I was at a talk by Brian Eno in Brighton on Sunday and he was talking about Darwin and I thought of you.

xSkye

I think you have asked a very important question and I will try to answer it for you.

For me the story is about a boy who DISCOVERS he can fly, but didn’t know in the beginning that he could fly.

I think if I called it “The Boy Who Could Fly” then you would expect a story about a boy who flies all of the time and you would be very sad at the end when he only flies once. You might ask your teacher, why did that girl write a story called “The Boy Who Could Fly” when he doesn’t fly until the end? There’s lots of worms and lots of socks and lots of scarves and VERY USEFUL THINGS, but not much flying!

But WHY did I call it ONE BLUE SOCK instead of another title, like THEO LEO, or “THE BOY WHO ATE WORMS”…?

I think I called it ONE BLUE SOCK because for me it is a story of a boy who is not quite like the other children. Most children would wear two blue socks, or no socks, but Theo Leo only wears one sock (and it’s blue). This tells us that it a story about something out of the ordinary. The boy who wears One Blue Sock also eats worms and finally, in the end, discovers he can fly.

Also, I liked the sound of ONE BLUE SOCK. You might have noticed that SOUND is an important part of the story.

I know it’s not a perfect answer, but I hope this helps to answer your question.

Maybe I should write a sequel called “THE BOY WHO COULD FLY”. What are some of the things that might happen to Theo Leo once he discovers he can fly?

And if you’d ever like me to come to your school and read ONE BLUE SOCK to you, just let me know and maybe we could work something out…

I hope once in a while, all of you will try to see what it’s like to wear only one blue sock (with your mother’s permission of course!).

Love,

Emily

Thanks again.

Thank you for your kind response to my poem on Bush Slam, and I’m very sorry about the delay. As for you film and your questions about poetry, I’m afraid there are no easy solutions to the writing of it! If you mean research in terms of how to write poetry, the rules of others might impede your own natural instincts. Poetry is something you just hear in your head, like a rhythm. Try to write as simply and as honestly as you can. Edit out what is unnecessary to the rhythm. Subtitles themselves are best simple, so poetry is an interesting idea for film. All you can do is listen and see what happens! Good luck.

I could not help but respond to your work, both in terms of your approach to writing but also the way you present yourself. I admire your strength, clarity and especially focus. You just seem to have a certain balance that I can’t quite explain. Due to this, I feel compelled to write to you, and be so bold as to ask for some advice.

I am currently planning to compose a short film celebrating three realms of Sydney – beach, bush and city – whilst at the same time being a poingant metaphor for the Human Condition. I am also hoping to splice the genre of film with poetry; with either poetry in subtitles, or as separate stills signifying something. However I am making very little headway in terms of my poetry. Perhaps research would be my best option, and this would further my ideas. Still, any and all words or advice from you I would immensely value; specifically in regards to this, or writing in general.

I have rambled a bit, but still, I hope it was not a chore to read.
Thank-you very much, and I completely understand if this is not a concern for you, and you do not reply. Please, reply through comment or if you prefer via E-mail; my address being the.ant.returns@gmail.com.

I look forward to hearing from you in the future, directly or otherwise.
- Anthony McMenamin