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Tap to send me your reflections ♡ Today we're doing something a little different. And you'll hear I'm a little nervous! I have asked Susan to be my kind guide, to help me explore and share the source and meaning of the My darling girl poetry(ish). She asks questions that help uncover the deep sensitivities within these pieces of writing - and we explore how often the things we create don't feel like they come from 'us' at all. My darling girl vol. 2 is published May 30 2023 Last date for p...
Tap to send me your reflections ♡
Today we're doing something a little different. And you'll hear I'm a little nervous!
I have asked Susan to be my kind guide, to help me explore and share the source and meaning of the My darling girl poetry(ish).
She asks questions that help uncover the deep sensitivities within these pieces of writing - and we explore how often the things we create don't feel like they come from 'us' at all.
My darling girl vol. 2 is published May 30 2023
Last date for pre-orders of this first edition 10 May 2023
To order, go to https://www.hennyflynn.co.uk/books
REFERENCES
Elizabeth Gilbert - TED talk: Your elusive creative genius
Ram Dass - quote: "We're all just walking each other home"
Emily Dickinson
To watch on YouTube https://youtu.be/Rrq4zcEmyT4
***
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Henny shares insights from her own life, alongside practices that help us connect with our inner wisdom, explore our relationship with change and find a greater sense of flow. Henny believes we all hold our own answers, so there are no one-size-fits-all solutions here. This is a space to be with what’s true for you, and to grow from there.
If you’re drawn to slowing down, listening in, and exploring what it means to live with greater authenticity, this podcast is for you. Guided by psychology, mindfulness, therapeutic coaching, flow journaling, and everyday compassion, we explore ideas that help us step further into our inner worlds, in order to shape the changes we seek in our outer worlds.
Unknown: The adult parts, caring
for the inner child, the inner
adolescent. And. And actually,
yeah, maybe there's something
about that phrase, which enables
us to tap into both, you know,
all of the ages. I mean, that's
why, you know, I use the phrase
like it's for all the girls and
women we've ever been because
it's all the ages. You know, you
use the phrase, my darling girl
to a 25 year old to a five year
old to a 15 year old to a 53
year old.
Yeah, yeah, an 83 year old or 93
year
old. Exactly. Welcome to the
podcast. That's all about
deepening our self awareness
with profound self compassion.
I'm Henny, I write coach and
speak about how exploring our
inner world can transform how we
experience our outer world, all
founded on a bedrock of self
love. Settle in and listen and
see where the episode takes you.
Today, we're doing something a
little bit different. And I am a
little bit nervous. So welcome
back to season 10 of the
podcast. In this episode, I am
going to be talking once more
with my dear friend Susan
Macaulay. And if you've listened
to the podcast before, then
you'll be really familiar with
Susan and know that she's a
regular guest. This time, Susan
is going to be playing a
slightly different role from the
one that we normally do when
we're together. So normally, our
podcast episodes might be an
exploration of a particular
topic, like boundaries or
finding balance in our life.
Well, this time Susan, Susan is
actually going to be
interviewing me, essentially.
And I've asked her to come and
help me talk about my darling
girl. And my darling girl is a
collection of poetry ish, the
first volume I sent out into the
world in 2020. And the second
volume is about to be published
next month in May. And talking
about something that we've
created ourselves can be
challenging, complicated,
vulnerable, raw, painful, all of
those things, and having a kind
guide to support us in how we
explore something can be
incredibly beneficial. So I've
asked Susan to be my kind guide.
And today, that's what we are
exploring really is the kindness
of the inner guide, which is
really how I see that voice that
writes the My darling girl poem
so Susan is now with me in the
room. And I'm just going to hand
over to her
I'm happy to take that take that
baton. Hey friend
it's really good. So
lots of creative energy is been
flowing from you. As always, and
but a particular focus lately
and a new volume of my darling
girl poetry. So big, big project
and a big release. Yeah, like
letting go and letting it out
into the world have its own
experience. And, and I'm curious
if we could maybe back up quite
a bit and in go to talk about
the time when the first darling
girl poems started arriving to
you. And what that experience
was like, what was going maybe
what was going on in your life
and your external life and then
what was going on inside that
began this process this project
that probably didn't feel like a
project when started
No, absolutely. Certainly not
and in fact felt like was just
one piece of writing that landed
on a piece of paper. And, and
began with those words, my
darling girl. And it's really
interesting actually, because I
think like so many of us I'd
journaled before, or I've
written before, not necessarily
calling it journaling. But I'd
written before and I've had a
kind of connection with, you
know, some sort of in a wisdom
or in a, in a knowing nurse, but
it hadn't arrived in quite that
form before. And so I was, I was
in OB, there, I was on a yoga
retreat, I was in a process of
recovery from burnout. And I was
given like everybody else on the
retreat, this invitation to
write a letter from a future
self, actually our future kind
of wisest, older self back to
the person that we were in that
moment. And, and this piece of
poetry ish, landed on the paper
beginning with the words My
darling girl. And it's funny
actually, just kind of recalling
that because I had forgotten
that that's where the voice kind
of originally felt like it came
from it felt like it came from a
future me. And, and that first
piece I shared with a couple of
my roomies on the retreat, and
they both started crying, I seem
to remember telling me that I
needed to share it with others.
And there was an intensity in
the moment of writing it that
felt like flow. And, you know, I
think I think it was the first
time I was really, really
consciously aware of the
experience of that word that
other people talked about. And
then, and then that was in 2017.
And then since then, I must, I
would say, well, at least 100,
maybe hundreds, I don't know,
actually, how many. But they
land. They land in times when I
really really need them. And so,
at that point, in 2017, I was
embarking on a huge process of
inner and outer change. And that
voice, those that process of
writing accompanied me through
that whole period of change. You
know, and really enabled me to
get inside incredibly complex
things that I was feeling. You
know what got, I'm talking
talking to you now I've got such
a wave of emotion. I mean, it's
like my body is actually
shaking. And any moment I'm
like, burst into tears.
That's an interesting
information. Yeah.
So it's what it strikes me is an
interesting thing. I having read
the first volume of my darling
girl, but not yet the second. I,
I guess I always imagined that
the poems were written from now,
back to a younger self. It's
very interesting, and I would
say quite different, to have it
be a future self writing to
yourself now in a tangle of
transition in a place of
uncertainty or Maybe, yeah,
maybe just feeling adrift in
some way. And, and having this
voice come from the future to
support you? That that feels
very different.
And incredibly comforting. Yeah.
Because it meant that throughout
that whole period, I was
accompanied, yes.
Yeah, it reminds me a bit of
that. The Ram Dass quote about
all, all it all we're all doing
is walking each other home. And,
and that feeling, that really
visceral feeling that I have,
which is that I am accompanying
myself or there is a heart that
is accompanying me. And, and
that we all have this part, this
inner voice this wisest, right,
I'm just kidding, clearest heart
that we can tap into.
Yeah, so let's talk about that,
since we do all have that inner
wise one. But most of us have a
whole chorus of voices in there.
Not all of which are so kind and
supportive. So it sounds to me,
it's certainly for the in
regards to the first poem, it
sounds like you were in a
particular place, you know, you
were you were in a retreat
situation, you were focused in a
particular way. And that allowed
you to perhaps turn the volume
down on the less helpful ones,
and turn the volume up on this
wise woman who is coming to
accompany you. And so when
you're not on a visa, on
retreat, how do you find her?
How do you connect with you that
that wise part?
So okay, so what my instinctive
response to that question is,
that it's almost as though that
first one opened a channel then
I was able to tap into that, art
that voice whenever I needed it.
And, and still today, even
though the, you know, that
really turbulent period of
change has settled dramatically.
And I would say I'm, I'm in a
much, much more sort of
grounded, still fluid, but more
grounded place, I can still tap
into that voice Sure. When
needed, and it's interesting,
actually, because I think
there's volume to the some of
the tone of the writing has
changed in line with the changes
that I have made and been
through and experienced. And,
you know, what I found at the
beginning, so when I first kind
of returned from my base there,
there was this sort of
realisation of, you know, I have
a memory of kind of feeling
rubbish, you know, like feeling
like, stuck, and, oh, no, like
everything that I brought with
me from that experience, and I'd
be through it sort of fallen by
the wayside. And, you know, and,
and then remembering that piece
of writing and actually going
back to it, rereading it, and
then asking for some guidance.
And, and just beginning writing
those words, my darling girl at
the top of a piece of paper, and
then and then stuff sort of
tumbling out. And so I think,
actually, you know, really those
words My darling girl became the
channel. It was a way of
addressing myself in the
tenderest term. Yeah, I think
there's something really, really
powerful about that, actually.
And maybe that's something that
resonates with others too, that,
you know, it's like it's such a
term of endearment. It can, it
only feels kind to me. And so
therefore, whatever words come
next will be kind.
I'm curious, does anyone in your
life ever called you my darling
girl?
You know? I don't know, it's
interesting, because people have
sort of said to me that there's
this sort of assumption that
it's like, it's my mother's
voice, or you know, or, you
know, a grandparent or
something, but I don't know. I
mean, I, I kind of guess,
possibly, yes. But there were
there were other terms of
endearment. But I, I don't know,
I genuinely don't know.
You don't have a strong memory
that that was that was part of
the question is, is, is Is there
someone other than your future
self, or in addition to your
future self, who is accompanying
you? And I kind of love the idea
that this is just a term of
endearment between you and you.
Yeah. And that is how it feels.
Because actually, I think, I
think it's a phrase that I use
to or, you know, would use, if I
had a daughter, I think it's a
phrase that I might use. So
maybe it's kind of it's the me,
it also feels like there's a bit
of that kind of transactional
analysis, you know, the kind
parent, there's sort of the the
adult heart earring for the
inner child, the inner
adolescent. And, actually, yeah,
maybe there's something about
that phrase, which enables us to
tap into both, you know, all of
the ages. I mean, that's why,
you know, I use the phrase like
it's for all the girls and women
we've ever been, because it's
all the ages, use the phrase, my
darling girl to a 25 year old to
a five year old to a 15 year old
to a 53 year old. Yeah, yeah, an
83 year old or a 93 year old.
Exactly.
What it cost to mind is the
practice that Elizabeth Gilbert
describes that she does every
morning, which is she begins
writing, I think, on one side of
a piece of paper that says, dear
love, I need you, or I need help
or something like that. And it
really sounds very similar. It's
just like, by writing that, she
taps into this voice of the one
that she always wanted, and
allows love to write back to her
saying all the things that she
always wanted someone to say,
and never did. And then she just
taps into that, which is already
part of her. They just think
it's so profound. And it feels
very similar to what you're
talking about. That
really strikes a chord,
actually, I, I remember. Yeah,
after I published the first
volume and seeing that that was
what she did, because often what
I will do in my journal, so in
my journal, I'm still writing to
I'm often writing to that voice.
So my darling girl, is that
voice writing to me? And in my
journal, I'm often writing to
that voice. So I'll say can you
help me? Or I'll say, are you
there? And and, I mean, that's
my, my kind of when I'm feeling
lost, I will write Are you
there? And they reply, always.
I was just gonna say, yeah, just
waiting waiting for you to ask.
Yeah. Yeah. Yeah.
I just say my Domingo posts are
also things that just sort of
land. So again, sort of talking
Elizabeth Gilbert, she didn't.
Brilliant TED talk on genius. So
after she had the phenomenal
success with Eat, Pray, Love.
She did a TED talk all about,
you know, the awfulness of the
second level. And, you know, and
how This idea of being told that
you are a genius, can leave you
utterly standard creatively. And
she explores the whole concept
of what genius is. And
originally the term genius was
something that was apart from
us, like amuse genius. And and
so you're in like ancient Greek
and Roman times, the idea was
that your genius would every now
and again, like, throw something
at you? And you know, if you
caught it brilliant if you
didn't, well, you missed it, and
someone else would catch it,
someone else will catch it.
Exactly. So we'll catch it. It
wasn't like something that came
from inside yet. And, and I've,
again, I sort of watched this
TED talk, like after having been
experiencing this flow of words
from the part that writes My
darling girl. And, and it has
never felt like me, I don't own
responsibility for any of the
words that lands on the paper. I
mean, they literally they are.
They're not mine that this thing
happens, words fall out of the
pen, I end up with something.
Yeah, piece of paper. And, and
she one of the things that
Elizabeth Gilbert talks about is
a moment when I think it's
Leonard Cohen, and he's driving
in his car, and this song lands
fully formed, and he's just
shouts up at the sky, you know,
I haven't gotten a pen.
Yes, yes. Yes. Yes. This feeling
of Yeah, that.
This, that I've got to be there.
There's there. I can't Oh,
shoot, I can't remember the the
poet. But she was, she was a
young girl. And she, she saw the
poem coming. She could feel it
coming and runs, she was in the
field or something. And like,
ran as fast as she could to get
to the house. So she could write
it down. Yeah, this feeling
Yeah. Right. And I love the way
Elizabeth Gilbert talks about
this whole thing. And, and what
I appreciate as a creative
person is that we cannot control
what comes. We can't even
control really, when, but what
we can do is be prepared and
show up and be ready to catch
whatever may be coming. And this
is, this feels very much about
our sort of cultivating a
relationship with the inner
voice that allows us to have
this exchange right with to say,
are you there? Can you help me?
And also, to be there when she
has something to say that you
might not expect?
Yeah, and sometimes it's
something that you might not
necessarily want to hear? as
well. Yeah. Because we love
getting lost in our stories we
love, you know, holding a
certain perspective. And, you
know, there are times when, I
mean, certainly in my journal,
I'll often you know, sort of,
I'll be writing something and
then I'll get this huge smile
across my face as I'm writing
because I'll just be like
I got it. Joy being like, you
know, in that frame of mind, and
now you've gone and just whipped
the rug out from and you show me
there's a completely different
way to view this. And it's all
right. Yeah.
Yeah. So as your you open this
channel, to your wise companion
when you're in Ibiza, and and
you've now cultivated a
relationship for many years. And
I'm curious if you're noticing a
difference in that relationship
and difference in the minds of
transmissions you get or ask for
if the voice has changed at all.
How does how does that How is
that relationship
evolved? Is such a lovely
question. So when when I I was
given the opportunity to publish
the first volume in early 2020.
It was pandemic. Yeah. So sure.
I was just thinking actually,
that's interesting. So it was
like three years to create the
first book. And then it's been
like three years to create this
one as well. I haven't blocked
that.
So, apparently the gestation
period. Yeah. One book of
poetry.
Three year?
Oh, because it is like giving
birth. That is for sure. I, I
was really worried when, when I
sent that first volume out into
the world. I genuinely thought,
right, well, that's it. I'm
never going to write another
one. Like, oh, well, you know,
and I kind of had to really work
out how to be at peace with
that, because I had this feeling
of grief, that, I would know
that that voice wasn't going to
come to me anymore. And it was
almost like, well, this is this,
the reason why all of these
pieces came was so that they
could come together into this
book, you'd have that
conversation with Carl, Carl
would then say, well, I'd like
to publish it, he would then
send it out into the world. And
that was it. That was what was
meant to happen. And it
happened. Done. Yeah. And, and
so when that next one landed, it
was like, Ah, really, I mean,
the relief was just enormous.
But I do think I think something
has shifted.
Maybe partly in the kind of mind
recognition that I can turn to
that voice. You know, sort of
more, rather than always just
having to wait for it to land,
which I think is what I was
doing for the first few years
was just, you know, kind of
trusting that it would turn up,
whereas now I can be a bit more
almost proactive about it and
just say, you know, I'm looking
for a bit of guidance, and, you
know, begin with those words, my
darling girl. And I do think I
think there's something there's
something about the complexity
of what I was experiencing with
those first few poems, or those
first few years of that change
process. That meant that the
writing itself and you know,
needed to get in underneath
those different layers and help
create some clarity around that
complexity. And and I'm Yeah, I
don't know, I don't know if
there's some. Yeah. Has that
changed? I think only people,
people who read the second
volume will be able to tell me
whether it as I'm guessing it
probably has, I can't my
instinct says it has because
because I think this stuff. The
stuff that it's addressing now
is is is no less deep. But maybe
my experience of those things is
slightly less complex, or Yeah,
I don't know, you see some
maybe you've maybe you've been
learning from this voice gonna
really hand right and evolving.
I mean, I sort of think of the
two of you kind of travelling
through time and space and life
and this parallel track, that
you will never meet up with that
voice. That voice will always be
an older, wiser version of you,
no matter how old you are, and
no matter but together you've
been on this path of discovery
and support and,
and so and because of you know,
I'm I'm an older version of
myself now, and I'm a little bit
closer to where that voice was
when she raised writing to me.
Right? And so therefore this
stuff. Yeah, I love that. I, I
think and, and I suspect that
that will be the case as well
for the people who, who read the
poems and resonate with them
because they, too, are further
along their life paths than we
were right.
We're all different. Yeah, I
mean, and truly, even with we go
back and read the first volume,
we are different people. And so
we see different things and
receive different things.
Yeah. And you know what, I can
go back and read that first
volume. And I do sometimes it's,
they I can really happily say
this, you know, I'll pick up the
book and open it at random and
read something completely
different and not recognise that
I even was the like, the vehicle
through which,
yeah, that you were actually a
strong participant in
literally no memory of some of
them. I mean, that's thing.
So would you do you have it with
you? Do you could you read us
one from the first volume?
I the first one here?
Do you want to do it at random?
Or do you want to do the first
one or something else?
What's What's your instinct?
I kind of want to hear the first
one. Okay.
And I know exactly where it is
because it's the last one in the
book.
Interesting choice.
Okay. My God and go on. Look at
all you have achieved. All the
adventures the challenges, the
grand mistakes, the effortless
successes, the tears and
triumphs, the loves the
friendships that never quite
connected, the mountains climbed
rivers swamp, and Boris, you
flown over, look at all the
things that have brought you to
this place. And remember that
all those resources reside
within you. They are you. So
this fresh future that opens up
before you is one you can enter
into with a glad heart and
spring in your step because you
have a pocket full of everything
you need to greet it. Take heart
Daigo and remember what joy
there is in stepping to the edge
of the water and diving in. And
remember what joy there is in
breaking back through the
surface and breathing deeply.
lungs full and limbs strong,
powerful present and perfect in
every one of your imperfections.
We are all the people we have
ever been. And we hold their
lessons with us. Each one like a
flower ready to be picked when
the time is right. See the
garden you hold within a know it
grows just for you. The life
force to your own growth. Go be
do what is it like to read that
again?
Oh, it's funny. It's funny, I
can honestly burst into tears
right now. Yeah.
That fresh future
and it really was. Yeah, there
was such a huge
it was such a huge thing. That
was happening that was coming.
And it's it's that voice knew.
And I had no idea at that point,
right. That's the magnitude of
the stuff that was coming. Yeah.
And I was so grateful. I'm so
grateful to or to everything
that happened, including that
terrible experience of burning
out and being so critically ill
and, and to all the things that
happened since and and I'm so
grateful that for whatever
reason. I was able to find this
way of reconnecting with this D
troop. Part of me, you know,
when when I first after I
retrained and learn, you know
what I do now, I called my
business regroup. And it was
only after I decided to sort of
change it all and just name name
it the Henny Flynn and actually
like, you know, stand tall and
you know, stand in my own space
and be seen that I realised that
that word regroup was actually
what I've been doing. I've been
regrouping myself had been
pulling all these like scattered
parts. And, and actually that's
what that that voice that's what
you know so much of it when you
read through the poems, so much
of it is about this, this
reconnection with self and, and
reconnecting with the deepest
love and the deepest compassion.
I sometimes call it remembering.
Yeah, as opposed to dismembered,
which is what often happens, we
get bowled apart in our lives
and then remembering
recollecting, as you say,
gathering yourself regrouping.
Yeah. And what also strikes me
and in this always sort of
surprises and delights me about
much beautiful art is that it is
intensely personal. And yet, it
is universal. At the same time,
there is this, that it's in some
ways, the more personal, the
more specific it is, the more it
can resonate with everyone. And
so I just, I mean, I'm thinking
about your roomie at the
retreat, saying, Okay, this is
not just for you, my darling
girl may be but Right. And so
this, this invitation to find
something for yourself within
yourself, but isn't only for
yourself.
I'm reminded, I think it was
something that you might have
said on the last episode of the
podcast that we did together.
Did you talk about how art for
you how that kind of creative
process is something that you
do? Because you enjoy the
sharing of it? And that no, that
was right. Yeah, you did? Yeah.
And you know, that, that, that
that is part of, of what makes
it? That's right. Yours is in
sharing with others. And, and I
feel there's yeah, there's a
real kind of resonance of that,
you know, with this, too.
I mean, if you think about what
you were sharing about Elizabeth
Gilbert and genius, and this,
that, that the genius is sort of
lobbing ideas and, and
inspiration and, and all of that
about, and if we're there to
catch it, it is part of the
process is then sharing it,
right. I mean, I I'm a genuine
believer that it isn't, even if
it comes through us, even if
it's feels very personal. It
isn't just it's not just about
us. It's about a broader
experience. And and one of the
things that we talked about was
my darling girl is of course, a
gendered phrase. One that is
that is very precisely directed
to you, Kenny, in that this
precious wise voice is seeing
you and acknowledging you. And
yet the message is not. It's
sort of this interesting
paradox, right. But the message
isn't just for you. It's very
precisely for you. And yet not
only that,
yeah, I think that word paradox
is absolutely right. Because
it's it's also this so one of
the Things that I've I've shared
elsewhere is that I'm, I'm
deeply mindful of the fact that
it is it is a very specifically
gender based word. And yet, the
intention is that the words can
be read by everybody in whatever
way they most resonate with the
however you identify whatever
language you identify with
whatever, you know, sort of
language resonates with you. And
so, I suppose kind of, it's
really curious actually, because
I have, you know, toyed with the
idea of like, should it should
inverted commas, I mean, that
that's a clue that's a red flag.
That's a red flag. You know,
should it be my darling one, you
know, so that it speaks to
everybody? It speaks to more
people, but, but then I,
whenever I have that thought,
you know, that very kind of
grounded, you know,
interconnected thought. I also
then come back to but these are
the words. Yeah, words that
landed and so, so it's a bit
like you know, so Anton, you
know, will, will help me
proofread the book, you know,
and is helping me proofread
Volume Two at the moment. And
he'll say things like, your
punctuation is a little bit all
over the place, and I'll get ya.
Like, that's, that's
responsible for that. Yeah.
I mean, like, it's not really my
fault, because I'm writing. Just
writing it down. Exactly. And
yeah, someone switched on the
dictaphone. And I just, I just
wrote what there was. And, and
in the same way, it's like, I
can't edit that, you know, the
language so that it's cool, my
darling girl, but however,
however, anyone who wants to
read those words, change them to
resonates most for you, because
this voice I think, to your
point, says, you know, this
voice is about being seen in the
tenderness, kindest, most loving
way that you can be seen. So, if
your phrases my darling one if
your phrases my darling child,
if your phrases My darling, yes,
my most love my beloved, you
know what? Might be read it as
that?
Yeah. And I love. I love that.
Like, yes, I know, lots of
comments. I had nothing i What
could I say? Yeah, I totally
reminds me, it reminds me of
Emily Dickinson, who I don't I
don't know what her process was
I my, my sense is that she was
very meticulous in her
composition. But I remember the
story of when one of her poems
was being published and probably
was being published under a
man's name. It's I think, I also
remember that, which just the
her whole story just makes me
believe. But the editor said,
you know, you didn't have the
your capitalization was wrong
and your punctuation, so I fixed
all of that. And she was just
like, No, no, you don't touch.
Don't touch it. Yeah, because
this is what came. And this is
what I meant to say. I did not
mean to say something else.
Yeah. Yeah, absolutely.
Absolutely. Because one of the
poems in the new book has got no
capital letters at the
beginning. And in fact, no
capitals in it at all, including
the word God. Not capitalised.
And so and it's how it's meant
to be like, it's just like,
because the minute you bring in
capitals, you it confers
different meaning on it, and it
becomes something completely
right. That's right. And so it
is all lowercase, because that's
the that's the essence of what
it's about. And yeah, and also,
I mean, like there Yeah. So
funny. When I first read through
the book, I also realised that
most of his comments were to do
with punctuation. And there is a
reason for this. Like he did
teach English that when we lived
We lived in Egypt and Lisbon for
a few years. And he was an
English teacher. So you know, he
does know about this stuff. A
lot.
But my darling girl does not
follow the same rules that
Anton, the English teacher.
Yeah. And so I appreciate that.
I appreciate that. In some ways,
what you're sharing is, is this
is what this is the message from
my inner voice. And you you're
one darling one have an inner
voice to and it might speak to
in different language. And yet
it is there. I think that that's
part of the invitation that I
received from these these uses
is is lucky now she bravely
caught the words from her inner
wise one, and bravely shared
them and invites me to find my
own. My own inner voice my own
and to hear, you know, if those
words resonate with you, if they
land somewhere in your heart in
the way that they landed in
mine. Beautiful. Yeah. And if
they don't, that's okay, too.
Yeah. Yeah. Like it's all okay.
Yeah, I think that's, that
really is like the fundamental
message through every single one
of these pieces, both volumes
every every other like, I have
them scattered all over the
place. And you know, every
single one the message is, you
know, it's okay.
It's okay. You're okay. And I'm
here with you. Yeah,
in fact, that is one of the one
of the poems in Volume Two
begins. I am here I am Here I am
here.
Oh, do you have it?
Do you know what I can? I can
press pause. I can find it.
Doo doo doo back
this is because each one each
one was a moment each one was a
moment in time when this is what
I needed to hear. And this was
my darling girl. I am here. I am
here. I am here. I am holding
you. I am loving you. I am with
you. This will pass I promise
you my love. This will pass. I
am here. Sit with me. I am here.
Speak your words. I am here.
Hold my hand. I am here. Feel
your pain. I am here remember
love I am here and I will never
turn away
yes for you and not just for
you. Yeah. Oh my goodness. That
is very beautiful. Thank you
Thank you for reading that
I'm so grateful for this
conversation you know I knew
this was going to be powerful
Are you you know there are times
I share about my darling girl I
you know I've reached a place
where where that agony of like
birthing each poem as I've sent
it out into the world it's it's
become less painful. No less raw
but less painful. But I've never
really talked about like the
salute. Like it's like it comes
up From the sort of bowels of my
soul. And I'm really grateful to
you for helping me share some of
this. And, you know, I am also
so incredibly grateful I get so
many amazing, wonderful messages
from people, Susan.
I'm sure you do. I'm sure you
do.
And it's the most humbling
thing. It really is. Because
it's not. It's nothing to do
with me.
Yeah. Yes, there's
the paradox, right? It doesn't
it doesn't. Yeah, that's right.
That's right. Yeah, I get that.
I get that feeling of it. Don't
know. Thank me if you like, but
yeah, I don't feel like I can
really take full credit for
this. Except for dictation.
And, you know, not adding in
full stops where they're not
meant to be.
That is correct. That is
correct. We're not going to do
that. Yeah. Oh, sweet friend.
Thank you. Thank you so much for
sharing this. And for sharing
the new book. Which is out when?
Question. So the date, the last
pre orders, so it's only
available by pre order. And the
date for last pre orders for
this first print run is the 10th
of May. And then, if, yeah, I
mean, just everyone listening.
So if you want to get your hands
on a copy, then go to the
website. Henny flynn.co.uk,
forward slash books, and you'll
see it there. And, yeah, and
then hopefully, really sort of
getting books into people's
hands and of May
lifer. Well, that's great
information, we will definitely
get that word out. I'm going to
skip over to the site after we
hang up. Yeah, thank you so
much. Thank you so much.
Well, as I said, I am deeply,
deeply grateful to CSUN for
accompanying me on that
exploration of my darling girl.
And of course, as ever, I'm
deeply grateful to you for being
here for listening. And if you
want to find out more about my
darling girl, then just head on
over to the website. And I also
leave you with an invitation to
see how it is to tap into that
calm, clear, kind voice that is
inside all of us. And maybe just
see how it is to find a place of
deep rest, deep relaxation
without any distractions. And
maybe begin with a letter from
your older, wiser self back to
the person that you are today.
Sending so much love as well as
a hug and a wave