Her front door locks, but not her back door. Like the doors on many houses in her suburb, they are panelled and stained old pine ones, doors solid enough for a fortress: but the back one opens with a push straight into her wooden kitchen. Moonlight coats in icy shapes and shadows the floor and walls which I know to be golden pine, knotted and scuffed, having seen them in sunlight and cloudlight as often as I have needed to; having seen them lamplit too, cut into small gold pictures by the wooden frames of the window, thirty small panes, while I stood unseen on the back verandah. (The lampshades are lacy baskets and sway in draughts, rocking the room as if it were a ship's cabin and the light off waves at sunset or sunrise washed lacily inside it. Trails like smoke wavering their shadows over the ceiling are not smoke, but cobwebs blowing loose.) These autumn nights she has a log fire burning, and another in her front room just beyond. With the lights all off, the embers shine like glass. They fill the house all night with a warm breath of fire.
Farmer, Beverley, A Woman with Black Hair, Kunapipi, 16(1), 1994.