Thursday, 9 April 2026

Leaving / Living the Present I

 

Chapter 1 — The House Above the Vines

The house stood slightly above the road, as if it had taken a step back to observe the valley rather than belong to it. From the wide window of the living room, the vineyards stretched downward in disciplined lines, their geometry dissolving into the distant blue of Lake Geneva. Beyond that, the Alps held their silence.

He stood there longer than he needed to.

The coffee in his hand had cooled, unnoticed.

There had been a time when this view existed only in fragments—screenshots saved on a phone, weekend drives, quiet promises exchanged between him and his wife. One day, they had said. One day, this would be ours.

Now it was.

The mortgage contract sat in a drawer behind him, thick as a small novel. Numbers arranged over decades. A future already negotiated.

Everything had been calculated.

And yet, standing there, he felt none of the arrival he had imagined.

Only a strange continuation.

“Are you planning to move in permanently by the window?” a voice said behind him.

He turned slightly. His wife leaned against the doorway, smiling, holding a second cup of coffee.

“I think I already did,” he replied.

She walked in, handed him the warm cup, and followed his gaze outside.

“It’s still beautiful,” she said.

“Still?” he echoed.

She shrugged lightly. “You’ve been staring at it like it owes you something.”

He smiled, but it lingered halfway.

“I was just thinking…” he began, then stopped.

“That’s usually where you disappear,” she said gently.

He hesitated, searching for something that wouldn’t sound ungrateful, or worse—abstract.

“I thought this would feel different,” he said finally. “Like… we’d get here, and something would settle.”

She looked at him, not puzzled, not surprised. Just attentive.

“And it didn’t?”

He shook his head slightly. “It’s like I’m still waiting for it to begin.”

For a moment, neither of them spoke. Outside, a faint shout broke the stillness—children’s voices rising, then dissolving into laughter.

His wife tilted her head toward the garden.

“I think it already did,” she said. “You’re just not in it.”

The words landed softly, without accusation.

She touched his arm. “Come outside. They’re building something. Or destroying it. Hard to tell.”

He let out a quiet breath, somewhere between amusement and resistance.

“In a minute.”

She studied him for a second longer, then nodded.

“Don’t take too long,” she said, and left the room.

The silence returned, but it had changed.

He stayed by the window, but now the view felt less like an achievement and more like a question.


It hadn’t always been like this.

There was a time—he could still access it, if he tried—when being somewhere was enough.

A memory surfaced, uninvited.

A summer afternoon. He couldn’t have been more than eight. No plans, no structure. Just the heat of the ground, the sound of insects, the vague sense that the day would last forever.

He hadn’t been thinking about anything.

Not the next hour. Not the next year.

Certainly not the next thirty.

He had simply been there.

The memory didn’t arrive with nostalgia, but with distance. As if it belonged to someone else. Someone he could describe, but not fully recognize.

When had that changed?

He tried to trace it.

Perhaps later—when time began to fragment.

When the future appeared, not as a horizon, but as a requirement.

As a teenager, he had started projecting himself forward. Imagining versions of his life. Testing identities in private. Escaping, sometimes, into controlled experiences where nothing was demanded of him except attention.

It had felt harmless.

Natural, even.

But something subtle had shifted.

The present had become insufficient.

A place to pass through, not inhabit.


A burst of laughter pulled him back.

He glanced down into the garden.

Two of his children were running across the grass, chased by another pair—smaller, unfamiliar.

He frowned slightly.

More voices. Adult this time.

Then he heard it.

A voice he hadn’t heard in years, yet recognized instantly.

“Are we early, or is this Swiss punctuality finally flexible?”

He blinked, almost disoriented.

He stepped away from the window and moved toward the entrance.

By the time he reached the door, it was already open.

She stood there, exactly as he remembered and completely different.

“Surprise,” she said.

“Carla?” he said, half-laughing.

Behind her stood a man, relaxed, observant, holding a bottle of wine.

“We come with gifts,” he added.

“You come without warning,” he replied.

She stepped forward and hugged him.

“You always needed time to prepare,” she said. “We decided to remove that option.”

He laughed, genuinely this time.

From the garden, his wife appeared, smiling broadly.

“You made it!” she said, moving toward them.

Introductions followed easily.

Names exchanged. Hands shaken. Children absorbed into the existing chaos without hesitation.

Within minutes, the house shifted.

Doors opened. Shoes left behind. Voices layered over one another.

The stillness dissolved.


They gathered outside.

The table filled gradually—bread, cheese, glasses, the quiet ritual of assembling a shared moment.

Carla sat across from him, watching the children.

“They adapt faster than we do,” she said.

“To what?” he asked.

“To being where they are,” she replied.

He followed her gaze.

“They don’t seem to question it,” he said.

“No,” she smiled. “That comes later.”

Her partner leaned back.

“Or earlier, depending on where you’re from,” he added.

They laughed.

Conversation moved—countries, work, the small absurdities of relocation. She spoke about arriving in Switzerland, about the precision, the predictability.

“You know what’s strange?” she said. “Everything works. And yet, I feel like I’m always preparing for something.”

He nodded slowly.

“That doesn’t go away,” he said.

She looked at him.

“You have everything I thought I wanted,” she said, gesturing lightly toward the house, the garden, the life around it. “And you still sound like you’re waiting.”

He hesitated.

“I think I am,” he admitted.

Her partner raised an eyebrow.

“For what?”

He opened his mouth, then closed it.

“I don’t know,” he said.

There was no discomfort in the silence that followed.

Only recognition.


The children ran past them again, shouting something unintelligible and urgent.

His wife stood up.

“Alright,” she said. “Teams. You’re all being recruited.”

Groans, laughter, resistance.

She pointed at him.

“You first.”

He hesitated—just for a second.

Then he stood.

As he stepped onto the grass, the ground felt unexpectedly solid beneath his feet.

One of the children grabbed his hand, pulling him forward.

“Come on!”

No explanation. No preparation.

Just movement.

He ran.

Not far. Not fast.

But enough.

The noise rose around him—voices, footsteps, breath.

And for a moment—brief, unremarkable, almost invisible—something shifted.

Not resolved.

Not understood.

But inhabited.


Later, as the light softened and the mountains faded into shadow, he sat back down, slightly out of breath.

He looked at the house.

At the people.

At the scene he had spent years constructing.

And for the first time, he didn’t feel like he was approaching it.

He was inside it.

Not completely.

Not permanently.

But undeniably.

He turned to his wife.

“You were right,” he said quietly.

She smiled.

“I usually am.”

He nodded.

Then, after a pause:

“I think I’ve been living next to my life,” he said.

She didn’t answer immediately.

She just reached for his hand.

And stayed there.

Characters as Mirrors: Building a Collective Journey of Presence

 A powerful aspect of your concept lies in its plurality.

This is not a story about one man. It is a story about a generation, seen through multiple lives intersecting in a place like Switzerland—a country that itself embodies stability, precision, and long-term thinking.

By introducing multiple characters—men and women from different cultural backgrounds—you create a mosaic of relationships to time, presence, and identity.

The Protagonist — The One Who Realizes

He is not broken. He is successful. Loving husband, responsible father, homeowner near Lausanne.

And yet, he feels the gap.

His role is not to represent failure, but awareness. He is the first to notice that something is missing.

The Wife — The Anchor to Reality

She is not naïve. She sees what he does not.

Through her, presence is not a philosophical concept—it is practical, embodied:

  • Sharing coffee
  • Calling him back from thought
  • Inviting him into life

She represents a truth often overlooked: presence is not something we discover alone.

The Friend from Colombia — The Mirror of Movement

Her arrival introduces contrast.

She comes from elsewhere—geographically, culturally, emotionally. Her life is defined by movement, adaptation, ambition.

And yet, she envies what he has.

This creates a powerful inversion:

  • He envies freedom
  • She envies stability

Both are, in their own way, displaced from the present.

The Partner and the Children — The Living Present

The children, especially, are crucial.

They are not symbolic—they are real. They laugh, run, interrupt, demand attention.

They do not allow abstraction.

They are the present, embodied.

The Collective Scene — Where Themes Become Experience

The shared gathering—the barbecue, the conversation, the mingling of cultures—is where your themes come alive without explanation.

No one declares anything.

But something happens:

  • Laughter interrupts thought
  • Conversations replace projections
  • Time becomes momentarily irrelevant

And in that fleeting space, the protagonist experiences something rare:

Not understanding.

Not resolution.

But presence.


Final Thought

What makes your novel compelling is not its message, but its recognition.

Readers will not come to learn something new.

They will come to recognize something they already feel—but have never fully named.

And perhaps, in that recognition, they too might pause.

Not to plan.

Not to optimize.

But simply—

to be.

From Childhood to Forty: How We Learn to Leave the Present

 We are not born disconnected from the present.

Quite the opposite.

Childhood is perhaps the only time in life where presence is not something to achieve—it is simply the default state. A child does not plan joy. A child does not optimize experience. A child does not postpone living.

A child inhabits.

So what happens?

What transforms that immediate, sensory existence into the fragmented awareness of adulthood?

This is where structuring your novel across life stages becomes not just a narrative device, but a philosophical exploration.

1. Childhood — The Natural State of Presence

In early life, the world is not mediated by goals or expectations. Time is elastic. Moments stretch and deepen. A summer afternoon can feel infinite.

There is no concept of “later.”

This stage is important in your story because it creates contrast. It shows what is lost—not in a dramatic sense, but in a gradual, almost invisible erosion.

2. Adolescence — The Birth of Projection

Then comes the shift.

Teenage years introduce imagination, but also comparison. Identity becomes something to construct. The future appears—not as possibility, but as pressure.

This is also where early forms of escapism emerge. Not necessarily destructive, but indicative. The mind begins to wander away from the present:

  • Fantasizing about who one will become
  • Escaping into controlled experiences
  • Discovering pleasure detached from relationship

The present becomes insufficient. The future becomes seductive.

3. Twenties — The Era of Construction

Adulthood begins with momentum.

First jobs. First independence. First real decisions.

But with this comes a new logic: life becomes a sequence of strategic steps. Every choice is evaluated based on its long-term return.

  • This job leads to that opportunity
  • This sacrifice enables that stability
  • This delay ensures future comfort

The danger here is subtle: life becomes instrumental. The present is no longer a space of experience—it is a tool.

4. Forties — The Moment of Reckoning

And then comes the moment your novel begins.

The structures are built. The milestones achieved. The external narrative is complete.

But internally, something unsettles.

Because the question is no longer “What should I build?”

It becomes:

“Why does it feel like I am not inside what I built?”

This is where your protagonist stands—physically present, but psychologically deferred.

And this is where the novel finds its emotional core.

The Illusion of Arrival: Why We Keep Waiting Instead of Living

There is a quiet promise many of us born in the 1980s grew up believing: that life would eventually “settle.” That one day, after enough effort, enough discipline, enough planning, we would arrive. The house would be bought, the career secured, the family formed. And then—only then—we would finally live.

But something subtle happened along the way.

We learned to wait.

Not consciously. Not dramatically. But through a thousand small decisions. We postponed joy for stability. We postponed presence for preparation. We postponed life for what we believed life would eventually become.

And then, one day, we look around.

The house is there. The partner is there. The children are laughing in the garden. The mountains are still, eternal, indifferent to our inner storms. Everything is in place.

Yet something feels strangely absent.

The paradox is not that we failed to build the life we wanted. It is that we built it while being elsewhere.

This is one of the central tensions behind Leaving the Present: the idea that modern life, especially in Western Europe, has perfected the art of projection. We are constantly negotiating with the future—saving for retirement, securing mortgages, building careers—not because these are wrong, but because they silently replace the present as the place where life is supposed to happen.

We no longer live. We prepare to live.

And this preparation becomes endless.

Even our escapes reflect this pattern. The democratization of digital gratification—whether through entertainment, social media, or more intimate forms—offers us controlled, immediate experiences that mimic presence but require no commitment. No risk. No vulnerability. They are moments without consequence.

They are, in a way, the perfect metaphor for our time: experiences that feel real but remain disconnected from life itself.

And so we oscillate between two states:

  • A future we endlessly construct
  • A present we barely inhabit

The result is not tragedy. It is something quieter. A low, persistent sense of disconnection. A feeling that something essential is happening just outside our grasp.

What makes this theme powerful in a novel is not its abstraction, but its intimacy. It lives in small gestures:

  • A father looking out a window instead of joining his children
  • A partner noticing absence in presence
  • A conversation interrupted by thought rather than noise

The illusion of arrival is not broken by failure. It is broken by success.

Because when everything is finally in place, there is nothing left to blame.

Only one question remains:

If not now—when?

From Independence to Shared Existence

 We often celebrate independence as the ultimate form of success.

To be self-sufficient. To stand alone. To need nothing from anyone. These are seen as signs of strength, of maturity, of control.

And in many ways, they are.

Independence allows us to build, to decide, to move freely. It protects us from disappointment. It gives us a sense of autonomy that feels essential in a complex world.

But there is a point where independence, if left unquestioned, begins to transform.

It becomes distance.

Not an intentional distance, not a rejection of others, but a gradual separation. A way of organizing life that minimizes reliance, minimizes vulnerability, minimizes exposure.

And in doing so, it also minimizes connection.

Your character lives within this paradox.

He has achieved independence. His life works. It is efficient, structured, coherent. There is a certain elegance in how he navigates it—no unnecessary complications, no emotional dependencies, no unpredictable disruptions.

From the outside, it looks complete.

But completeness is not the same as richness.

What is missing is not obvious, because it is not measurable. It is not something that can be quantified or optimized. It is something that can only be experienced: the presence of another.

Not just physically, but psychologically. The experience of being seen, of being challenged, of being reflected back to oneself through someone else’s perspective.

When this presence finally enters his life, it does not immediately feel like an improvement.

It feels like a disruption.

Because shared existence is inherently less controlled. It introduces unpredictability. It requires negotiation. It exposes parts of oneself that were previously contained.

It creates friction.

And yet, within that friction, something new emerges.

He begins to see himself differently. Not as a fixed identity, but as something dynamic, evolving in relation to another person. He discovers aspects of himself that only exist in interaction—responses, emotions, vulnerabilities that were dormant in isolation.

This is the transformation.

Not from loneliness to companionship, but from static identity to relational identity.

He realizes that independence was never meant to be the final state. It was a stage. A necessary one, perhaps—but not a complete one.

Shared existence does not diminish who he is.

It expands it.

It introduces complexity, but also depth. It brings uncertainty, but also meaning. It challenges his sense of control, but enriches his experience of being alive.

And in that shift, he discovers something unexpected:

That true strength is not in needing no one, but in allowing someone to be part of your life without losing yourself.

That the most complete version of existence may not be solitary, but shared.

Late Openings: When Life Surprises You

 There’s a quiet beauty in things that happen later than expected.

Not because they are delayed, but because they arrive with a different weight. A different texture. They are not wrapped in illusion or urgency. They are seen more clearly, felt more consciously.

And yet, we rarely prepare ourselves for them.

We are taught—implicitly, constantly—that timing matters. That there is a sequence to life. Study early, succeed early, love early, understand yourself early. There is an invisible calendar against which we measure our progress, and any deviation from it feels like falling behind.

By the time we reach our 30s or 40s, many of us believe that the essential parts of our story have already been written.

We stop expecting major shifts. We refine, we optimize, we stabilize—but we no longer anticipate transformation.

This is precisely the state your character inhabits.

He has reached a point where life feels defined. The main paths have been chosen. The possibilities have narrowed. There is a sense of completion—not fulfillment, necessarily, but closure.

And within that closure, something subtle has disappeared: openness.

Then, unexpectedly, life interrupts.

Not with force, but with presence.

An encounter. A conversation. A connection that doesn’t fit into the established structure. Something that doesn’t belong to the “past” he has already organized, nor to the “future” he had projected.

And this creates a tension.

Because accepting this new possibility requires questioning the entire narrative he has built. It requires admitting that the story is not finished. That the boundaries he believed were fixed are, in fact, permeable.

This is not comfortable.

There is hesitation. Doubt. Even resistance. It would be easier to dismiss the moment, to categorize it as incidental, to return to the known structure.

But something persists.

A feeling, perhaps. Or a curiosity. Or simply the sense that ignoring it would mean missing something essential.

And so, slowly, he allows the possibility to exist.

What makes this moment powerful is not the external change, but the internal shift. He moves from certainty to openness. From definition to exploration.

He begins to understand that life is not linear. That growth does not follow a schedule. That some of the most important experiences are not those that happen early, but those that happen when we are finally capable of recognizing them.

Late openings are not second chances.

They are first chances—arriving at a time when we are ready to receive them differently.

With less illusion. Less projection. More awareness.

And perhaps, more truth.

The Myth of the Solitary Life

Many of us grow up quietly convinced that we are meant to walk alone.

Not in a dramatic or tragic way. There is no clear moment when this belief takes hold, no visible fracture. It settles slowly, almost invisibly, through habits, small disappointments, and the subtle accumulation of independence. You learn to rely on yourself. You learn not to expect too much. You build a life that functions well enough without requiring anyone else.

Over time, this becomes an identity.

You are the one who manages. The one who adapts. The one who doesn’t need. It even becomes a source of pride—this ability to move through life without leaning on others. People admire it. They call it strength. They call it maturity.

But beneath that surface, something else quietly takes root.

Resignation.

Not a loud, painful resignation, but a quiet agreement with oneself: this is how things are. You stop imagining alternatives. You stop expecting encounters that might shift your trajectory. Life becomes something to organize, not something to be surprised by.

The character you are shaping lives exactly in that space.

He is not unhappy. That’s what makes it more complex. His life is stable, coherent, even successful by external standards. He has built something solid. But it is also closed. There is no room for the unexpected, because he has unconsciously decided that the unexpected no longer belongs to him.

Solitude becomes not just a reality, but a conclusion.

And then, something happens.

Not a dramatic turning point. Not a cinematic revelation. Just an encounter. A crossing of paths. Something almost ordinary—so ordinary that it would be easy to miss if he weren’t, at that precise moment, slightly more open than usual.

And that’s where everything shifts.

Because what changes is not the situation, but the story he has been telling himself.

He begins to notice that his solitude was never inevitable. It was constructed—layer by layer, decision by decision, interpretation by interpretation. And if it was constructed, it can also be deconstructed.

This realization is subtle, but profound.

It doesn’t erase the past. It doesn’t suddenly transform him into someone else. But it introduces a crack in the certainty. A possibility.

And possibility, once it enters, is difficult to ignore.

He starts to see that independence and isolation are not the same thing. That strength doesn’t require distance. That a life can be both self-sufficient and shared.

What he had taken as destiny reveals itself as habit.

And habit, unlike destiny, can change.

This is where the real story begins—not in the encounter itself, but in the slow reconfiguration of belief. In the way he allows himself, cautiously at first, to imagine a different kind of life.

A life that is not defined by the absence of others, but by the presence of connection.