Norwich’s Writing Quarter – a day at the National Centre for Writing and other explorations

I wonder how many of you regard a day’s professional development as a self-indulgence?  I suspect it may be something unique to writers and other creatives, but I was struck by the use of the words ‘self-indulgence’ no fewer than three times in the first hour of Saturday’s event at the National Centre for Writing.  It seems that a lot of us have difficultly permitting ourselves the investment of time and money into our development as writers.

The National Centre for Writing (formerly the Writers’ Centre Norwich) is based at Dragon Hall on King Street in Norwich, and provides resources, mentoring and events for writers – both online and face to face.  Saturday’s event was entitled The Writer’s Roadmap, and took place in the great hall, upstairs at Dragon Hall.  The wonderful Florence Reynolds is the Programme Officer, and welcomed us to a superbly organised day in a unique venue.

I should warn you (if you haven’t already gathered from elsewhere in this blog) that I am something of a medieval history nerd, so spending a day in Dragon Hall was, frankly, distracting!  According to the Dragon Hall website, there has been a building on this site for more than a thousand years – Florence told me that there is evidence of a Saxon post hut beneath the undercroft.  The present building was built around 1430 by a merchant, Robert Toppes, although one of the outbuildings is believed to be a century older.  Originally a trading hall, it backed on to the River Wensum, which via the River Yare gave access to the North Sea at Great Yarmouth.  It was part of Norwich’s major role in the trading of wool and textiles, especially to and from the Low Countries, during the middle ages, on which the wealth of East Anglia was built.  Now a Grade I listed building, parts of it have at various points been houses, tenements (housing up to 150 people in the 19th century), a pub, a butchers, and the rectory for nearby St Julian’s Church (of which more later).

We were upstairs in the Great Hall, where the one remaining carved dragon (there were 14 originally) has been rescued from under a pile of rubbish in an outbuilding, restored, and put back where it belongs in the beams of the splendid roof.  Another treat was the remnants of Victorian wallpaper, which Florence pointed out.  It’s lovely that NCW are so evidently proud of the building, and great to see that it’s in daily use and living again.

The event was both enjoyable and very useful, an opportunity to meet with other writers (we tend to be a fairly solitary lot) and also to get some high-quality input from writers with a wide range of experience.  Molly Naylor, who described herself has having a portfolio career which includes poetry as well as writing for stage and screen, spoke about working across boundaries of genre, and the importance of finding our unique ‘voice’.  Victoria Adukwei Bulley spoke about opportunities for residencies and commissions, and showed us some of the output from her residency at the V&A.

But the highlight for me was Edward Parnell, who took us through his experiences with getting his first (prizewinning) novel published and then moving, almost by accident, into creative non-fiction.  As a writer of non-fiction, I often feel that writers’ events and courses aren’t really for me as they tend to focus on fiction and/or poetry (very occasionally scriptwriting) but never non-fiction.  It was a treat to be at something which was explicitly for writers like me – and as well as being an engaging speaker, Edward was generous with his time, staying around to chat afterwards (and signing a copy of his non-fiction book, Ghostland, for me!).

At lunchtime I went exploring.  The Church of St Julian is literally across the road from Dragon Hall, and I had intended visiting many times when in Norwich but never quite got around to it because it’s a little way from the city centre.  This is the place where the woman known as Mother Julian or Julian of Norwich lived as an anchoress (a hermit attached to a church) during the late 14th and early 15th centuries.  Her cell has not survived, but a chapel has been built on the presumed location, on the south side of St Julian’s Church, and there is a shrine to her there, as well as an information centre just up the hill from the church.  Julian (note – the name we know her by is the name of the church she was attached to; we don’t actually know what she was called) wrote the earliest surviving book in English by a woman, the Revelations of Divine Love.  This work was the result of a mystical experience when she was seriously ill and near death, and was revolutionary in its emphasis on God as ever-loving (not a concept the medieval church embraced).  It survived though convoluted channels of transmission in the UK and Europe, mostly treasured by nuns, and in the 20th century became a classic text of Christian spirituality.  Perhaps the most-quoted line is “All shall be well, and all shall be well, and all manner of things shall be well.”

This part of Norwich is becoming the Writing Quarter, with the National Centre for Writing now based here, and with the history of the first female author in English at St Julian’s.  And from 2020 the Norwich Printing Museum (formerly the John Jarrold Printing Museum) will be relocating to new premises in the restored St Peter Parmentergate Church on King Street.  The collection tells the story of the printed word since the middle of the 15th century when Johannes Gutenberg invented movable type for printing and the age of the printed book was born.  For anyone interested in the written word, a short walk around King Street in Norwich will take you from Julian’s quill, to the printed book, to the laptops of today’s writers.

Book review. The Hare and the Moon: A Calendar of Paintings by Catherine Hyde

As regular readers of this blog may have gathered, I am a bit of a fan of the hare.  I was delighted, therefore, to find this rather wonderful little book with the evocative title The Hare and the Moon: A Calendar of Paintings.  It is pleasingly square, with a tactile cover, which is always a good start.  And it had me at the first page, which is an illustration of the three hares motif!

There are a number of elements to the ‘calendar’ aspect of the book.  A poem, with the refrain which recites the folk names for the full moons (The Snow Moon, The Wolf Moon, The Hunger Moon, The Sap Moon etc) is woven through it.  Each month then has six themes.  There are black and white illustrations of the moon phases.  There are double page colour paintings of the hare in the seasonal landscape (I especially like January, where the hare is joined in the snowy countryside by the barn owl and the raven).   There are Indian ink drawings of the hare in action and at rest.  For each month there is a flower, a tree, and a bird, each accompanied by a colour painting and a note about the folklore and alternative country names.  For example, June’s flower is honeysuckle:

“Used for rope-making in the Bronze Age and also known as woodbine, honeybind, trumpet flowers, Irish vine, Goat’s leaf, sweet suckle and fairly trumpets.  Honeysuckle grown around the entrance to the home prevented a witch from entering and would bring good luck.”

The Hare and the Moon subtly weaves poetry and art together, blurring the boundaries and creating what has been described as ‘visual poetry’.  This is so much more than a book of poems and folksy factoids with illustrations.  The images have a dreamy quality which lend a timeless air to this charming book.  Perfect for reading, as I did, while curled up on the sofa on a dark winter afternoon, a steaming mug of tea by my side (think hygge!), this would make a fine Christmas/Yule present for anyone who loves the natural world, folklore, or art.  Or indeed hares!

 

(For more about Catherine Hyde, take a look at https://catherinehyde.co.uk/)

Portraits of the past – my family history in photographs

Last year I came into possession of a large collection of family photographs.  I am the last person standing on that side of the family, so on the death of the last of the previous generation is all passed to me.  We’re not talking a few albums here – the collection completely filled the back of an SUV!  Most of the albums were in poor condition and had been stored in damp or dusty places, so a priority was to remove all the photographs (copying the annotations onto the back of the photos where appropriate) and throw away the wreckage of the albums.  There were also a lot of loose photographs, as well as some in frames (many with broken glass).

Eventually, I was able to group them into rough families, eras and locations.  There were a huge number of duplicates, so the first edit was to choose the best of the duplicates, again copying any annotations, and put aside duplicates for cousins in America if they were likely to be of any interest to them.  Then, I went through each group of photographs, weeding out any which were of no particular family history interest, or where the features were blurred, or choosing one from a series of almost identical shots (there were lots of these, especially 1950s landscapes.  It was apparently a thing in Scandinavia to take many photographs of the back of people standing in a field gazing at distant hills…).

After many evenings and weekends of going through photographs, peering through a magnifying glass at blurry faces, and getting very dusty, I have now whittled the collection down to a single crate, all divided into acid-free archival envelopes labelled with details of the contents (pre-war Holland, Helsinki Olympics 1952, holiday to Wales July 1961, etc).  I also started a notebook, with a page for each year, so that I could track the events and movements relating to the various strands of the family.  One wet Sunday afternoon this winter I plan to create a timeline from the notebook, which colour coding for each branch of the family, for the whole of the 20th century (and also scanning the most interesting ones of shared ancestors to send to my American cousins).

This side of my family is Dutch (via military service in the Dutch East Indies and internment in Japanese camps during WWII), with various members emigrating to America, Finland and Britain.  It has been a fascinating – and occasionally harrowing – exercise to follow individuals from newborns, through rites of passage, family memories, pets and holidays, to ageing, and in one case, death (it seems it was the fashion to take open casket photographs in 1940s America).

I have glimpsed the interiors of Dutch colonial houses of the 1930s, Scandinavian holiday shacks in the 1950s, and American ranches in the 1970s.  I have found that some of the stories I was told as a child were true, and others were not, while still others have got garbled in the telling.  I have been saddened by the toll that WWII took on my grandfather (he was in his 60s when I was born, so I never knew him as anything other than old).  I have been moved by how much my teenage grandparents were obviously in love, in photographs from their courting days which I had never seen.  I have seen my own features and expressions looking out at me from the faces of long-dead relatives.  And I now have a much clearer sense of who I am, and where I have come from.

Body, mind and spirit – living life to the full

My interview with Hannah Spalding made me realise that I am interested in people who do what they love – not just the nine to five thing, but work which they are passionate about.  So when my mother in law suggested that I interview a school friend of hers who has set up a holistic, beauty and spiritual training centre, and is hugely enthusiastic about it, I was intrigued.

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Elaine Collier, together with her friend and business partner Gill Moss, run the Como Centre, which is based in Oxfordshire.  They provide a wide range of accredited training courses, as well as workshops and other events.   Their mission statement says:

We work within the mind, body and spirit sector and firmly believe in the following:

  • There is more to life than meets the eye
  • We all need to become more empowered and do more of what we love
  • We need to take more care of our own health and wellbeing
  • We need to be happy

The ‘we need to be happy’ bit was exactly what I was interested in!  “I think it’s really important to be on your own journey, to come to your own conclusion that you are happy and comfortable with”, Elaine tells me.  “Some people tell me that, if I’m going to be a spiritual person, I shouldn’t eat meat, or drink alcohol, or smoke or take drugs.  Well, I don’t smoke or take drugs, but I do eat meat and I do have a drink from time to time, and I don’t think those sort of restrictions are helpful.  I think it’s more a case of, if you’re taking your spiritual development seriously, you’re going to be careful about how you behave, about how you live your life.”

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Gill Moss and Elaine Collier

The range of training courses and workshops offered by Elaine and Gill is comprehensive, and covers most areas of complementary therapy and spiritual development.  Topics include mindfulness, massage, healing, beauty therapy, meditation, angel workshops, reflexology, past life regression, sound therapy, tarot and reiki.  The Como Centre’s latest initiative is an online programme, Flick Your Switch, which aims to guide participants “towards greater clarity, perspective, peace and happiness in your life.”

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The Como Centre’s approach is more than just a training course – participants are part of a community, a family, and Elaine and Gill are there for people throughout the programme and for as long afterwards as they need.  Facebook groups are a big part of how the Centre works.  “You’re getting what you need to give you confidence and get you energised, and ready to put into practice what you have learned – and you can contact us at any point afterwards if you have a question or a problem.  The personal connection is really important to us.”

I asked Elaine how she had come to be involved in this sector, and she recalled how, many years ago in her native St Ives, Cambridgeshire, she and a friend had started attending the spiritualist church “for something to do.”  Initially deeply sceptical, what she found there opened her eyes: “there’s more to this life than we think.”

Over time, Elaine and her friend moved into leadership roles at the church, including healing, while she worked as a PA to the director of a research institute.  Following the birth of her son, divorce, and redundancy, relocating for work brought Elaine to Oxfordshire.  Then, she says, “everything changed.”  She met Gill through a google search to find a hopi ear candle therapist to deal with her ongoing blocked ears.  She became enthused about reiki, and a friend suggested “you could do that,” so she trained as a reiki healer.  At last, says Elaine, she was fulfilling her purpose, “what I’m here to achieve.”  The Como Centre was founded 8 years ago, to help other people fulfil their potential.  At the end of 2019 Elaine and Gill are moving from their current premises to work out of two new locations in existing complementary practices, as well as increasingly online.

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We talked about how the mind/body/spirit sector is becoming more mainstream.  Elaine feels that there is a growing interest in how all aspects of life are connected.  She also sees people taking more responsibility for their own health and wellbeing, rather than turning to medication in the first instance.  “It’s not just for hippy types now – it’s becoming the norm.  Mindfulness and meditation are being taught in schools now, which is great, and will help to make it the norm.”  People are realising that there is more to life, says Elaine, than “being born, going to school, working, having kids, watching TV, and waiting to die!”

How does Elaine feel about her work? “I wish I’d done it years ago – but then again, I wouldn’t have been ready,” she says.  When I ask about her working day, she says “We have a ball! There’s no such thing as an average day – most of our sessions run at weekends, but on other days I’ll be replying to emails, creating new material, or going on courses myself to keep my skills up.”

Find out more about the Como Centre by visiting their website (where you can also download a series of meditations) or on Facebook, Twitter and Instagram.

All images are taken from the Como Centre website with permission.

The art of transformation – meet the upholsterer!

I am fascinated by the skills of artisans and craftspeople, and knowing that my next door neighbour is an upholsterer, I simply had to interview and photograph her for this blog.  Hannah Spalding’s workshop is in an outbuilding behind her house, which is a converted pub.  Her commute is a few steps across the pretty courtyard, into a realm of fabric and furniture, where wonderful transformations are wrought and sad, tired pieces are given a new lease of life.

Hannah working on a balloon backed dining chair

I visited the workshop on an autumn morning, and was curious to know what brought Hannah into this trade.

How did you come to be an upholsterer?

“I’ve been fascinated by fabric and fashion since I could thread a needle – which according to my mum was before I could speak!  Growing up, what I wanted for my birthday was fabric, sewing kit, a sewing machine.  What interested me wasn’t really the fashion side, it was the making – the trade side of sewing, how to put things together.  I started making clothes – terribly badly, at first! – and I did Textiles at high school.  But it wasn’t an option at A level, so I looked at the College of West Anglia prospectus, and it fell open at hairdressing, so that’s what I did.”

Upholstery tools

Did you actually want to be a hairdresser?

“I hated it!  I left my job, with no idea of what I wanted to do.  I friend of my mum’s needed a cleaner, and by word of mouth I was soon fully booked.  What had started as a stopgap turned into 3 years’ work.  But I was still sewing, moving onto furniture rather than clothes.  Someone I cleaned for asked me to cover some dining chairs, and I said I’d give it a go.  They turned out well, and again by word of mouth I was getting upholstery work.”

Black and white photo of Hannah, framed by the back of the chair she is working on

So how did it become a business?

“My friend Ash said ‘why don’t you do this as a business?’ but I felt it was a big step – I had a mortgage by this stage.  But Ash didn’t give me any choice, he set up a Facebook page for me, and I was soon reaching more and more people.  I cut down the cleaning job by first one day a week, then two, then three.”

What has helped you build your business?

“The support from my husband and my family was the reason I succeeded in building the business.  Their support was unfailing!  They didn’t once say ‘are you sure about this’ – it was ‘yes, this is what you are meant to do’.  My dad went back to Holland to see his family, and it turns out that there have always been upholsterers in the family – the details are a bit foggy, but they definitely had shops selling blinds and furniture.  I am the last upholsterer in the family – and Dad came back with a van full of upholstery supplies from family members!  Even family I didn’t know were supportive, and interested in my carrying on the family tradition.”

Close up of Hannah's hands as she works on a chair. She has a measuring tape tattooed on the inside of her index finger.

Have you always had your own workshop?

“For several years my workshop was my mum and dad’s house, until we moved here three years ago.  I gave up the cleaning completely 2 years ago.  It was worth doing things slowly – I’ve been able to take my time and make sure I’m doing it right.  Mum and Dad have been so supportive – when I was working at their house I took over one room completely, and there was often furniture stacked up in the lounge waiting to be worked on!  At the start, I would work insane hours – 6am to 8pm most days.  They’d just bring me cups of tea…

It was a dream come true when we saw this place, and Mum and Dad helped fulfil those dreams.  When I walked in I thought ‘OMG it’s huge, how am I ever going to fill it?!’ – now I really need a bigger workshop!”

Photo of four pin boards with fabric samples on the wall of Hannah's workshop

How do people find you?

“I get a lot of work from my Facebook page.  It has got my name out there.  I have had a lot going for me:  I’m young, I’ve not been doing this for 40 years so my prices are appealing, but my work is just as good as anyone else’s.  I used to have days when I panicked because I only had work for the next three weeks.  Now, I’m already booked up until mid-January.

It’s amazing how things have grown over the last three years.  I have excellent relationships with a number of antique dealers (again – word of mouth!) and they are a constant source of work.  I can be cost-effective for them as they often use their signature fabric, and there’s no home visits involved for me.”

Hannah using an industrial sewing machine

So – I’m someone who wants a piece of furniture re-upholstered.  Talk me through the process.

“You ring me up.  I always try to be extra lovely to people when they phone, as it’s often a stressful experience for people who’ve not done this before, and who don’t understand the process.  I ask people to send me photos, so that I can give an initial estimate, and if they are happy with that I will do a home visit and quote.  If it’s, say, an elderly customer who would struggle with emailing me photos, of course I’ll visit and have a look.   I like to keep things quite informal and friendly – I like people to be my friends, not just customers!  Having a piece of furniture re-upholstered is exciting – I want to involve them as much as possible.”

I imagine you meet some interesting people!

“A small number of customers are, shall we say, trying, but you get that in any business.  Most people are great, you get to meet the nicest people, and the houses you get to see are amazing.  The customer base is so varied!  Some, yes, have a lot of money.  Others will contact me, get a quote, and I don’t hear from them for a year.  Then they get in touch, they’ve been saving up, and they want me to re-cover Grandmother’s chair.  They will only ever have that one piece done, but they are so excited and appreciative, those are my favourite jobs.”

Arty black and white shot of Hannah's sewing machine

So, what is the range of services you offer?

“I make bespoke curtains – all hand sewn, they hang better and look better.  I make custom-made pelmets, and Roman blinds (but not roller blinds – they are too expensive to hand-make).  I re-upholster window seats, dining chairs, arm chairs, sofas, wing-back chairs, stools and footstools.  I HATE doing iron-framed tub chairs, but I do them!  My favourite is a wing-back chair.

I don’t do loose covers for sofas – I don’t think they ever look quite right, and however good you are, loose covers are going to move when your customer has kids and dogs!

When I started out, I did both traditional and modern upholstery.  But around here [West Norfolk] there are a lot of amazing traditional upholsterers, and it’s not cost effective for me to compete.  I now say I do ‘mixed’ – springs, tied down, webbing, Cocolok [rubberised coconut fibre] as well as foam.  I don’t supply fabric, it’s not economical, but I advise customers about fabrics and suggest where to buy it.

Don’t be surprised if I’m more expensive than a machine!  But, unlike a lot of retail furniture, what I do will last 20 years.”

A re-upholstered arm chair, covered in blue fabric

And finally – what do you love about your job?

“I love my job, I don’t need to prove to anyone that it’s doing well.  I’m not planning to grow the business.  I love working on my own.  My mum gives me a hand sometimes, and friends pop round for coffee, so I’m not alone, but I will never employ anyone.  I didn’t want to go to college to do fashion to go into the fashion industry – I wanted to be a tradesperson, the person actually making it.  I love it!”

Hannah seated on a re-upholstered settle in her workshop

Contact Hannah on 07557875759 or hannah.sews@outlook.com or follow her on Facebook.com/hannahsews or Instagram @hannahsews

Family life – the swans of Oxburgh Hall

As the summer comes to a close, I’m sharing a family saga that’s been unfolding over the past few months.  I am fortunate to have Oxburgh Hall (National Trust) just down the road, and the fine moat is home to a pair of swans.  Last summer, while swan couples in the surrounding countryside reared their families, there were no little silver puffballs for the Oxburgh swans.

This year, however, they had more luck.  Back in June, they were proudly showing off their single baby.  Small, fluffy and grey, they guarded it fiercely.  Any visitor venturing too near was seen off by a hissing parent.  As an adult swan can easily break your arm if sufficiently cross, visitors wisely left well alone!  We got some nice pictures though.

Cygnets (baby swans) are quite vulnerable.  As well as having the usual youngsters’ talent for getting into life-threatening scrapes, when they are tiny they are also vulnerable to predators such as foxes, herons and raptors.  Prolonged wet periods can cause them to get waterlogged and chilled, and in hot weather they can easily overheat.  They can also be targeted by parasites, which weaken their system.  About a third of hatchlings don’t make it past the first two weeks of life.  They are not fed by their parents, but feed themselves from the start, so they have to learn quickly how to find enough suitable food to fuel their rapid growth.

On my next visit to Oxburgh, in July, I was thrilled to find that the lone cygnet was not only surviving, but thriving!  The parents were a little less protective now that the crucial first couple of weeks were past, and our little cygnet was growing well.

Much less fluffy, s/he (too early to tell if it’s a cob or a pen) is a sturdy little thing, and seems to have mastered the art of hoovering food up out of the moat.  It was actually quite hard to get a photograph, as the cygnet spent most of its time upended, feeding!  I got dozens of pictures of its backside, but not many of its head…

Fast forward to late August, and there was a heart-stopping moment as we couldn’t find the swan family.  We walked all round the moat, searched the fields, but there was no sign of them.   Just as we were about to go and find a member of staff to enquire what had happened to the swans, we spotted them in the river beyond the moat.  The cygnet is now HUGE!  It is rapidly growing to be as big as its mother, and is confidently swimming off by itself.

I stood on the little footbridge to take this photograph, but had to move aside when the flotilla headed my way, with the parents hissing loudly – they wanted to swim under the footbridge, and objected to my presence!  I obediently made way (I don’t argue with swans) and they ducked under the bridge and headed off downstream.

It’s been lovely to follow this youngster’s progress, and it’s great that the pair have finally managed to raise young – even if it is just the one.  Maybe they are an inexperienced pair and they’ll be more successful in future years – it’s a good excuse to keep going back to Oxburgh Hall to find out!

Too Much Stuff – a decade of decluttering

I recently read back through all my old blog posts (on this and other blogs) and was rather embarrassed to find a theme, going back almost a decade.  From 2011 I have, at regular intervals, been writing about decluttering.  Not decluttering in the abstract, but my own attempts at achieving a simpler life with less Stuff.

Since then, I have moved house no fewer than five times, and am about to move again.  Each time, I have spent days, weeks, months, sorting through Stuff.  I have benefited my local charity shops to the tune of many hundreds of pounds worth of donations.  I have made a lot of people happy with my cast-offs.  I have spent much more than was necessary on house moves, because of the amount of Stuff which needed to be packed and moved each time.

I have read a lot of blogs and books on decluttering (I even have a friend who is a professional declutterer, and if I’d met her earlier in the process I might well have engaged her services!).  I have internalised Marie Kondo’s principles (I even rolled my socks up for a while).  I have read books on Stuff, agonised about Stuff, packed up boxes of Stuff, and driven countless carloads of Stuff to charity shops and recycling centres.

What have I learned?

I had a shocking amount of Stuff.  No, really, I did.  It’s obscene.  After nearly a decade of active decluttering, I still have a home that is far from sparsely furnished and which contains plenty of books, art, clothes, kitchen and tableware, and sentimental items.  I think I’m just about there, though, finally.  This is probably an acceptable amount of Stuff for a woman of 50 in the UK to own.  I’m just acutely embarrassed about how much Stuff I had.

I am ashamed of how much money I spent on Stuff.  There have been many things I have not done in my adult life because I felt I couldn’t afford it.  But the purchase price of the Stuff I have decluttered would have paid for all of those ambitions, with plenty to spare.  I appear to have chosen Stuff above Life.

I have a powerful emotional attachment to Stuff.  This takes two forms:  firstly, I feel responsible for it – I can’t just dump it, it’s my responsibility to make sure that it is rehomed/recycled/sold on to someone who will use it.  It’s partly an environmental thing, and partly something I haven’t quite got to the bottom of yet, which is around a kind of anthropomorphism of Stuff, whereby each item is something I have called into being and now it’s my duty to do right by it.  Odd, isn’t it?!

Secondly, I have discovered that I feel really uneasy about not having much stuff.  Reading books on minimalism makes me feel acutely uncomfortable.  How can having only a few clothes, and sleeping on a mattress on the floor, be something to aspire to?  It just evokes images of refugees, and living in squats, and I can’t imagine how somewhere so Spartan could ever feel homely.  A lot of thinking, and long conversations with my long-suffering partner (who has never in her life had Too Much Stuff, and is rather bewildered about the concept – why would you want to have more Stuff than you actually need?!) has made me realise that the Stuff is, for me and for many other people, tied up with a lot of complex emotions.

A lot of my Stuff relates to creative projects, which get mixed up with issues around identity.  If I decide to do or make something, I first get “every book ever written on the subject” (I quote my partner!), and every bit of kit/materials/tools I might conceivably need.  When (as is often the case) life moves on and I don’t get round to completing the project (or, all too often, even starting it), the Stuff is a silent reproach.  It’s not just about the wasted money, but it’s about mourning for the project that never happened – and for not being, after all, the kind of person who would have done that project.  If I get rid of my wool and my loom, I am also getting rid of my identity as an aspiring textile artist.  Stuff and identity become intertwined.

The unhappier I am, the more I crave being surrounded by my Stuff.  It needs to be my own stuff – not just clutter, but things that I have chosen to have in my home.  Even if there are far too many of them for the space available.  Somehow, it makes me feel safe.  This has made decluttering even more difficult, as it’s usually initiated by stressful events (moving house) which are precisely when I’m likely to be more emotionally dependent on my ‘shell’ of Stuff.

Whilst the last few years of my life could hardly be described as peaceful, they have nevertheless been years of growing happiness and contentment.  And I have recently discovered that I have reached a tipping point.  The burden of having all this Stuff – paying to have it moved, paying to store it, keeping it clean and in good repair, and generally having it take up brainspace as well as physical space – has finally outweighed the emotional benefit of having my Stuff around me.   I no longer need my ‘shell’.  No, I’m still not going to sleep on a mattress on the floor if I can help it, but I’m finally able to follow William Morris’ dictum: “Have nothing in your homes that you do not know to be useful, or believe to be beautiful”.

So, where does that leave me now?

We are preparing to move house (again).  This time, and for the first time in as long as I can remember, the only things I’ll be moving are things that are either useful or beautiful (or, in a few cases, family Stuff of which I am currently the custodian).  No “but I might still do that project” Stuff, no “but it might come in useful” Stuff, no “but it took me ages to track that book down ten years ago” Stuff, no “but that was really expensive, I can’t get rid of it” Stuff.  Less Stuff, more space.  Less Stuff, more experiences.  Less Stuff, more life.