Change in the House of…

Life is constantly changing, as it should. I’m of the mind that if things stay them same, we may as well cease to exist. Right now, the changes outweigh anything settled. It’s profoundly unsettling physically and emotionally.

The connections we make, the connections we miss, and those that break are in constant motion. Sometimes we need to go back to move forward.

We learn, grow, change, evolve.

I’m thankful for every person I’m crossed and blended paths with so far in this mad life. Even the horrors I would not change. There are pathways forming through the fog.

I am the Cycle Breaker

I’m the cycle breaker. The black sheep. The problematic relative who doesn’t endure bullshit because of a stupid thing like ‘blood’. I’ve often spoken up against wrongs and followed through in my actions.

When I was seven, I rejected eating animals. It was also around that time that I rejected the religion forced upon me, too. The hypocrisy was too loud for me to bear. How we are taught of love while we feed our bodies and those of our children with violence and murder?

Natasha’s just over-sensitive or impressionableshe saw a vegetarian once on TV; it’s a phase. My family would contaminate my food and lie about it. I’ve been cooking my own meals, for the most part, since I was eight. I was bullied, and instead of being supported, I was made to feel weak and as if I brought it on myself. I was the problem. I needed to harden up. Fight. I wasn’t rough enough, loud enough, or anything enough for my mother, and she let it show. As a teen, when I told her about a girl I liked, she flipped. Said all sorts of horrible things, and if my sister “ends up queer, it’s your fault!” Hell knows where that came from and why any form of queerness was considered a fault. But it was. I could have died. I wanted to die. I daydreamed about it a lot. There was even a sit-down talk with my mother and father, “it’s not Eve and Eve,” my dad said through gritted teeth at the kitchen table, adding insult to injury by throwing that drivel at their pagan practising daughter. I couldn’t open my mouth without being the family’s disappointment. Even when I kept it shut, I was wrong. Being a teen in their house—never my home—was hell. I had to leave school sooner than I wanted so I could work more hours, save and get the hell out of there. I made other excuses so no one’s feelings were hurt and they didn’t feel at fault. The house was increasingly volatile, and I couldn’t handle the hate and disappointment that emanated towards me every single day. I didn’t feel love. I never felt safe. I couldn’t be me.

When I sought help (after moving out), alone, for depression and being suicidal, telling them felt like coming out. I was attacked again. I should have known, right? I didn’t blame my parents for my mental ill health then. And yet, opening up and seeking support threw my mother into a rage, “You can’t blame me! You can’t blame us! There was nothing wrong with your childhood. You have no idea what I had to grow up with!” (I’m keeping the examples mild. Filtered. Even now, I’m protective). I felt like an idiot. Why did I keep trying to have a relationship with these people? Why, when I was consistently attacked, did I keep giving them fuel to burn me with?

I split up with my boyfriend, and instantly became a slut—because if you have sex with more than one person, you’re a slut, especially a woman. If a relationship fails that’s what a woman is. A failure, and a slut. Better to be with one person and condemned to an unhappy marriage than be, well, anything like me. My parents were occasionally supportive, but it was always finite and always used against me at some point—guaranteed.

My baby died in my belly. They were great, at first. Supportive the way you’d expect. Like everything, though, my grieving had a clock. not mine—someone else’s. Park it. Draw a line. Suck it up. Someone else is pregnant and I had to get over it. When they found out I had experienced loss before, I was attacked for not telling them, you know, for support.

Many folks talk a good game about breaking cycles and respecting and creating boundaries, especially when raising children. That has to be modelled. It took me a long, long time of enduring emotional abuse, banging my head against a brick wall in trying to communicate with people who didn’t want to hear me, let alone see me. I walked on eggshells for thirty years. My depression was my fault. I was a pervert. A slut. Too sensitive. Never ever good enough.

I will always be my parents’ failure.

It’s been ten years since I finally drew the line to break the cycle and stand up for myself. Life is too short. I’ve learnt my lesson, and it was damn hard. I am the cycle breaker—for me and my children.

Another Old Building

What a building.

I walked by this building daily for several years. It was in use then. Recently, I’ve been walking that old route that takes me through Elmbank Street and even on a bright day, it’s chilling to see it like this. This building is another stunning piece of architecture designed by 19th-century architect Charles Wilson. I’ve written a little about him before, in that he also designed (among many other landmarks around Glasgow) the entrance to Glasgow’s Southern Necropolis, which formed the stage for my urban horror short, City of the Dead.

This building was originally the home of a private school, Glasgow Academy, from 1846. When The Academy moved to the west of the city, it then housed The High School (the oldest school in Glasgow, established in 1460) until 1976. It has since been used as council offices and by the police and is now empty. The most recent proposal I read was that it’s under bid to undergo a 20 million pound transformation into a hotel and wedding venue. Hopefully, this old piece of history will get its new lease of life in the city. It’s sad to see it looking so abandoned amidst the changing dynamics as modern steel beams and glass-faced builds tower around her.

Visiting my Asylum

Did you know I grew up in the place that inspired the primary settings for the book Asylum Daughter?

The building I lived in no longer stands. Like much of Easterhouse, it has been flattened. Unlike other parts of the suburb, nothing has been built on that site. The land remains derelict, forgotten. Woodland sprawls behind where blocks of flats once stood. Bishop Loch stretches out within the woodland, then a little behind the loch stands the blackened sandstone twin towers of the old, foreboding, gothic administration building of Gartloch Asylum.

Bishop’s Loch, with the towers of Gartloch’s administration building.
Bishop’s Loch, with the towers of Gartloch’s administration building on the left.

Since its establishment between the 1950s and 1960s, the suburb of Easterhouse is, unfortunately, more known now for drugs, gangs and poverty. Still, the area is historically significant to Glasgow (and Monklands), though being on the outskirts, it may seem unlikely. Bishop Loch (Bishop’s Loch of Bishoploch) was home to Iron Age communities. During medieval times, it was part of a vast estate owned by the Bishops of Glasgow. Check out the historic environment record of the site here.

Gartloch Asylum (inspired the fictional Lochwood Asylum in Asylum Daughter) was located by Bishop Loch, between Gartcosh Village and Easterhouse. Glasgow Council acquired Gartloch estate in 1889 to build the hospital. Receiving its first patients in 1896, after that, a tuberculosis sanitarium, and nurses’ home were built on the estate. The hospital supported the war efforts during WWII and then became part of the National Health Service when it was established in 1948. The hospital declined from the 1980s and closed in 1996, one year before her centennial. In her almost 100 years as a functioning asylum, Gartloch has stories to tell. Just before the closure, the hospital was used as the fictional setting of St Jude’s Hospital in the Scottish drama. ‘Takin’ Over the Asylum’ (staring one of my favourite doctors as a patient!). Explore the historic environment record for the hospital here.

In the present day, the estate is known as Gartloch Village. Several buildings were converted into homes and apartments, with new housing built around the site. The grade A listed Administration building still stands looking over the village, though derelict, it continues to deteriorate year-on-year.

Until the development of Gartloch village (and for some, even now), the spot was favoured by urban explorers and those who love the thrill of the mysterious and abandoned with the enticing ‘do not enter’ signs.

If you fancy exploring how I used this estate as my setting, pick up a copy of my psychological horror, Asylum Daughter, and let me know what you think! Bishop Loch also inspired the stage for two of the stories featured in A Life of Suicides.

Art or Blood

When I become entangled viewing a piece of art, enraptured by the skilful technique and inspired by the story being depicted, through the palate, the stroke of the instrument, the shapes, the words, I don’t much consider the artist—at least not at first.

If art speaks to me, at that moment, that’s all that matters.

I cannot get on board with this peculiar demand for so-called diversity by being selective of the artists’ personal attributes before viewing the art. Let art speak up for itself. Separate the creation from the creator, just for a bit. An artist’s nationality, sex, sexuality, gender, health, colour, heritage, politics, experiences, age, family and all else has nothing to do with the viewer unless they choose to share it.

The demand for artists to expose themselves so consumers can feel good about being selectively diverse should stop. And no, I’m not what ‘they’ think I am either—as a writer and artist, I could expose and exploit personal details for targeted diversity marketing, as too many seem to do at this strange juncture. But, not everything is for sale. I don’t offer my body and who I am for vultures to peck to the bone. I’m not for sale; my books and art are.

Want to diversify the art being consumed?

Step outside your comfort genres, go to an exhibit ‘just because’, grab a book because you’ve never heard of the author or publisher, or because the cover’s texture made you want to run your hands all over it, or because it had that ‘read me’ smell.

Enjoy the art without baying for the artists’ blood.

eBook Sale

‼️LIMITED TIME ‼️

Thank you to everyone who has supported my work this year.

And especially to those who have never read me before and taken a bite of my brand of macabre, magic and mayhem. I hope you enjoyed what you’ve tasted.

With much more on the dark horizon, I am offering Clan Witch ebooks for just £1 each.

If you fancy getting your e-readers (or reading apps) stuffed by me, just PayPal £1 (per book) to natashasinclairauthor@gmail.com , along with your chosen title(s) and email address, and I will deliver.

Presence over Presents

Autumn into winter is my favourite time of year. I love how nature sheds her skin; wild things stockpile life essentials to coorie down in quiet dens, and the stasis of bulbs and trees. I’m inspired by the fall, the bands of light, the nip in the air. The quiet inspires.

Anyone who knows me knows how much I detest the hyper-commercialised consumerist calendar. It kills my soul knowing how profoundly distant we’ve become from the roots. It’s devolution, not evolution.

It’s a challenge to blot out that noise, and soak up the beauty beneath the tinsel, plastic, the abundance of waste and inhale the earth’s quiet song. It’s what I’ve always wanted to impart to my children, to appreciate and take stock of the real gifts and not presents that contribute to so many wrongs. Presence over presents. Appreciation of life not stuff. That noise has always fed my depression significantly.

As much as I’ve always been drawn that way, when I had the privilege of having my children, some folks expected that would change. And suddenly, I’d be all in for—Santa, Christmas, consuming and following the masses in the noise, the greed, the expectations, the stress. It’s depressing. It’s started early this year. My family’s den isn’t far enough away from the noise.

Learn and Revise

In October, I posted on my social media about my decision to pull A Life of Suicides (one of my first published books) from print.

This wee book is going through revisions and edits now. I knew I’d be mortified as soon as I looked at it! And again, I apologise to my readers for the errors. I’ve been on a continuous journey of learning and refining my craft(s), with much improvement since that book was published in 2018.

If you picked up A Life of Suicides before it was pulled, I’d like to offer a complimentary digital copy of the revised edition when it’s released—please reach out with proof of purchase (if you bought from me direct and don’t have a receipt, message me, I’ll remember you!).

The new, vastly improved second edition will be wrapped up by gorgeous original art by Don Noble of Rooster Republic Press.

The new edition can be preordered, digital and print editions release on January 1st 2024.