen’s fall but also representing the path, the Camino, and the twin sisters, one staying inside watching through the window, the other walking on a path.

What were the challenges? And the pleasures?

As with any book cover, my aim is to capture the essence of the book. I always also need to know that you, the author, are 100% behind it. At the end of the day, it is their book, your book, and I would not want to force the cover design “onto” it or indulge in some design folly that is just exciting for me as an artwork on its own. It needs to fit. But it took me a while to find what the essence is for me in your story.

What has now become the cover was pretty early on my favourite, and the more I tried to work on alternative ideas, the more I was drawn back to the actual artwork that we chose. I re-read passages of the book and realised how the stories of the three characters are so intertwined, and also link each character’s past, present and future. The other (unfinished) artwork concepts simply felt too one-dimensional. In my head I even likened this to one of those pinboards in a murder investigation with all the suspects, witnesses, and places, and the threads joining them. That was what I wanted to have the artwork reflect: old and new stories spanning continents. Stories that touched, overlapped, merged.

Then came a tricky point in the process where I was really loving that idea and artwork (which is almost exactly what we have now), but I laboured over other concepts, as I did not want to present you with just one option in a kind of take it or leave it way. But I really felt strongly about the concept and liked it visually too. So, after a few days of mulling it over, I decided that I will show you this artwork and explain with some images and words the ideas/concepts for alternative covers to see what you think. Well, it sure was nice when you concurred, and only a few hours later your very enthusiastic “YES! This is it!” came back.

Your novella was perfect for my lockdown escapism. I really enjoyed allowing myself to mentally wander into the ancient streets of Saint-Jean-Pied-de-Port, to dream of faraway places, and to find out more about the Camino and Basque culture. It lifted me up and touched so many interests of mine though the different characters. I really very much enjoyed the video chat we had initially, and you telling me about your Basque family connections and getting to know you.

What do you, as both a designer and a reader, see as the most important things for authors and publishers to consider, when it comes to commissioning book covers?

I think authors in particular need to have a lot of trust to put their work, which they have laboured over for so long, and that often is so personal, into an artist’s hand to create the cover. I encourage authors and publishers to look at previous artwork that a prospective book cover designer has created (a good start is our industry organisation Australian Book Designer Association’s directory) and see if they like the general style and design approach.

While the publisher needs to keep their eye on a certain overarching style and standard for their publications, I personally do love that I can more often than not work directly with “my authors”, get to know them and get them to tell me what their work is about, what matters and where their focus is.

As in many things in life, trust and mutual appreciation is key. Many publishers work with a regular stable of illustrators and designers whom they entrust their publications to. I have been lucky to have worked with Bronwyn Mehan and Spineless Wonders on so many projects over the past decade and to have been given a lot of creative freedom. Plus, I am very happy to have often worked directly with the authors.

My pet hates are design for design’s sake (the self-indulgent kind), style trends in book covers. So, dear publishers and authors, I’d say watch out for that!

Does creating a cover for an audio book differ from that for a print or ebook? If so, in what way?

The short answer is no. It is just a different shape, and many projects that I work on need the artwork to be converted into all kinds of formats, ranging from eBook covers to website banners and more. So it is a style, a materiality and elements that you design, and then it is rolled out to different media. In fact, your story, whilst first published as an audio book (I love that format by the way), will also be available now as an eBook by Spineless Wonders.

You work in a number of art and design fields aside from books. Tell us about some of the other things you do.

I consider myself a “Jill of many trades”.

I like the explorative, conceptual aspects of design, but I do have a lot of bread-and-butter jobs that are layouts, websites, logo designs and the like. But I am also an artist and have a separate practice in my small studio – no screens allowed there – just for my art projects. I recently had an exhibition that featured prints, mixed media works, and installations around the current climate crisis and us humans in the environment.

(Book) cover design is where I work across both disciplines. I love it. I love working with authors, I love books and stories, and I love that each one needs their unique artwork. Often I experiment with materials and collages and photos in my studio, and I sometimes do hand lettering, as I did for A Hundred Words for Butterfly. I then photograph or scan it, bring it together on screen, manipulate it if needed, mix, cut, paste, experiment, tinker with typography. It brings it all together and as I mentioned earlier, I am so grateful to be given a lot of trust and creative freedom.

Websites:

design = www.bkad.com.au
art = www.bettinakaiser.com

The Ghost Ship: a special offcut from The Ghost Squad

When I originally wrote The Ghost Squad, as part of my creative practice PhD, I also wrote a very short story called ‘The Ghost Ship’, which is mentioned in the novel as having been written in pre-Pulse days by Link, one of the devoted followers of ‘Hermes’, whose unpublished manuscript about the Hermes group appears as extracts throughout the book. Though it wasn’t included in the published novel (unlike in the PhD, where it appears as an appendix only) I thought readers might be interested to see it here. ‘The Ghost Ship’ is a story nested within a story nested within another story: because not only is it purportedly written by a fictional character in my novel, but also it is about another fictional writer creating a story while on an overnight stay in what may be a haunted house, the manor house of Fitton Howe.

You may also be interested to know that the ‘Fitton Howe’ of the short story is inspired by the famous, evocative archaeological site of Sutton Hoo, in Suffolk in the UK, which I visited back in 2017 when I was in Cambridge on a month-long stay as a visiting scholar, during my PhD. (The site has recently also been the setting for a recent film called The Dig, which appeared on Netflix, but which does not mention the story of the spooky aspect of the extraordinary discovery of the buried ship, which you can read about here.)

Photo by Sophie Masson of replica of Sutton Hoo helmet at Sutton Hoo museum, 2017(original helmet held in British Museum)

The Ghost Ship

By ‘Link’

She’d often sat at that window, looking out at the ancient burial mounds, twenty of them or more, some mere shrugs of the ground, others like humped backs, that dotted the green fields in front of Fitton Howe Hall. She was missing her husband, dead these several years, his body not placed in a mound like his distant ancestors might have been, with all their worldly goods beside them, ready for their journey into the afterlife, but instead resting in a quiet churchyard. His spirit however was still here; and she spoke to it, frequently, alone or in the company of the medium who had become her closest friend. She had never seen his shade, though she longed to; but if ever he came back to her, it would be here, in this place he’d loved so much…

She stiffened. Someone was walking around the mounds. Yet her view of the fields commanded entry and exit and she had seen no-one coming. She couldn’t make out the figure well, only that it was a man, tall, with longer hair than was surely normal, dressed in a smock or tunic and leggings. It could be a local farm labourer or a gypsy perhaps, with that hair—but then he turned and she saw a flash of gold at his throat and a glint of silver at his waist and she knew instantly that she was looking at someone else. He stood there, outlined in the sunlight, not ghostly, but somehow not quite solid either and then he looked straight at her and made a strange gesture, a gesture that afterwards she could hardly describe but which she understood to mean, Do not be afraid.

And that’s how it started. That’s how Mrs Violet Manning, bereaved widow of a dearly beloved man whose passionate nature had given her too few years of delirious happiness before his untimely death, a man she could not bring herself to acknowledge was lost to her for ever, became the chosen vessel for the return of a long-dead king, a king so wealthy and honoured he had been buried not only with all his gold and silver and precious objects, but held in the embrace of his favourite ship, a massive vessel that had been dragged from its mooring place in the tidal river to here, miles inland.

The ghost ship. That’s what the press called it, when the archaeologists uncovered it after centuries in the sandy soil. Its imprint was still there, fixed in the sand like an ancient X-ray, dotted here and there with rusted rivets, the ghostly ribs suggesting the vessel whose material substance had sailed into the afterlife with its kingly captain at the helm. The king who had vanished into the misty lands beyond death but who had left behind, as a marker, the trove of treasure and a powerful mask of gold and silver that was to become famous the world over as a mysterious image of his vanished people. His people’s vision of the afterlife was reassuringly secure. Beyond death was a calm harbour where the great burial ship, with its kingly captain steering, would have moored, to be received with honour. In that world were meadows and woods and rivers and villages and great halls, just as in this one. His departed family would have met him, his ancestors, his vanished warriors and friends. Here he would have been happy and honoured as in life but freed of life’s cares. Some say this king kept to the old faith of his ancestors; others that he had taken the faith of Christ, others that he mixed the two. Whatever the truth, he was at peace, in the world beyond, even if the living world he had left behind had forgotten him. So why had he come back? Violet always said it wasn’t in fact the king who had stood on the mound that morning but one of his trusted warriors, sent by his lord from the afterlife with a message to a country teetering on the brink of war. Do not be afraid; wars have come and gone in this land. Be steadfast; your ancestors stand with you. Or that’s what she believed. Whatever the truth, she had certainly done what no-one else had: she had triggered a discovery so stupendous that for a few days it distracted the entire country from the sinister drums beating in the distance over the sea and getting closer, closer…As the archaeologists raced to secure the site and its treasures so it would be safe from harm, Violet watched from her seat by the window, and never had she felt her husband’s presence so close.

The countryside here is green, flat, peaceful, secretive. Though it’s known as a valley of kings, it’s not in truth a valley, though it lies by a river. It’s a place of contrasts: there are fertile crop fields and pig farms ressembling villages of free-ranging swine; there are quiet corners in little woods where you can pick up stone axeheads and shards of ancient pottery, the detritus of the Stone Age, Bronze Age, Iron Age, imperial ages, tribal kingdoms, settled societies, industrial ages—and further back, much further back, fossils from the time when humans did not rule the earth, and were not even a twinkle in God’s eye, and…

Thornley put his pen down, startled by a sudden noise. A creak, above his head. But he was alone in this house. He knew he was. He’d paid enough for the privilege. The trust which ran this place made sure of that. They might say that Mrs Violet Manning’s memory might live on in her house, even hint that it was haunted, but they made sure that writers after ambience and ghost hunters after sensation did more than pay lip service to it. Thornley had spent one night here. So far there had been nothing special to disturb his work. And today was a bright sunny day. Not a day for any self-respecting ghost, he thought, lip curling, as he gazed at the photograph of Violet Manning, over the mantelpiece, looking somewhere into the distance. Neither she nor anyone else haunted this place. Fitton Howe House was like any other old museum house where nobody lives any more. But it was his stock in trade, to build up atmosphere, tension, so that his readers would feel something was about to happen. Yes, that was it. He’d use the creak, and his own startlement, to add the right touch.

…and people who come to Fitton Howe House still report seeing things. Hearing things. The flash of a sword, in the morning mist. The muffled shouts of men, the gleam of gold, the creak of oars, as the ghost ship begins its journey to the afterlife laden with treasure. In her book Violet Manning says that….

The creak came again. A creak, followed by a squeak. Thornley half-rose from his seat, heart beating a little faster, till he realised what it must be. Mice! The trust might keep the place neat and tidy but it couldn’t shut out all life. Little, secret life, darting insects and scuttling spiders and nesting mice. How many of those so-called reports were down to the creatures who lived in the holes and nooks and crannies of the house?

This piece was due tomorrow. That’s why he’d shut himself away here. No distractions. He’d already missed one deadline. His editor would not let him miss another.

…says that the old king was full of sorrow when his favourite son died at sea and that it broke his heart so that he died and sailed off in the ghost ship to meet him. This what her medium friend had told her, claiming he’d spoken to the king’s shade. It’s a nice story, with the ring of poetry but sadly not a shred of evidence to….

 Creak. Creak. Squeak. Thump. Not mice, with that noise. Rats. Thornley had never liked rats. He got up and closed all the doors that led into the room. They couldn’t get in, then. Then he banged on the walls. Just to make sure they knew he was there. He’d been so quiet, writing, that the rodents probably thought no-one was in and they could have a party. A rat party. Imagine that! He shuddered as an image came into his mind. Rats on a sinking ship, clinging to the wreckage–or cosying up to the dead in a buried ship, coming closer and closer and closer…

Stop it, he told himself. You’ll be seeing ghosts next. Like Mrs Violet Manning. Who only saw what she wanted to see. The pictures in her mind, a product of grief and suggestion. After all, everyone knew Fitton Howe had once been a burial place, long, long ago. Finding the ghost ship—that had been a happy accident, a fluke of history.

Yes. He felt calmer. He took up the pen again.

…not a shred of evidence to prove why or how the old king died. Or even if he was the one who had been buried there, in his ship, setting sail into the afterlife sunset, crewed by a ghostly band who had been sent for him from beyond death itself.

The creaks were louder now. The thumps. The squeaks. And now voices. He couldn’t hear what they said. Or at least understand. The language they spoke, it wasn’t English. Not quite. The sound was stranger, older. There was a smell now, too. Not a rodent smell, but something made up of wood, pitch, iron. And dust. The dust of ages. Of centuries. Of millennia. It filled his nostrils. Clogged his throat. The door handles rattled. The lights went out. He could not see anything but he knew they were coming. Coming for him, in their ghost ship. His breath rattled. His chest tightened. He groped for the lifesaver on his desk. It wasn’t there. They would…

Fitton Howe, Monday

Bestselling author Thornley Gordon was found dead this morning at Fitton Howe House, where he had been working on his latest publication. It is believed he died of an acute asthma attack. Tragically, the inhaler that might have saved his life was just out of reach, having rolled under his desk. Though there is no suggestion that anyone else was in the house at the time, police are puzzled as to why Mr Gordon’s unfinished manuscript was stained with what appeared to be salt water.

Photo taken by Sophie Masson at Sutton Hoo house, 2017


Looking both ways…

Tomorrow, together with renowned artist Angus Nivison, I will be leading a workshop for Arts North West called ‘Looking Both Ways’ which will be pairing artists and writers to produce jointly-inspired works: image to text, and text to image.

It’s come out of a fabulous Arts North West project in 2019 called Art Word Place, which similarly paired artists and writers. That though was about artists creating works inspired by writers’ words: in my and Angus’ case, I wrote a poem called Sky Dramas, New England, and Angus created a painting inspired by it called But in the Dry (based on the second stanza of the poem, which was fuelled by the terrible drought we were in the midst of at the time. )

This new project however is indeed ‘looking both ways’ as writers will create writing based on artists’ work and artists will create works based on writers’ words. Aside from Angus and I, eleven professional local writers and eleven professional local artists will be taking part in it. It’s a two-part workshop, with tomorrow’s concentrating on setting everything up and beginning paired projects and a final one on April 17 where completed works will be presented to the group. It’s going to be an amazing experience!

Photos below are of me and Angus at Art Word Place; my poem from that project; and Angus’ painting inspired by it.

Delighted to be featured on Story Scoop!

Delighted to be one of the featured creators in the latest episode of Story Scoop, the fabulous joint initiative between the Children’s Book Council of Australia, NSW branch and the Society of Children’s Book Writers and Illustrators ANZ. Story Scoop episodes are in three parts, and in this one, it features author Oliver Phommavanh talking about his humorous middle-grade books in Middle Grade Magic, illustrator Serena Geddes talking about her creative process in Illustrator Corner, and myself, in Picture Book Nook, talking about the inspiration and creation of my latest, very seasonal picture book, Santagram (illustrated by Shiloh Gordon and published by Little Hare). Lots of fun to make the clip and lots of fun to be part of this project–thank you so much, CBCA NSW and SCBWI ANZ, for the opportunity.

Watch the video here:

Launching Fox and Chook Creative Activity Pack for families, schools and libraries

I’m absolutely delighted today to announce the launch of a fabulous brand-new creative activity pack for children and their families, carers, schools and libraries, which I’ve created with Kathy Creamer, a good friend of mine who’s a fantastic illustrator. It’s called the Fox and Chook Creative Activity Pack and is themed around, you guessed it, foxes and chooks (for non-Australians, that means chickens!)

This gorgeous pack, which is presented as a downloadable PDF, includes lots of fun activities: from lots of creative writing exercises to colouring-in pages; from looking at and discussing classic paintings to discovering fabulous facts about foxes and chooks; from listening online to a fun fox and chook story(one of mine) to sculpting your own fox and chook out of modelling clay, from sharing real-life stories of foxes and chooks to learning how to draw them and to make your own shadow puppets–and more!

You can access the full activity pack directly here on my blog: Fox and chook creative activity pack by Sophie Masson and Kathy Creamer full final or from the special page on Sophie Masson Presents, where you will not only find the full pack but also the colouring pages as a separate PDF to download and print out easily.

Please note that this activity pack is copyright to me and Kathy Creamer. Till September 30, it is available free for families, schools and libraries to download, use and print, but must not be extracted or reproduced without written permission and acknowledgement of authorship and cannot be sold or used commercially by any entity or individual.

Kathy and I would like to thank the fantastic New England Regional Art Museum (NERAM) in Armidale, for kindly researching paintings in their collections for the Foxes and Chooks in Art section of the pack, and for giving us permission to include images of them. We would also like to acknowledge Christmas Press and illustrator David Allan for images from Two Trickster Tales from Russia and photographer Nathan Anderson for the wonderful fox photo on title page (photo available free to download on Unsplash).

So have a look, check it all out–and hope you enjoy! And as we’d love to see your creative responses to these exercises, do tag me if you decide to put them up on social media. You can tag me on Facebook, Twitter or Instagram. And you can contact me via this blog, or via the contact form at Sophie Masson Presents. You can contact Kathy here.