Elegant pros written not to impress, but to express. There is cathartic release in turning the thoughts of the mind into words on paper, and these personal thoughts and observations, when penned alone, have an honesty, transparency and humility that is rare to find elsewhere. The Journal of Katherine Mansfield is a book which possesses this rare form of honesty, and one which has the power to connect with an audience generations removed.
 
Within her journal, Mansfield eloquently articulates life’s duality. You can feel the weight of her sickness, doubt and depression in the words of a single passage. Yet, in one passage more, the shadow cast on her living room floor can remind you of the exquisite simplicities that bring wonder to an attuned eye. Her every detail and observation is expressed in such a way as to inspire your own commitment to take in life more presently. Her health hinges on these observations. Persevering through periods of sickness, she draws in life's details to give sustenance to her continued living.
 
The duality of life, and the doubts held by Mansfield in her ability to persevere, are themes carried throughout her entries. The universal nature of Mansfield’s doubts and struggles make the book timeless. Though we live in what has been labeled an egotistical era, we are as self-critical and self-conscious as ever. We measure our efforts, happiness and talents against the social media curated versions we see of others—versions which cast our peers through a rose-colored, and not truly authentic, lens. The honesty Mansfield shows in expressing her own reservations, insecurities and doubts transcends generational lines, allowing her work to maintain relevance today, almost a century removed from the time when her words were written.
 
The Journal of Katherine Mansfield spans from 1910 to 1922, documenting the time when she lived primarily in London, pursuing her work as an author. Her words, though they are from a different time, are valuable to hold alongside the voices of the present. Each voice adds to the greater dialogue, and as a voice for women, Mansfield’s holds a strong place. Her entries are not filled with longings toward men. She is a driven by passions beyond relational fulfillment. Her identity is not tied to a man. Rather, it is tied to her life’s work—her writing, which she pursues fervently and tirelessly. In this way, she does not fit the traditional cast set for women of her time. She defies the bounds of gender normativity, and stays committed to her passion, while still acknowledging her own frailty and humanity. She is not always strong. She is not without emotion. She can long for a man, but she knows a man will not fulfill her life’s purpose. Above all, Mansfield is willing to fight, even when the fight exhausts her. She fights for honesty and she fights for her deepest desire, “to be a writer, to have ‘a body of work’ done.”
 
Though perhaps less acknowledged than her peers, like Virginia Woolf, Mansfield’s voice is one which should not be ignored. It deserves to be heard, for in it is the comfort of a human soul which longs and desires deeply, and which sees life through a candid lens. It acknowledges the beautiful intricacies, and the numbing pain that coexist in the days and months of fleeting years.

Anyone living or visiting London, I highly suggest a visit to Persephone Books, easily my favorite book store in London. Persephone aims to republish works, primarily by women authors, that have been overlooked and under-appreciated. The gender gap was just as present in the publishing world as it was in other industries. I myself for quite some time, counted Hemingway, Fitzgerald, Steinbeck and Dickens as among the best authors to exist, failing to acknowledge their female counterparts, primarily because I'd never been exposed to their work. I now count many female authors within this list and am grateful for my every visit to Persephone books, where I find even more female writers to hold in admiration. Located on Lamb's Conduit Street, and only a few doors down from Noble Rot Wine Bar (the perfect pit stop after a purchase, if you ask me), it's certainly worth stopping in. I've posted a link to Persephone's website below, if interested.

"I know what it's like to hold and not be held"

Moses Sumney has been singing that line since 2014. It is no less resonant now, when he sings it to a field at a festival, than it was when he sang it in a quiet New York City room. A single from his first EP, "Plastic" makes its appearance once again on Sumney's debut full album, "Aromanticism."

"Aromanticism" is sensitive, ambient, artistic and impassioned. A sense of longing billows out as layers of vocals cascade over a softly strumming guitar in "Indulge me". "Lonely World" creates a hypnotic field, where the sounds and feelings of an isolated mind echo and roll into each other. Sumney confronts the undesirable, the impure, the frailty and the imperfections that define the human condition. Using sound to cast these emotions into sonic form, Sumney is unrestrained, pulling jazz, soul and blues influences into ambient form. Paired with the sultry tone of his voice, Sumney brings "Aromanticism" into full form, crafting it with an honest and artistic edge. ​

I can be a little partial to the talent coming out of Nashville, and Liza Anne is no exception. My partiality, at least, seems to be precedented. I came across amazing musicians during my time there, who only continue to impress me. From her debut album, "The Colder Months" to her recent singles, "Closest to Me" and "Paranoia," Liza Anne has seemingly come to her own. Taking the pure tone she brought to her first album and pairing with it an air of confidence, boldness and delicacy co-mingle, giving the singles a certain strength. There's still a sense of melancholy beneath it all, but one that is carried by an artist who is self-assured and comfortable with her talent and her sound.