Revealing the Cover: Distorted Is The View

There are many ways a book meets its readers. Sometimes it begins with a question, a sentence, or an image that quietly gathers and holds the emotional world of the story.

For me, the book cover acts as clothing, but not in the fashion sense. But because each time I put my work out into the world feels like an act of undressing in public.

And so, today, I share the cover of my debut novel, Distorted Is The View.

What This Novel Holds

Set in 1980s South Africa, this is a family drama about silence, distance, and the fragile ways love survives what is not said. At its heart is a family living inside the strain of partial knowledge, each person seeing only a portion of the truth, each trying in their own way to live with what remains hidden.

The book keeps circling this question: if truth came wrapped in silence, would you still call it love? It holds betrayal, yes, but also care. It invites the reader into a private emotional space rather than warning them away.

Why This Cover Feels True

The title speaks to that inward tension: what is visible, what is obscured, and what becomes distorted when people stand too far from one another to see clearly. I love how the designer captured the feeling at the heart of this novel: the distortion created by silence, distance, and partial perspective. With its layers, folds, creases, and quiet shadows, the cover does not try to tell the whole story, but invites one to look twice.

So much went into the making of this book: tears, laughter, and years. To say I’m scited that it is almost here is an understatement. That is why finally sharing the cover feels so tender and significant.

And now, at last, here it is.

Credit: Siiri Hirsiaho

More soon…

P.S. “Scited” (scared + excited) is a made-up word popularized by author and podcaster Glennon Doyle.

Clarity Comes in the Morning

On my walk this morning
around the lake that’s heard me
cry, laugh, mourn, and celebrate

I fell
legs in a front-and-back gymnastic pose
and breathed out a small white cloud

I rose
back on my feet like a long jumper
and avoided leaving a trail mark on the snow

I walked
and a man dusting snow off the windshield
pretended he didn’t notice

I looked
to my watch for distance—proof
I didn’t hole up all day wrestling a character

On my way back this morning
from the lake that’s heard me
talk and sing to myself

I stopped
responding to the chattering calls
magpies perched up high, refusing my camera

I listened
to the light wind tossing snow into dance
its song so clear it shattered the ice in my gut

I praised
a soft landing, deep snow beneath
sky above a colour of glory

I wrote
the message down:
This is the year I stop ghosting my dreams.

Making Room for Care: A Day in Hands

Before a house has a voice, it has hands. It’s hands that stir before dawn, not with fanfare but enough to tilt the day into motion. In half-light, hands sweep the grit accumulating as if it were only dust and not yesterday refusing to leave.

With the strike of a match, the fire ignites, and the water in the kettle sings for morning coffee. Bread unwrapped, a knife moves with the unthinking precision of practice. By morning, the table is set the way a room is made safe. Cups stand ready and spoons are turned the right way for other hands to grab.

Midday comes with its repetitive tasks as structure, and hands change nothing. Because repetition isn’t a lack of imagination; it’s endurance. It’s lifting and carrying, wiping and wringing, repeating what must be repeated so others can move through their lives as if the world simply arranges itself.

By night, the hands finally pause. Not because they finished the work, but because the body insists. Because calming a child, reading a room, preventing conflict, and choosing silence are some of the “soft” tasks that require a whole body’s attention. The measured breath, the softened voice, and the pause before a word becomes a bruise require a fluency no one thinks to name, let alone notice, let alone thank.

Hands that do all work this are rarely called skilled. We call them “helpful,” “good,” “natural,” as if tenderness comes without training. Care is labour; a skill hidden in the architecture. And sometimes it’s restraint: the art of not making a fuss, while the room pretends it has always been calm.

Image of the madam and maid, taken from Museo Milavida, Tampere, Finland

PS. As we mark International Women’s Day this month, I want to give a shout-out to all who do the invisible labour that keeps life moving. To the hands that feed, clean, soothe, and keep going—often without applause. May your care be met with care: rest, fairness, and shared weight.

PPS. Feature Photo by Max Saeling on Unsplash.