These stories were written in two places as distant as sky and sleeplessness: under the open air, and beneath the weight of night.
By day, I wrote outdoors, where pages filled as quickly as trees turned their leaves to the wind. The breeze had its say, scattering lines or blotting them with rain, while the birds became my first audience—blackbirds with their restless commentary, crows with their harsh critiques, and the occasional robin granting approval. Out there, the words stretched wide. They reached for horizon and height, airy with weather, tuned to the sound of wings and branches. Those stories wanted to stand upright, to be noticed, to breathe.
By night, I wrote in bed, the dark pressing close as the clock kept its slow dominion. The words that arrived in those hours were taut, private fragments. They curled around me like smoke—urgent yet secretive. The screen’s constant glow kept vigil, capturing lines I scarcely remembered at dawn. These are insomnia’s fragments: compressed, inward-looking, full of corners and whispers.
Together, day and night shape the rhythm of this collection: one voice outward, expansive; the other inward, solitary, like breath held before silence settles. Between them lies the whole of this work: stories that breathe the open air, and stories that will not leave the room.