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THE LEECH
A Highveld Gothic by Wilhelm van Jaarsveld

Kempton Park is not the Gauteng of brochures. It is mine dumps pink at sunset, load shedding at six, jacarandas rotting on the verge, and the thin places between Bredell smallholdings where grief can be rented.

Daniel Steyn is seventeen. His mother Charlotte died in April. Seven months later, he is still hearing her voice in Spar parking lots and burning toast on purpose just to remember.

Then Annika Kruger walks into the Birchleigh North library. Seventeen, Waterfall posh, gold septum, black Moleskine, white Golf GTI. She says she understands. She says she can teach him to remember correctly.

She gives him a red cord. One knot to remember. Two knots to hear. Three knots to keep.

What starts as comfort becomes a circle of salt, cracked mirrors, and deleted voice notes. Annika does not heal grief. She leases it. And she has done it before.

Set between Jeugland, Pomona Road and the R21 at night, THE LEECH is a South African ghost story without ghosts. It is about the danger of wanting your mother back badly enough to let someone else hold the key, and about the bravery of choosing the kitchen light over the dark circle.

For anyone who has ever kept a voicemail just to hear a voice one more time.

Wilhelm is 'n Suid-Afrikaanse digter wie se werk delf in die stil ruimtes tussen hartseer en grasie, herinnering en betekenis. Met 'n stem wat beide teer en onwrikbaar is, ondersoek sy poësie temas van veerkragtigheid, vaderskap en die blywende eggo's van liefde en verlies. Elke vers is met intensie geskryf - 'n balans tussen emosionele egtheid en liriese presisie - om lesers 'n spieël vir hul eie reise te bied. Wilhelm skryf om te inspireer, te genees en ons te herinner dat selfs in die nasleep, skoonheid steeds in die gebroke gevind kan word