Tuesday, 9 December 2025

Rhiannon Buckley, "A Mind Blown"


 

Rhiannon Buckley is an East Midlands-based creative. Trained as an actor over 20 years ago, she has since worked professionally in theatre, education and healthcare both nationally and internationally. She is a big believer in stories of all kinds and has a passion for poetry, hip-hop, film and dog walks. 

In 2010 she survived a catastrophic brain injury which took her to the brink of death. A Mind Blown is her honest memoir of this journey and is her first book.

You can connect with Rhiannon through Instagram @rhiannonbuckleyauthor, by following her Facebook page Rhiannon Buckley Author or by visiting her website here



About A Mind Blown, by Rhiannon Buckley 
In a single second, everything can change. At 28, the author is thrown into a waking nightmare when an aneurysm at the centre of her brain ruptures. Initially dismissed as a migraine by the doctors, she lives ten "ordinary" days with an undiagnosed haemorrhage, her body slowly disconnecting from the world as her brain disconnects from her body. When help finally arrives she is so far gone that the hospital advises her to say goodbye. She can feel she is fading away – but what she doesn’t know is that the real work is just beginning.

Join the author on a rare and surprisingly witty adventure of survival, alongside her dying brain as it attempts to outsmart a shape-shifting bear, orders a Buddhist monk and tries to reattach to a life it once knew.

This is the remarkable story of one woman’s fight against acute neurological deterioration and her unexpected journey to find herself on the other side.

You can read more about A Mind Blown on the author's website here. Below, you can read a short extract from the memoir. 


From A Mind Blown
Steps transforming into steps are moments trapped in time. I have no concept of how far we have to go or what’ll happen once we get inside but I know this is it. It's not a feeling, or a sensation, or even a thought but something more basic stripped back and bare. I cannot keep going. Each time I return from the darkness I have less strength and so this is it. 

"Here, lean back, there's a chair behind you."

I try to pull myself away from Alex's body but I can’t hold myself up. My head scrapes across his chest and falls forward. I hear a voice and know that we must be inside the A&E department. Salt stings the back of my throat. Every second I’m upright is a second lived in flames. With Alex's arm curled around my waist, he tries again to lower me into the chair but we don’t get very far before he has to straighten up again. I’m desperate to lie down. Adding equal weight to Alex's increased efforts is my growing awareness of the futility of this situation. For the first time since we left the house, I speak. 

"Leave me here." 

And with that, I loosen my arm and let go. My legs collapse underneath me. Alex, not able to hold my weight, is bent at the middle. Half falling and half being placed, I connect with the floor and roll forwards until my cheek’s soaking up the cool coming from its surface. Alex’s feet slowly back out of my view and I’m left feeling my skin pressed into Lino and wonder how many injured footsteps came before mine.


Friday, 5 December 2025

"The Subtle Art of Short Fiction," ed. Isabelle Kenyon



About The Subtle Art of Short Fiction, ed. Isabelle Kenyon
The Subtle Art of Short Fiction explores the power of short fiction in today’s fragmented world. Renowned authors and critics offer advanced techniques for crafting nuanced, impactful stories.

Learn to master short story structure, subtext, micro-tension, and sensory minimalism. Ideal for experienced writers seeking to refine their skills in this sophisticated art form, or those who love short fiction, and want to learn about the craft behind it.

The book includes essays and writing exercises by Kerry Hadley-Pryce, Daisy Johnson, Matt Wesolowski, Sascha Akhtar, David Hartley, Mahsuda Snaith, Jonathan Taylor, Sarah Schofield, SJ Bradley and Farhana Shaikh, and has an introduction by Dr Paul March-Russell.

You can read more about The Subtle Art of Short Fiction on the publisher's website here



About the editor
Isabelle Kenyon is the Managing Director of Manchester publishing house Fly on the Wall Press, and was named a Leader of the Year by the Bookseller in 2025. Founded in 2018, she has led Fly on the Wall Press from Small Press of the Year finalist status at the British Book Awards 2021-23 to their win in the North, in 2024. She is the MA Module Leader for "Publishing in the 21st Century" at Arts University Bournemouth, and the author of psychological thriller The Dark Within Them and poetry collections including Growing Pains (Indigo Dreams).​ She previously coordinated the Northern Fiction Alliance and runs PR campaigns for writers and publishers under Kenyon Author Services


From The Subtle Art of Short Fiction

From The Art of Anticipation and Revelation

by Daisy Johnson

I have noticed something recently about children. It is the waiting that they love. My sons sit at the kitchen table watching me, spoons floating half way to their open mouths, eyes wide. I am doing something silly, making a noise or pretending to hide or doing a funny walk. Each time when I stop they call for me to do it again, again, again. I pretend not to, I cannot possibly, no, I am very busy, but they know I am lying. It is this moment of withholding that they find most joyous. The best short stories, for me, carve out most perfectly that delicious space of anticipation.

In Miranda July’s short story "The Metal Bowl," the protagonist describes herself acting in a porn video when she was younger. "I wasn’t directed so much as given a series of props to make my way through, like an obstacle course. A turquoise Teddy bear, a pillow, an empty beer bottle, a metal bowl. Not everything was clear to me (the bowl), but I was too nervous to speak." From this moment we move through the story with a growing question. What was the metal bowl for? The question is an elastic tension which connects us to the protagonist.

In Shirley Jackon’s "The Lottery," the very title of the story is a question which we go in asking: what is The Lottery? The people of a small village begin to gather in the square: "Bobby Martin had already stuffed his pockets full of stones, and the other boys soon followed his example." As with the mysterious metal bowl, we wonder, what are these stones for? Unlike July’s story it is clear that the characters know more than us, that the trembling, questioning tension belongs only to the reader ...