Bonanza was a scary girl, all backwards in her thinking. Five years old and she didn’t like anyone. No-one liked her either. She often wondered which came first, did she like no-one and then did no-one like her, or was it the other way around? “Shut up and keep digging,” cried her mother, while Bonanza was busy burying the bony remains of her ten last, best and only friends. “Shut up and keep digging,” mouthed Bonanza in a sour, mocking voice, hoping her mother didn’t hear but secretly wishing she would. Bonanza was digging and stacking, digging and stacking, and burying her little toy dolls, one on top of another, digging and stacking and burying them all in the backyard. “There goes Frances,” she said, one by one patting them on the soft tops of their heads. “Little Limp Suzette, Astrid, Lingafore, Penitence, Rye Bread, Amber Ocean with the Amazing Marble Brown Eyes, Lori Fred the Beast, Marmalade.” And then there was The Ancient One, who kept bobbing her loose plastic head back and forth, stacked flat on her back on top of Marmalade, in the ruddy brown dirt. “Stay still,” said Bonanza through stinging tears. These were the days of no return. Her mother was right. If she couldn’t be a friendly, polite girl, then she would be liked by no-one. And so it was that her mother, with resounding voice, descended heavily down the porch stairs, thick ankled, to the backyard to supervise Bonanza’s burial of the word F-r-i-e-n-d-s-h-i-p. All the summer light grew dim, darker, until Bonanza was just a small speck of dust beating away at the backyard air, then, her self, buried. Fell in with the rest of them. Fell right flat on top of The Ancient One.
A gentle breeze brushes past, carrying a scent that feels like an old memory. This pungent, slightly fishy aroma that fills my nostrils is the breath of mugwort, rising in clusters as it leans against the spring sunlight. In a corner of the park, on a sun-drenched mound, I see a woman crouched low, picking mugwort. Each time a tender shoot—hardly larger than a baby’s fingertip —is placed in her basket, a warmth like the earth’s own body temperature quietly spreads to my feet.
The woman speaks to me in an excited voice, saying the sky is flawlessly clear today. Looking up, I see that the hue of the sky is indeed different from before. Where the achromatic winter has retreated, has the delicate texture of the pale green grass ever been this vivid? Yet, the brighter the world becomes, the more Spring has always been a precarious guest to me. It is as if I can hear the moans of living things breaking through the stubborn ice of winter.
Spring never arrives for free. The backs of the new shoots tearing through the frozen earth are hunched, and the gestures of the trees squeezing out every drop of their essence to bloom are nothing short of desperate. Whenever I see petals trembling under the lash of a late-frost gale, my heart grows anxious, thinking that such brilliance might actually be a final, frantic struggle bartered for death.
This sense of peril stems from the duality of Spring. On the surface, a hymn of vitality seems to resound, but beneath it, withered grasses and ancient trees—baring their gaunt skeletons—lie scattered like the wreckage of winter. Upon that threshold where warmth and cold intersect, fragile lives cross the boundary between life and death several times a day. To me, Spring has always been a season of pity. Like the late-winter cold that strikes just when you think you’ve arrived, it resembles the seasons of trial that visited me without warning at every turning point in my life.
Spring was just beginning to show its face even at the place where my mother left this world. Perhaps because the void of loss was so deep, I suffered from a severe, aching malaise every Spring. Living with a dry cough throughout the winter, I could only manage to stand up again when the cherry blossoms burst into pink buds, as if tearing their own bodies open. To me, Spring was not a season of vitality but a cold current that I had to swim against with my whole body, year after year.
Looking back, my childhood was also a succession of chilly Springs where I couldn’t even take a single clean breath. Time spent in a village beside a cement factory. Every morning when we opened the door, a thick layer of dust, white as snow, had settled in the yard. The lids of the clay jars, polished to a shine by my mother’s hands, would soon hold their breath under a shroud of gray powder, which would harden like stone after a few days.
Dusting off the particles that settled on each other’s hair was our family’s simplest and warmest kindness in those days. Yet, the fine powder that seeped through that kindness was quietly taking root deep within my mother’s lungs. As a child, I did not know. I did not realize that those hours spent living beneath the factory chimneys were gnawing away at my mother’s breath.
The dry cough that began in her forties became chronic, eventually pinning her to a hospital bed under the name ‘pulmonary edema.’ By the time the environmental lawsuits began, Mother had already passed away. All that remained for me was a Spring illness that resembled her cough and a single scar in my heart that flared up every change of season.
I quietly watch the fingertips of the woman picking mugwort. I try to imagine how long those tender shoots must have endured before pushing up through the hard earth. The vitality of mugwort, erupting through frozen ground, is by no means docile. It is a force of struggle, ultimately heaving the very crust of the earth upward. Like the mugwort that perfects its fragrance even while swaying in the biting wind, perhaps our lives only gain a subtle radiance after passing through the tunnels of ordeal.
The woman suddenly holds out a bag of mugwort toward me as I stand still. With a soft smile, she tells me that if I boil a bowl of soup with some soybean paste, it will be better than any medicine. That smile is as gentle yet sturdy as the pale green shoots that rose after steadfastly enduring all manner of cold.
Returning home with the bag, I fill the kitchen sink with water. As I wash the mugwort several times, bits of dirt and dried leaves float up, and the clear water soon turns a faint green. Dissolving soybean paste in a pot and adding a handful of mugwort, a pungent aroma slowly rises amidst the savory scent. The moment a spoonful of soup enters my mouth, a bitter yet sweet taste lingers on the tip of my tongue.
A sense I had long forgotten awakens. Amidst the rising steam, the memory of sitting on the edge of the wooden porch as a child, blowing on the mugwort soup my mother had boiled for me, comes vividly back to life. Back then, not knowing what this fragrance had endured to rise, I probably just rejoiced that spring had come.
Silently, I set down my spoon and wrap both hands around the bowl where the warmth remains. Then, I step outside again. The wind brushing against my skin is still spicy and cold. But now I know. One must endure this precarious wind for flowers to bloom, and only after passing through this cold does the mugwort truly complete its fragrance.
I lower my mask for a moment and breathe in the air deeply. Leaning my heart into the pungent breath of Spring that seeps deep into my lungs, I whisper softly:
“Do not be ill. If spring must come after all, shouldn’t you cross this season safely?”
If I am still in pain, then this radiant Spring is ultimately nothing more than a season of pain. Today, the green shoots swaying in the breeze appear exceptionally clear. Each of those pale green textures is swaying quietly, yet firmly, as if remembering the freezing seasons they have passed through. Standing before that vitality, I reverently inhale all the pain and endurance dwelling within this fragrance of Spring and this breath of green.
By Robin Boardman, co-founder of the global Extinction Rebellion (XR) movement; originally published on April 7 2026 on Robin’s website here. Republished with his permission.
This week, I let go of the last small thread of work I’d been holding onto with Revolution in the 21st Century. A few hours here and there — just enough to feel like I was still the person I used to be. Still contributing. Still part of something I’d spent years building.
But my brain has shut down to that kind of work now. So I wrote a gentle goodbye email to the team, and a farewell on social media. I’m hoping that by shrinking my world — and my worries — I might give my body the space it needs to recover.
Now I’m lying down with a migraine, dictating these thoughts into my phone. Speaking, in a strange way, both into the void and into the world’s largest language machine.
Chronic illness takes things from you slowly, and then sometimes all at once. Work — that identity of doing and producing — was one of the last things I was still quietly clutching. Letting it go feels significant. Not just practical, but existential.
Who am I, if not someone who does? What do I do when I see climate collapse unfolding across our gorgeous blue-green earth, yet live bound by these four walls?
I’m still working that out. My values are the same. My love and motivation undimmed. Yet physically, I can give a lot less. So meaning has gotten smaller. More specific.
I’ve started sewing again — patches, small art projects, techniques I haven’t touched since school. I bake for my housemates and neighbours. I keep the common spaces clean because I’ve noticed how much it changes the feeling of coming home to something cared for.
It’s not the life I imagined for my twenties. It looks, in some ways, closer to that of a retiree. But there’s an honest craft in it. A kind of housebound purposefulness — stripped of the stereotype associations of age or gender. Just a person who happens to be home a lot, trying to make that mean something for the people around them.
I hold it lightly. Some days it feels like a silver lining. Other days, it just feels like what’s left.
The hardest part, most days, isn’t the physical limitation. It’s the relational cost.
Illness makes you unpredictable. Unavailable. Hard to reach.
People you love have their own rhythms — their own crises, their own windows of openness. And when your body doesn’t run on a schedule, you miss each other. You fall out of sync.
So you find other ways.
Letters. Voice notes. Small things made with care. Slower, more asynchronous forms of love.
It’s an adjustment. And it’s ongoing.
Not everyone understands. Some are drifting away. That’s okay. I’m taking it one day at a time.
I’m still doing EMDR therapy. Still trying to bring my nervous system somewhere closer to rest — films, audiobooks, sitting in the garden, whatever works on a given day. Still watching for those small windows of recovery, and trying not to measure my life only by their absence.
Six years in, I’m not the person I was before.
But I’m still here. Still finding small ways to nourish the life I actually have. Still trying to keep despair at a distance with purpose, however quiet.
Featured image: ‘Lunchtime Concerts’ 1979; Pencil and collage on paper (College project)
When I left college in 1981, I was offered a council flat on the eighth floor of a tower block in Wood Green, London, so I took it. I had to go through seven doors and a lift to get out, but I didn’t think about it then, I was living in a totally ungrounded, drug-filled fantasy world, and so being in the air suited me. I imagined it as my high-rise apartment in New York. The famous artist. This is who I believed I wanted to become. But I was extremely self-critical, not even knowing I was being so hard on myself. It had been a normal part of my childhood. This and my lack of confidence kept me in a cycle of wanting to block this harshness out.
After 3 years at college, I had had enough of Graphics and began doing freelance illustration. I did commissions for The Magic Circle, BBC, Channel 4, The Fiction Magazine, Spare Rib, World Wildlife Fund, Live Aid and various publishers. My work was small, black and white in ink or pencil, and it was detailed.
Gemini. A commission for ‘The Complete Astrologer’ by Derek and Julia Parker. 1981
I also explored my own realistic and abstract artwork and crafts, sculpture, clothes design, generally with a nature or recycling theme. Artwork was my healing journey from a childhood bereft of emotional comfort.
Embroidery eagles for a shirt collar. 1981
My work got bigger and bigger in size as my confidence grew.
‘Blue Grass’ 1981 pencil and watercolour on paper.
In 1982, when I was 23 I had a motorbike accident and broke my leg in three places. The woman I was living with, Yvette was on the back and thankfully only bruised her knee. It was a complex fracture and they couldn’t operate immediately as I had friction burns on my leg. I found myself in traction, (they put a pin through the ankle and dangle a weight from it to pull apart the bones so they can realign them. Sounds like torture and it was!). Obviously some nurses and doctors were considerate but my experience of doctors standing at the end of my bed with their white coats on and clipboards talking about my condition without including me, stuck with me. Also asking a nurse for a bedpan and being told it wasn’t time for the bedpan round and I must wait. These were just two examples of emotionally unsafe behaviours that stayed with me for a long time. It was frightening.
‘The Resting Biker’ 1982 oil on paper
Yvette came to visit me every day and when I came out of hospital I vowed I would never see a doctor again as I had felt so out of control. It was another pivotal moment where I began unconsciously building my need for complete autonomy and to find a healing space. The accident completely woke me up. I wanted a more spiritual life and I started to explore complementary medicine, diet and fasting to improve my physical health.
I met Simo and Checca, the Italian twins at the women’s bathing pond at Hampstead Heath. Yvette moved out and they came to live with me. They had been brought up in rural Italy and moved to London when they were 11. They had gone to school at the famous Summerhill and were very open minded. They were outgoing sannyasins, disciples of Osho, an Indian Guru and I loved living with them. Through Osho, I learned about meditation, mysticism and spirituality. It was comforting and life affirming. Seeing life through the perspective of spirituality created a positive outlook. I also found a book called “You can heal your life” by Louise Hay and read it over and over. Its basic principle is “you are in control of your mind; it is not in control of you” and she provides exercises to let go of past painful conditioning and find that empowering place of being in control. She is also the queen of positive affirmations.
Simo, Checca and I visited Italy for months and I loved it there. They both also knew about wholefoods and introduced me to cooking brown rice.
In 1987, when I was 28, I was having a conversation with my friend Roger and someone I had just met. This person asked me what I did for a living. I avoided the question and mumbled something about crafts. Roger said ‘she’s an artist!’ That was the first time I began to give myself that title.
That same year, Checca and I went to live in Italy. This created the real foundation for my connection with nature. My first activity was to collect figs from a tree and eat them, I loved it and it made complete sense to me. We collected and cracked pine nuts on a stone and made pesto with fresh basil. We stayed with Checca’s dad for a while. He was an accomplished artist. He foraged, including mushrooms.
‘Antonio’s Garden’ 1990 ink on paper.(Checca’s dad’s house)
After almost a year with Checca’s dad and also staying at our friend Roberto’s house, we found a house to live in at the edge of a quiet village in the countryside. I meditated, (working on my inner demons of depression) and got a job working for Walt Disney drawing cartoons of Donald Duck for ‘Paperino Mese’. I would work at home during the week and go to Milan on Saturdays to the Walt Disney Studio to have my work assessed.
My drawings for ‘Paperino Mese’ 1991
In 1990, when I was 31, I came back to the flat in London which had been kept on by Simo. Checca stayed in Italy, Simo moved out of the flat and I lived there on my own.
As I was healing, the eighth floor of a noisy tower block next to a main road with noisy neighbours all round me and no sound insulation, became a place of deep suffering. I could even hear my neighbour Tracey downstairs sweeping the floor. The sound of Tracey’s bass-heavy music in the night for two years and environmental health being unable to catch her brought me to a nervous breakdown, a catharsis, in 1998 and I was sent to a psychiatric hospital for a week. I then spent further spells in crisis centres and took anti-depressants until one day during a massage at the crisis centre, I broke down and exclaimed to the masseuse, “I’ve lost my soul”. I stopped the anti-depressants immediately.
The outer issue was always noise. The noise that humans create which, to me, made the sounds of nature harder and harder to hear. I longed for silence and the only sounds being the sounds of nature, I was obsessed with it. I felt breathless without it. I told a carer in the crisis centre that I longed to hear the sound of the birds and she said “well, we’ve got a birdsong tape!” I could have screamed; she didn’t get it. I wanted to be so immersed in nature that there was no separation. Birdsong on a tape was just another human invention and all part of my disconnected environmental crisis. I wanted the real thing, but I was on the dole, DHSS (Department of Health and Social Security) feeling ashamed and guilty. My friend Prabhu helped when he said, ‘Don’t feel guilty, it’s DHSS—Divine Help for Spiritual Seekers!`. I was living on £50 a week, no money in the bank and living, ‘existing’ in a noisy tower block in London. Sometimes I sat on my balcony at the flat with my hands over my ears, rocking from the insanity of the noise; traffic, household noises from uninsulated flats, police sirens, fire engines…and nature seemingly so far away out of my reach. My solace was to walk through Alexandra Palace park to Crouch End to buy my shopping from the health food store. Alexandra Palace was a walk across a little park next to my allotment and over the railway bridge. I also started to see counsellors and this gave me a feeling of strength and security. However, I couldn’t get out of the flat. No-one wanted to home swap to a tower block, I was trapped.
‘A Fine Line’ 1998 oil on canvas
I was continuously burdened with the thoughts of how to raise enough money as an artist to get a mortgage and buy my own place. It was a crazy idea, I was an Artist! Money was an alien concept, and consistently making money without feeling utterly stressed was even more alien. I had been on and off the dole for years, coming off to do a few months of freelance work and then signing back on again. I couldn’t cope with the pressure of relentless work; it sucked the joy and the purpose out of making art. Thinking only of the conventional route clearly wasn’t for me, but what was the solution?
I spent the next few years going in and out of the crisis centre, figuring out in my mind, what I wanted. On one visit, I met a man who did photography. He showed me one of his pictures. It was a barge going through a tunnel and there was a small bright light at the end. It made me ask, “What is my light at the end of the tunnel?” and my first thought was “America”! So I made that a goal. Unbeknownst to me at the time, my trip to America was to be another foundation for my deep inner craving for a more natural life.
“Noblesse Matchmaking — we find you the partner you deserve.“
A temporary but urgent call to action! Centre of the Web partner Versy Talks is kindly running a free public online debate about the publishing industry from 21st to 31st May 2026. It does not take long to take part in the debate and state your opinion, and everyone is welcome! Sharing your voice will help boost both COTW and Versy Talks. Please help us grow, so that we can platform diverse and underrepresented voices from around the world. More information can be found here.
Even past forty, matchmaking agencies still send me messages. Maybe I’m still on their list of women who haven’t — or couldn’t — marry. Maybe it’s just an automated system firing into the void. Either way, I feel two things at once: a small admiration for their persistence, and a faint irritation at still being considered a target. I never delete the messages immediately. I leave them there for hours, as if one day even this might begin to feel urgent.
One day, a younger colleague leaned in close, as if sharing classified information. “Unni, I actually met my husband through a matchmaking agency (gyeolhon jeongbo hoesa: Korea’s paid marriage brokerage service that scores and ranks members by age, education, income, and appearance). You should try it too — I worked really hard at it.” She believed she was doing me a favor. The story of their fated, romantic meeting had apparently been constructed overnight — a tidy narrative designed to erase the fact that it had started with a checklist.
It’s not that I never tried. I dated steadily, loved recklessly. I was a bitch to some and an angel to others, just as certain exes were to me. I broke up and started over, again and again, and somewhere in that repetition, time slipped away — “hulsseok”(the sound Koreans make while swallowing tears).
People offered what they called gentle advice. You studied too long. You were too focused on work. They followed this with their own marriage success stories. A question rose in my throat — so are you actually happy?— but I swallowed it every time. I didn’t want to come across as the bitter unmarried woman, sneering at other people’s choices.
What they said always sounded less like advice and more like self-reassurance: that raising children is nobler than any career, that some men feel burdened by women who think too much, that love is fine but marriage is reality. I listened and nodded. You’re doing so well. I’m honestly envious. It was the kindest thing I could offer.
They say marriage is a choice now. But most people I know — born, like me, in the 1980s — didn’t quite choose it or reject it. They simply married, the way you do things when that’s just what’s done. A small number of us didn’t. Not entirely by choice, but not entirely by accident either. I live in the gap between those two worlds, and sometimes it’s hard to breathe.
I had actually joined that agency years earlier. Even then, in my mid-thirties, I was categorized as high-risk — too old for safe childbirth, too educated to be appealing. My PhD was a liability, they said; men worried I might correct them. They suggested I list only my bachelor’s degree. Still, they found reasons for optimism: I looked younger than my age, I wasn’t overweight, and my voice was soft and pleasant.
Suddenly I was a product approaching its expiration date. A new agency promised AI-based matching, as if intimacy were a logistics problem. When I saw the ad, I thought: I’ve walked into the wrong place entirely.
This isn’t where I belong. Run.
An unmarried woman in her forties. Neither young nor old. Studying literature. On television, forty-something single women are always successful — corner offices and sleek apartments. The term gold miss (a glamorous, financially independent single woman) comes from that image.
But I can’t claim the gold. My degree didn’t translate into salary. I spend my nights revising poems, asking myself: will I ever publish a collection? Will I become the poet I want to be? I am, by most measures, badly out of step with this era.
I can’t join my friends’ conversations about stocks, real estate, their children’s tutoring costs, the latest housing policy. I’ve grown a little strange, just as they predicted. The future still frightens me, but I’ve stopped chasing someone to make that fear quieter. That’s left me lonelier in some ways.
I’ve also stopped obsessing over my weight. I prefer streets with trees to streets with people. I’ve started to understand why middle-aged people photograph flowers. I have no children, but I tend my writing with the same careful attention — softly, gently — and I love it deeply. I take care of myself. I protect my small world.
Then I heard that younger Koreans had coined a term for people like me: yeong-poti (Young Forty: started as a compliment for energetic forty-somethings, now a slur for those who refuse to act their age). I checked myself against the criteria. I don’t wear streetwear brands. I have no money to spend chasing younger company. I didn’t buy property cheaply and profit from rising prices. I wasn’t even pretending to be young. I’ve just never quite grown up, if I’m honest.
In the marriage market: not on the list. Among the targets of generational contempt: not on that list either. Nowhere do I fit neatly into the available categories. For a while, I shrank under the weight of that. The world says it has changed — women’s rights, feminism, marriage as personal choice. In some ways, yes. But I still have one foot in a world that sees my life as a problem, and one foot in a world that has no name for what I am. Too hot, too cold. I move between them, belonging fully to neither.
I live alone. I cook for myself. I write. I handle each poem the way you’d handle something you love — carefully, then carelessly, fighting with it, making up with it, coming back to it again. Sometimes someone looks me in the eyes first, and there is warmth. Not fire, but warmth. Somewhere between the cold bath and the hot one, in that lukewarm in-between place — that’s where I am.
Centre of the Web 