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Lisbon

01 — The essay this week

  • Writer

    Tomas Reyl

  • Topic

    Attention

  • Reading time

    18 minutes

  • In the letter

    Sunday, 25 October

A forest valley seen through the rounded window of a train

Fig. 1 — From the 08:12, somewhere past the second tunnel.

The window seat

On the forty minutes between two cities, and why I stopped working on trains.

For eleven years I took the same train, and for ten of them I did not look out of the window. I had a laptop, a deadline and a theory that time in motion was time that could be reclaimed. The country between the two cities was something that happened behind my own reflection.

1 The line runs through four tunnels. The second is the long one; your ears notice before you do.

Then, one February, the battery died somewhere past the second tunnel and I was left with the glass. I remember being almost embarrassed, the way you are embarrassed by a silence at dinner. A field. A row of poplars. A man burning leaves at the end of a garden, who lifted a hand as if he knew someone on board.

2 Poplars were planted along the old field boundaries. Most of them are older than the railway.

Nobody had told me that the view was the work.

I have since learned the forty minutes the way you learn a piece of music: the cutting where the light drops, the river that appears twice because the line bends back on itself, the level crossing where a dog is always waiting, though it cannot always be the same dog. None of it is useful. All of it is mine.

3 A reader wrote to say the dog is called Brás and belongs to the crossing keeper. We have not checked.

03 — First lines

Three openings from the autumn issues, set exactly as they appear in the letter.

Every essay starts with one honest sentence

We edit openings harder than anything else. If the first paragraph does not earn the second, the essay waits another week.

Place

16 min read

Three days without a horizon

The fog came in on a Tuesday and did not leave. By Thursday the village had stopped mentioning the sea, the way you stop mentioning a friend who moved away without saying goodbye. The gulls kept talking about it. Nobody else did.

Ines Calder

Read on

Kitchens

11 min read

Bread, twice a week

My mother’s recipe for bread has no quantities in it. It has days of the week. Flour on Monday, a starter that sulks if you speak to it on Tuesday, and one line, underlined twice, that says: not if it is going to rain.

Hana Oduya

Read on

Water

14 min read

The cold lake club

There are five of us, and none of us would call it a club. We meet at the jetty at seven, say very little, and walk into water that is nine degrees on a good day. Afterwards someone always says the same thing, and it is always true.

Will Ashby

Read on
A rocky coast and a pale beach half hidden in sea fog

Plate 12

04 — Field note

The coast did not disappear. It simply stopped insisting on itself, and for three days we had to take it on trust.

Plate 12 — The coast road in sea fog, from “Three days without a horizon” by Ines Calder.

All field notes

05 — The Sunday letter

One letter, every Sunday at seven

The whole journal arrives as a single letter: the week’s essay in full, a few things worth your time, and a reply to someone who wrote to us.

What is inside

  1. 1

    The essay of the week, in full

    No teaser, no click to continue. You can read it in the bath.

  2. 2

    Three things we read and kept

    Essays, letters and the odd recipe from elsewhere, with a line on why.

  3. 3

    A field note and one photograph

    Something one of the writers saw this week and could not stop thinking about.

  4. 4

    A letter from a reader, with a reply

    Write to us. The best letters are answered in public, and kindly.

Sundays, 07:00 Lisbon time

Free to read

Leave in one click

Verso

No. 48 · Sunday 25 October

Dear reader,

This week the essay is about a train window, which may seem a small subject for eighteen minutes of your Sunday. I would only say that Tomas wrote it four times, and that by the third draft I had started looking out of windows myself.

Also in this letter: three things we read and kept, a photograph of fog that took Ines two days to get, and a reply to the reader who asked whether an essay can be too short. It can. This letter is not that.

Make a coffee. Take your time. We will be here next Sunday at seven, as always.

Marta Vale

Editor, for the four of us

P.S. Tomas would like it on record that he still answers email on the train. Only on the way home.

Two hands around a white mug, in a soft grey jumper

06 — Writers

No guest columns, no rotating panel. The same four names, every week.

Four writers, one desk each

Each of them keeps a beat, a notebook and a strong opinion about commas. Between them they have written every word Verso has published.

A meadow with blossoming apple trees at the edge of a wood

01

Ines Calder

on land, orchards and weather

Keeps a ledger of one orchard through the year and writes about what growing things ask of patience.

Latest

Three days without a horizon

Read Ines
Old city rooftops and a cathedral dome at dusk

02

Tomas Reyl

on cities after dark and the trains between them

A former night editor who writes about the hours most people sleep through, and the places they pass on the way to work.

Latest

The window seat

Read Tomas
A wooden kitchen table set with blue plates, fruit and a coffee pot

03

Hana Oduya

on kitchens, family and inheritance

Cooks from a recipe box she inherited in two languages and writes about what families pass on without meaning to.

Latest

Bread, twice a week

Read Hana
A rowing crew on a misty river below a wooded bank

04

Will Ashby

on water, rowing and the body

Rows a slow river before work and swims in a cold lake after it, and writes about what effort does to attention.

Latest

The cold lake club

Read Will

07 — How an issue is made

Every issue follows the same seven days. We have tried faster. It was worse.

A week, from first draft to Sunday

One essay, four people and a calendar that has not changed since the first issue. This is what happens between a writer’s idea and your inbox.

Mon

09:00

The draft arrives

The writer sends the week’s essay, usually too long and always with one good idea in the wrong place.

Tue

10:30

First read

Marta reads it twice, once for the argument and once aloud. Notes go back in the margin, by hand.

Wed

14:00

Letters day

We read everything readers sent that week and choose one letter to answer in public.

Thu

11:00

The cut

The essay loses a fifth of its length. It is almost always the better four fifths that stay.

Fri

16:00

The plate

One photograph is chosen, never to illustrate the essay, only to keep it company.

Sat

18:00

Proof

Read once more, on paper and out loud, by someone who has not seen it before.

Sun

07:00

The letter goes out

Sent to every reader at once. Then we close the laptops and go outside.

08 — About

  • Founded

    November 2025, Lisbon

  • Published

    Every Sunday at 07:00

  • Editor

    Marta Vale

  • Writers

    Four, paid for every piece

  • Advertising

    None, ever

Verso is an independent journal of essays for people who still read to the end. One piece a week, written slowly, edited closely and sent on Sunday morning, when there is time.

i.

One essay a week

Never more. A journal should be finished before the next one arrives.

ii.

Writers are paid

For every piece, on acceptance, at the same rate for everyone. Reader support pays for this first.

iii.

No advertising

No sponsors and no affiliate links in the letter. The readers keep it going.

iv.

Corrections in public

When we get something wrong, we say so at the top of the next letter, not at the bottom.

09 — Support Verso

Where every ten euros goes

  • Six to the writers

  • Two to editing and proofs

  • One to photographs and tools

  • One kept for a quiet month