Ghosts to Carry, Stories to Keep

Where memory meets the page, one moment at a time.

  • Unspoken Lessons

    What Remains

    Britam itself didn’t end with a final lesson I can clearly recall. There was no single closing moment. It blurred, as meaningful things often do, into a series of days that gradually became something else.

    What remains is not a last class, but a feeling.

    Of movement and pause. Of leaving, but carrying something forward without fully understanding it at the time.

    Because it was never just teaching.

    It was trust, given in different forms. In classrooms above shops, in offices, and in courtrooms where laughter briefly replaced protocol. It was the privilege of being allowed into people’s lives — not as an authority, but as someone they could meet halfway in language.

    And somewhere in those final months, without ceremony, it became enough.

    Enough to carry.

    Enough to return to, years later, and still feel its weight — not heavy, but grounding.

    Gliwice had a way of doing that. Of taking something improbable — like a British ex-cop teaching English to judges under the watch of a Soviet-built tank — and making it feel, for a time, entirely natural.

    As if it had always been waiting.

    My time at Britam didn’t really end.

    It just… continued elsewhere.


    The smallest classroom, top floor, Górnych Wałów, 2014
    The smallest classroom, top floor, Górnych Wałów, 2014

    Even after I left, they kept the door open for me. Not for a few weeks, not out of politeness, but for two or even three years. Christmas messages. Easter greetings. Small notes that simply said they hoped I was well, that they were thinking of me, that I was missed.

    It wasn’t obligation.
    It wasn’t formality.

    It was affection — the kind that lingers long after the work is done.

    They meant it when they said, “There will always be a place for you here.”

    And they proved it, quietly, consistently, without expectation.

    For all the lessons I taught in those years, there were just as many I was learning without realising it.

    I learned how to improvise, how to navigate a city that didn’t always make sense, how to keep a class afloat when the plan fell apart, how to solve problems on the fly. I wasn’t helpless. I wasn’t drifting. I did the work.

    But I can also see now — with the distance of time — that I didn’t do it alone.

    There were colleagues who stepped in before things tipped.
    Students who offered small kindnesses without knowing their timing.
    People who watched out for me in ways I only understand properly now.

    It could have gone wrong more than once.
    It didn’t.
    And that wasn’t an accident.

    In May of 2014, teaching English in Poland eventually came to a close. But the truth is, those years didn’t simply close behind me. They settled into place, shaped by the people who made sure I got through them and by the work that asked more of me than I knew I had.

    This chapter ends here.

    But the story it started kept going.

    It kept going not in dramatic turns or another move on a map, but in the quiet, living curiosity it left behind. In a lasting fascination with Polish history, art, and culture that still finds its way onto my bookshelf today. In the patience I bring to writing, and in the way I pay attention to the world around me.

    Gliwice gave me a different set of eyes. The work finished, but the perspective stayed.


    🇵🇱

    To, co pozostaje

    Britam nie zakończył się jedną, wyraźną lekcją, którą mógłbym dziś bez trudu przywołać w pamięci.

    Nie było jednego, ostatniego momentu. Wszystko rozmyło się tak, jak rozmywają się rzeczy naprawdę ważne, przechodząc powoli w coś innego poprzez serię zwyczajnych dni.

    To, co pozostało, nie jest wspomnieniem ostatnich zajęć, lecz pewnym uczuciem.

    Uczuciem ruchu i zatrzymania. Odejścia, które jednocześnie było zabraniem czegoś ze sobą, choć wtedy jeszcze nie do końca rozumiałem czego.

    Bo przecież nigdy nie chodziło wyłącznie o nauczanie.

    Było w tym zaufanie przybierające różne formy. W salach lekcyjnych nad sklepami, w biurach i na sądowych korytarzach, gdzie na chwilę śmiech potrafił zastąpić urzędowy ceremoniał. Był też przywilej wkraczania do ludzkich historii, nie jako autorytet, lecz jako ktoś, kto spotykał drugiego człowieka w połowie drogi języka.

    I gdzieś podczas tych ostatnich miesięcy, bez fanfar i pożegnań, stało się to wystarczające.

    Wystarczające, by nieść dalej.

    Wystarczające, by wracać do tego po latach i wciąż odczuwać jego ciężar. Nie ciężar przygniatający, lecz taki, który daje oparcie i przypomina, skąd się przyszło.

    Gliwice potrafiły robić coś takiego.

    Brały rzeczy pozornie nieprawdopodobne, jak brytyjskiego byłego policjanta uczącego angielskiego sędziów pod czujnym spojrzeniem czołgu z czasów Związku Radzieckiego, i sprawiały, że przez jakiś czas wydawały się całkowicie naturalne.

    Jakby wszystko od początku właśnie na to czekało.

    Tak naprawdę moja historia z Britamem nigdy się nie skończyła.

    Po prostu… trwała dalej gdzie indziej.


    The smallest classroom, top floor, Górnych Wałów, 2014
    Najmniejsza sala lekcyjna. Ostatnie piętro, ul. Górnych Wałów, 2014 r.

    Nawet kiedy wyjechałem, drzwi pozostały dla mnie otwarte. Nie na kilka tygodni i nie z grzeczności. Przez dwa, może nawet trzy lata.

    Życzenia bożonarodzeniowe. Wielkanocne pozdrowienia. Krótkie wiadomości z nadzieją, że wszystko u mnie dobrze. Że o mnie pamiętają. Że mnie brakuje.

    Nie był to obowiązek.

    Nie była to formalność.

    To była życzliwość i sympatia, które pozostają długo po zakończeniu wspólnej pracy.

    Kiedy mówili:

    „Tu zawsze będzie dla ciebie miejsce.”

    naprawdę mieli to na myśli.

    I udowadniali to po cichu, konsekwentnie, niczego w zamian nie oczekując.

    Przez wszystkie lata, gdy prowadziłem lekcje, równie wiele rzeczy sam przyswajałem, nawet nie zdając sobie z tego sprawy.

    Nauczyłem się improwizować. Nauczyłem się odnajdywać w mieście, które nie zawsze dawało się zrozumieć. Utrzymywać zajęcia na właściwym kursie, gdy plan rozsypywał się w ostatniej chwili. Rozwiązywać problemy na bieżąco.

    Nie byłem bezradny.

    Nie dryfowałem bez celu.

    Wykonywałem swoją pracę.

    Dziś jednak, z perspektywy czasu, widzę także coś innego.

    Nie robiłem tego sam.

    Byli współpracownicy, którzy pojawiali się, zanim sytuacja zdążyła wymknąć się spod kontroli.

    Byli uczniowie, którzy okazywali drobne gesty dobroci, nie wiedząc nawet, jak wiele znaczyły w danym momencie.

    Byli ludzie troszczący się o mnie na sposoby, które dopiero teraz naprawdę rozumiem.

    Więcej niż raz wszystko mogło potoczyć się źle.

    Nie potoczyło się.

    I nie był to przypadek.

    W maju 2014 roku moja przygoda z nauczaniem języka angielskiego w Polsce dobiegła końca. Prawda jest jednak taka, że tamte lata nie zamknęły się za mną jak drzwi.

    Znalazły swoje miejsce.

    Ukształtowane przez ludzi, którzy pomogli mi przez nie przejść, oraz przez pracę, która wymagała ode mnie więcej, niż wówczas sądziłem, że posiadam.

    Ten rozdział kończy się tutaj.

    Ale historia, którą rozpoczął, trwa dalej.

    Nie poprzez nagłe zwroty akcji ani kolejną przeprowadzkę zaznaczoną na mapie, lecz poprzez cichą, żywą ciekawość, którą po sobie pozostawił.

    W trwałej fascynacji polską historią, sztuką i kulturą, która do dziś znajduje miejsce na moich półkach z książkami.

    W cierpliwości, z jaką piszę.

    I w sposobie, w jaki patrzę na świat.

    Gliwice podarowały mi inny zestaw oczu.

    Praca dobiegła końca.

    Perspektywa została.


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  • 8–12 minutes

    The Magic Had to Work For Everyone

    In those final months, after I’d told Britam I would be leaving, I found myself teaching with a strange mixture of sadness, freedom, and creativity. Maybe it was because the pressure had lifted, or because I wanted to leave my students with something memorable. Either way, that’s how I ended up introducing one of the most unexpectedly successful — and unintentionally chaotic — activities I ever taught: an origami exercise.

    It sounds ridiculous, but it worked.

    Watching, listening, describing, sequencing — all wrapped inside a simple sheet of paper.

    I had learned how to make what I can only describe as an origami cube. Flat at first, then — with one gentle puff of air — it opened up into a near‑perfect little cube. Or at least something that aspired to be a cube. Some were cuboid, some were noticeably not, and a few were so structurally disappointing they really should have come with a warning label.

    Through trial and error, I learned it required the stiffer type of origami paper to achieve the very best results. I lost count of how many cubes I made during reflective practice runs. At some point I realised I’d essentially become a small‑scale cube manufacturer. They began to fill a large glass bowl, looking strangely decorative — like the world’s least practical fruit.

    This had to be a win‑win.

    The first time I demonstrated it to a class of twelve to fourteen‑year‑olds, the reaction was instant. The flat shape lifted, blossomed, and suddenly became a cube — and the room erupted. A chorus of oohs and ahs, a few gasps, and one beautifully emphatic “No… suuuper!” — that wonderfully stretched‑out Polish way of expressing delight.

    For a moment I felt like a magician.

    I would make one first, slowly, narrating each fold. Then I’d hand out paper — sometimes those featuring beautiful traditional origami designs — and guide the class through their own creations. It took no more than twenty minutes, but it was one of the most joyful warm‑ups I ever used. Students carried their finished origami creations out of the classroom like a delicate piece of treasure. I even saw a few being shown off in the corridor with quiet pride.

    I don’t remember a single student giving up; some made the odd mistake, which was easily rectified. In those last months, I even carried a couple of pre‑folded pieces in my pocket, just in case a student’s cube refused to cooperate. A quiet swap, no fuss — the magic had to work for everyone.

    I’d learned to make what I believed was just a nice decorative object — a cube. That was the beginning and end of it. The fact that it could be used in another way had not entered my thoughts.

    I used to enjoy a small moment of mischief. I’d hold up the folded shape — still flat, still mysterious — and ask them what they thought it was. The guesses were wonderfully wild: a hat, a box, a strange envelope — most students stared at it with polite confusion. But once — only once — a lad squinted at the unfinished shape and said, with the confidence of someone discovering fire, “Mr Gary… that’s a water bomb.”

    I laughed it off at the time. I genuinely thought he was joking.

    “Is it?” I replied. “Well… I don’t think you should try using it like that. Not here, anyway.”

    In British terms, I’d describe him and his small cohort of friends as simply the lads — and, without realising it, I’d once worn a blue badge proudly declaring myself one of them. A gizd among gizdy.

    The lesson came to an end; the class rushed out, happy to finish and get home. I felt good about how much fun the lesson had been; I was collecting my books and props when I heard a commotion on the landing outside — real chaos: screams, shouts, and the unmistakable sound of a teacher trying to restore order. I popped my head out, fearing the worst.

    To my horror — but not, if I’m honest, my surprise — I discovered that four of the lads, including the one who’d proudly identified the “water bomb,” had gone straight into the students’ toilet and filled each of their paper creations to maximum capacity with tap water. They had then burst out onto the landing like a budget version of Royal Marine commandos: choosing targets with military precision — and throwing them with absolutely none.

    It was, in its own way, impressive.

    Less impressive was the aftermath.

    One or two bombs had missed their intended victims entirely, exploding against the walls. Water splashed down the steps, forming a small but ambitious flood on the stairs and landing. I could see two other students wiping water from their clothing and rucksacks, somewhere between outrage and laughter.

    And there they were — the lads.

    Standing halfway down the stairs, one holding the sad remains of what had once been a perfectly innocent origami cube.

    They looked up at me with identical expressions: wide‑eyed, hopeful, and silently pleading.

    As if to say: Mr Gary… you made us do it.

    More teacher colleagues arrived — this was now rather more serious than I really wanted it to be.

    The lads were promptly instructed to wait outside the School Director’s office — a place no student ever wants to be sent. A detail I had somehow managed to forget in the heat of the moment.

    Was I to join them too?

    Our school cleaner arrived soon after — a kind, funny, deeply patient woman with whom I somehow managed to have regular conversations despite her having no English and my Polish hovering somewhere around survival level. I think her name was Pani Ewa. Time has blurred the certainty, but not the person. What I remember clearly is her warmth and kindness.

    Pani Ewa took one look at the flooded stairs, then at me, and pulled an expression of theatrical despair that clearly meant: Excellent. More work. Then she laughed when she saw how worried I was.

    All I could really do was shrug my shoulders, say sorry, and offer to mop up the water. She laughed and shook her head. The colleague who had first arrived to restore order burst out laughing too. No matter how much I offered, I wasn’t allowed near any mop or bucket.

    A full health and safety alert was declared — rightly so — though not the sort usually triggered by sightings of unlabelled yoghurt or someone reheating a fish dish in the staff microwave.

    My close friend had also just finished with her own class, and, hearing the commotion, arrived to see what the fuss was. She shook her head and gave a sympathetic look at Pani Ewa.

    “Gary… what exactly were you doing with that group?”

    A fair question, delivered with a raised eyebrow and a damp mop nearby.

    I apologised, of course. It wasn’t supposed to have ended like that; I didn’t know the cubes could be converted into paper-and-water ammunition, or that they’d actually be used on school premises — after all, I had advised it wasn’t a good idea.

    But secretly, I couldn’t help thinking:

    They had listened.
    They had followed instructions.
    They had created something.
    And then, being teenagers, they had weaponised it.

    It was absurd.
    It was harmless.
    It was very, very Britam.

    As I made my way to the teachers’ room — my work done — I passed the lads, now slightly subdued, still lined up outside the Director’s office where a small crowd of their peers teased them without mercy. It was almost enough to make me feel sorry for them.

    Almost.

    I half‑expected I would have to face our Director too, perhaps to receive some advice — perhaps to think carefully about what the more spirited younger students might do with such a versatile little object. But no advice or gentle warning ever came. The activity stayed on the timetable, unbanned and unblamed, and the students kept folding cubes with the same enthusiasm — just with slightly less interest in their aerodynamic potential.

    Classes finished at 8:20 p.m., and if my friend had been teaching at the same time — which happened often — she’d already have offered me a lift home. We’d meet during the ten‑minute break between lessons, and by the time I finally made it down to the teachers’ room with my usual mountain of books and props, she’d be there chatting to Pani Ewa.

    She would always ask about my day, whether I was enjoying life in Poland, whether I was settling in. She never showed a flicker of impatience — if she felt any, she was too gracious to let it show. It was always my friend who eventually said, gently, “We should let Pani Ewa lock up…”

    Nothing was rushed. I’d apologise, we’d all smile, and then she’d close the big glass doors behind us and disappear back into the building.

    Stepping out into the night air — no matter the weather — always felt strangely refreshing. A small, quiet ending to the day, held together by two women who looked after me more than they probably realised.

    And it happened during the same months when everything else in my life felt heavy. Somehow, that small disaster — that ridiculous, soggy moment — reminded me that even as I was preparing to leave, the place hadn’t dimmed. Not really.


    Origami cubes
    2026: Still able to create origami cubes for decoration and enjoyment. Or a single‑use‑only water bomb for chaos and mischief.
    Gizd‑friendly budget Biedronka model shown in red. Water or other liquid not supplied.

    Supervision strongly recommended.

    Something

    There’s another memory from those months that still makes me laugh. I once took a photo of one of my livelier groups — twelve‑ to fourteen‑year‑olds in full, unfiltered mode: peace signs, wild grins, the kind of joyful chaos that made every lesson feel like a small festival. I can’t use the photo, of course. Children deserve their privacy, especially now. But in the background, on the whiteboard, you can just make out a single word written in huge letters: SOMETHING.

    I remember exactly how it happened. Faced with a room vibrating with energy and absolutely no plan left in my head, I tapped the board and announced, with the confidence of a man bluffing for his life, “Right. How many English words can you make from SOMETHING?”

    And somehow, unbelievably, it worked. They fell on it like detectives, shouting out answers, arguing over spellings, turning a single word into a competition that lasted the whole cool‑down. It was pure improvisation — panic disguised as pedagogy — and yet it became one of those small, shining classroom rituals I still think about with ridiculous fondness.

    They were, of course, the winning class. They always were. I may have ever so slightly embellished the rival groups’ results from time to time — just enough to keep the momentum alive. The only embellishing I’ve ever done in my writing or my teaching, and entirely in the name of teenage motivation.

    They would cheer, punch the air, and look at me with the fierce pride of a team that had conquered Everest using only a whiteboard marker and the word SOMETHING. And I’d stand there, trying not to smile too obviously, thinking: if only they knew how close the other class actually came.

    There was still laughter in the rooms I taught in.
    Still that strange, bright energy only teenagers can generate.

    And for a little while longer, I was still standing in the middle of it — damp stairs, water bombs, origami magic and the endless possibilities of SOMETHING.

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  • Beside the Springwater
    3–5 minutes

    Tsintskaro

    A companion piece to ‘Kalimankou Denkou’ (Калиманко Денко)

    Unlike hearing and then owning a 4AD label vinyl copy of Le Mystère des Voix Bulgares during the 1980s, I would have heard “Tsintskaro” through Herzog’s Nosferatu and later through Kate Bush’s “The Ninth Wave”. Yet if I am honest, I cannot claim to have truly heard it at all. At nineteen, sitting in a Hamburg cinema, bewildered and vaguely horrified by Klaus Kinski’s Count Orlok, I found Georgian polyphony to be the furthest thing from my mind. Years later, when I bought Hounds of Love on a rainy trip to Salisbury, my attention was elsewhere again. The song passed me by twice without leaving a footprint.

    It would take another forty years before it finally stopped me in my tracks as I walked through the Chester Rows.

    It was only quite recently, when on a shopping trip to Chester and using my earbuds to listen to an episode of BBC’s Ultimate Calm via the Sounds app, that a guest on the programme began to describe how and why he had chosen Hamlet Gonashvili’s, Tsintskaro as his own “safe haven” track. Admittedly, I had no idea who Hamlet Gonashvili even was. I caught something about how he had climbed a tree to pick an apple and, whilst doing so, had fallen to the ground with fatal consequences.

    I continued to walk around the Chester Rows, listening. After no more than twenty seconds, I had to stop. I stood listening as this remarkable vocal range and atmosphere transported me outside the commercial centre of a city and far beyond. I pulled out a notebook and wrote down a reminder to discover more about the track.

    If the voice of Yanka Rupkina is a confession trapped within the human chest, the voice of Hamlet Gonashvili is that same confession dissolving into the ancient earth. It belongs to the same architecture of silence, but here the unyielding law casts a different shadow.

    While “Kalimankou Denkou” mourns a love forbidden because the two people are bound too closely by sacred village kinship, “Tsintskaro” seems to mourn something different: the sudden, impossible distance between two strangers.

    And perhaps that is what lies behind the encounter in “Tsintskaro”.

    A man passes the village spring and sees a beautiful girl carrying a water jar. He speaks a single word, perhaps a greeting, perhaps something more. Whatever he says, she becomes angry and steps away, protecting herself from the attention of those around her.

    What, I wondered, could have made her so angry?

    The answer may lie somewhere in the social world from which the song emerged, in customs and expectations that a modern English listener can easily overlook. As I read further, I came across the notion of namusi (ნამუსი), a concept of honour and propriety that once shaped much of daily life throughout the Caucasus.

    The more I read, the more I found myself imagining the village spring differently. What appears, at first glance, to be a simple meeting between two young people might have carried meanings invisible to an outsider. Perhaps a brief exchange could invite gossip. Perhaps a young woman might be expected to guard her reputation carefully in a public place.

    But perhaps I was also doing what outsiders so often do: filling a silence.

    One of the things I have come to love about traditional songs is their refusal to explain themselves. They offer a glimpse through a doorway, then leave the listener to wonder what lies beyond. The further I followed this particular trail, the less certain I became that I understood the girl’s anger and the more certain I became that the uncertainty itself was part of the song’s power.

    It is an extraordinarily small human encounter. Yet Hamlet Gonashvili’s magnificent three-part polyphony gives it the scale of something much larger. The deep bass seems to carry the weight of the world around them, while the soaring voice above it gives expression to something fleeting and painfully human. The music transforms a moment beside a village spring into something timeless: attraction, restraint, misunderstanding, and the invisible boundaries that separate one person from another.

    By the water, the door is closed, just as firmly as it was at Denka’s threshold.

    So I place this second track beside the first…

    Click to listen on Apple Music


    Or if Spotty is your preferred platform

    დადგი აქ (dadgi ak)

    ლამპართან (lampartan)

    მე გისმენ (me gismen)


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  • A Three-Bag System

    The heavy art of over-preparing — just in case.

    3–4 minutes

    Teaching across different schools and companies meant movement, and movement meant carrying half my working life on my back.

    I had a little drawer in the teachers’ room at Górnych Wałów, but it held only the essentials: Jedyna chocolate, Prince Polo bars, and my backup supply of Śląskie Szloki boiled sweets. Because I was constantly on the move, I couldn’t rely on keeping my props and teaching materials in one place. So I carried everything with me, often including two different grammar books and their matching answer keys, depending on the level of each group.

    My load included worksheets, a bewildering assortment of props, my iPad, MacBook Pro, Bluetooth speaker, portable Wi-Fi unit, spare marker pens, emergency lesson plans, and the inevitable Plan B, C, and D.

    I didn’t just carry my materials, either. I carried them in style, though not intentionally.

    Two of my bags were gifts from friends who shopped at Gryfnie in Katowice, that wonderful little shrine to Silesian culture. One tote was printed with everyday objects labelled in Silesian, including the legendary klopsznita, the workers’ two-slice sandwich that seems to have sustained half of Upper Silesia since coal was king. The other proudly announced, also in Silesian, that I was a student at the University of Katowice. I wasn’t, of course, but the bag had academic ambitions for me.

    Then there was my Chrome messenger bag, the American urban-cyclist model with the enormous seatbelt buckle, the kind that made me look as though I were about to deliver classified documents by bicycle. I hadn’t meant to look like a hipster courier, but the bag made its own decisions.

    Some days I felt less like a teacher and more like a travelling technician who happened to resemble a Silesian-themed exchange student with a side gig as a bike messenger, ready to improvise at a moment’s notice. Whatever the day demanded, I carried it, literally, along with the quiet hope that Plan A would behave itself.

    It was a strange kind of devotion: the weight of a working life slung over both shoulders. Yet it felt right. It felt like doing the job properly.

    I still laugh at the memory of it. My colleagues would watch me sweep into the teachers’ room, unzip the bags, and begin laying out materials like a magician preparing for a trick nobody had requested. Then I’d head into lessons, where students watched me unpack the three-bag system like a travelling circus arriving in town.

    Whether it was the biggest classroom in Zabrze or the tiny room at the very top of Górnych Wałów, a particular favourite despite the puffing and panting required to reach it, the reaction was always the same.

    I would open my bags and their eyes would widen.

    Out came the books, the props, the worksheets, the iPad, the MacBook, the portable Wi-Fi unit, the cube speaker, the emergency markers, the backup plans.

    By the time everything was spread across the desk, I looked less like an English teacher and more like someone preparing to run a small independent broadcasting studio.

    It is funny now.

    To be honest, it was funny then as well, though at the time I was usually too out of breath to admit it.

    Timing the end of a lesson became an art form. Packing everything away took time, so I used the timer on my iPhone with an audible alarm. Eventually I learned how to chop MP3 files and use fragments of song intros or odd sound effects as signals to begin packing while keeping the conversation going. I became surprisingly creative with audio cues, and sometimes the students laughed so loudly it carried into the adjacent rooms and out to the next class waiting in the corridor.

    Of course, carrying so much equipment came at a price, a personal one. I knew it. I weighed it up. The lessons were working, the technology was opening doors, and I could bring almost anything into almost any classroom.

    So I kept going.

    Ridiculous, devoted, over-equipped.

    Just like I always did.


    More TEFL mayhem found here:

  • The Wall at KAFO: A Memory Recovered

    In Search of the Artist: The KAFO Mural

    2–3 minutes
    Hand Painted Mural person holding a cup of dark liquid in an open palm seemingly inhaling the aroma

    For a time, this mural dominated the back wall of KAFO Kawiarnia in Gliwice. I adored it and would often gaze at it, tracing its outline, noting the colours and trying to imagine who the character might represent.

    I once had a conversation with Paweł about it, and suggested it was a portrait of himself, which he dismissed with a quiet chuckle. Incredibly, Paweł sent me a hard copy of the work. I used it as a background on my MacBook Pro for years. It was a generous thing to do and typical of Paweł, who was delighted the mural gave me so much pleasure.

    I no longer have the MacBook, nor can I find my data stick with the hard copy on it. Furthermore, I clearly didn’t back up a copy on any cloud service either. A huge regret — so all I have left are images of the mural taken at strange angles on a 2010 iPad.

    I recently recovered some files from the iPad before it gave up completely: two images and a collage. I have searched for any clues as to the name of the artist, and I await to hear from KAFAR (formerly KAFO) to shed any light on the artist concerned.

    If you know who created this work, please let me know in the comments below. Thank you.


    Poniżej znajduje się wersja w języku polskim / Polish version below.

    W poszukiwaniu artystki: Mural w KAFO

    Przez pewien czas ten mural dominował na tylnej ścianie KAFO. Uwielbiałem go i często wpatrywałem się w niego, wodząc wzrokiem po konturach, dostrzegając odcienie i próbując wyobrazić sobie, kogo może przedstawiać ta postać.

    Rozmawiałem o nim kiedyś z Pawłem i zasugerowałem, że to jego portret, co zbył cichym śmiechem. Niesamowite, ale Paweł przysłał mi potem cyfrową kopię tej grafiki. Używałem jej jako tapety na moim MacBooku Pro przez lata. To był z jego strony niezwykle hojny gest – tak bardzo w stylu Pawła, który cieszył się, że ten mural sprawia mi tyle radości.

    MacBooka już nie mam, nie potrafię też odnaleźć pendrive’a z tamtym plikiem. Co gorsza, nie zapisałem kopii w żadnej chmurze. Bardzo tego żałuję — jedyne, co mi zostało, to zdjęcia muralu zrobione pod dziwnym kątem starym iPadem z 2010 roku.

    Niedawno udało mi się odzyskać kilka plików z iPada, zanim całkowicie odmówił posłuszeństwa: dwa zdjęcia i kolaż. Szukałem jakichkolwiek wskazówek co do nazwiska autorki i czekam na wiadomość od ekipy KAFAR (dawniej KAFO), która miejmy nadzieję rzuci światło na jej tożsamość.

    Bardzo chciałbym oddać jej należne uznanie i podpisać ją jako autorkę, zwłaszcza że jej praca przez lata pojawiała się na moich zdjęciach i we wpisach o KAFO. Jeśli wiesz, kto stworzył ten mural, daj mi znać w komentarzu poniżej.

    Dziękuję.

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  • The Patron Saint of Courgette Cake

    Bella GoodCake always arrived at KAFO the same way: a soft clatter of the door, a gust of outside air, and then the unmistakable sight of her carrying those enormous, see-through cake containers. They weren’t tins or boxes, but something sturdier, almost ceremonial. They looked like protective domes for precious cargo—the kind of thing you’d use if you were transporting a crown or a newborn planet. I used to think of them as cake safes because that’s precisely what they were: round, clear, lidded vaults carrying brownies, blondies, courgette cake, and whatever other miracles she’d baked that morning.

    She baked at home in those early days of 2011. You could tell. There was a kind of domestic confidence in the way she handled her cakes, as if they were children she’d raised from scratch. I’d often see her car parked outside, boot open, these cake safes lined up like treasures waiting to be carried in—a tiny, travelling bakery. She’d lift each one with a gentle, practised motion, balancing them against her hip as she navigated the doorway with the confidence of someone who knows the true value of what she is holding.

    Later, she went big — her own bakery unit, proper production, the whole thing — and a white Fiat Panda with a Good Cake logo on the side. At some stage, Good Cake became a brick-and-mortar kawiarnia storefront, called Gagakiernia, very near to that Gliwice institution, Bar Teatralny, but I’d returned to the UK by then. “In my memory, she’s forever the woman arriving at KAFO to unload cake safes full of miracles from the boot of her car.”

    Cake as in Good Cake

    Bella always seemed to find time to stop and chat with me. Always. At the time, I only knew her from these brief interactions, and I was quietly surprised when she would choose to pull up a chair or plonk down next to me on my favourite part of the bench to spend ten or fifteen minutes talking. Maybe it was the shared language — two native English speakers in a Silesian city where English was something people studied rather than lived in. Perhaps it was the sheer novelty of speaking without searching for articles or prepositions, letting the words flow without effort. Or possibly, she just liked the company. She had that kind of warmth, the kind that didn’t need a reason.

    Her accent was a soft puzzle — Scottish? Irish? Something windswept and musical. She’d married a local Polish academic she’d met at Oxford or Cambridge (I could never remember which), and somehow ended up creating cake heaven in Gliwice. She used to laugh about adjusting her recipes for Polish tastes after Paweł’s early, honest critique.
    “Nothing too sweet,” she’d say, rolling her eyes with affection. “If I made cakes like we do back home, they’d think I was trying to kill them.”

    Her blondies were perfect. Her courgette cake with the thick frosted icing was the kind of thing that could make a bad week behave itself. And every time she left — cake safes empty, apron dusted with flour, hair escaping its clip—the room felt a little emptier. As if she’d taken a pocket of warmth away with her.

    Epilogue: The Ordinary Magic of It All

    I hadn’t thought about Bella GoodCake for years. Not properly. Not the way memory feels when it comes back warm instead of blurred. I’d almost convinced myself she was something I’d imagined — a character from a book I once read, or someone from a film I half-remembered. But writing this has brought her right into the room again.

    It makes me laugh now, the innocence of it all. Me, sitting in KAFO with my lesson plans and my Gryfnie bag, trying to look like a man who knew what he was doing. At the time, I was more lost than I ever admitted. Living alone in a foreign city, teaching, drifting, trying to find my footing.

    And then Bella would appear, plonking herself down for a chat as if it were the most natural thing in the world. A stranger who wasn’t really a stranger, chatting about cakes and accents, local and UK news.

    I think she just liked speaking English without having to think too hard. I think I just liked not feeling quite so alone.
    She’ll never know what those ten minutes meant to me. How those small conversations steadied me. How her presence made the café feel less like a place I spent my time in, and more like a place I belonged.

    Some people pass through your life carrying cakes. Some carry comfort. Bella carried both.

    The Good Cake transporter outside KAFO. It would magically fly when no one was looking.

  • Shattered Glass and Silver Linings

    My visits to KAFO were always the same: a third place, a refuge, and a sanctuary I could walk or cycle to in under ten minutes from my old apartment. I made friends there, discovered new places by word of mouth, and eventually left a few of my business cards on their community board.

    To be honest, I had more than enough work at the time, but I’d got the cards printed and figured it wouldn’t hurt. They vanished quickly. Naturally, a quiet panic set in — what if I had to turn people down? Saying no has always been a struggle for me, yet somehow I had managed to set up a website complete with booking forms and contact slots. I just had to keep it updated.

    I still have a few business cards left.

    That board is what led to another story — one linked to KAFO and one of the most memorable people I ever met there.

    I had noticed a blonde girl around the café. She was often carrying a large artist’s portfolio case or a drawing tube. One day, while I was sitting in the back room preparing lessons, she walked up to me holding one of my business cards. In excellent English, she asked if I could teach her.

    I was thrilled, but I didn’t have the capacity for another client. Instead, I offered a compromise: whenever we happened to be at KAFO at the same time, she could come over and chat. No charge, completely free.

    That was how I met a bright, witty, and exceptionally funny young woman.

    During our subsequent chats, she did exactly as I’d suggested. We talked about life and everything in between — her parents, her dreams, her travel plans, and her architecture studies (which explained the portfolio bag). There was even talk of a place at a university in Kraków.

    Then, during one of those conversations, she confessed a different dream: she wanted to work as a barista, right there at KAFO. She was desperate to break into the coffee industry.

    Not long after, I went to KAFO right at opening time for breakfast. The front door was still locked, though the security gate was pulled back. Paweł saw me and opened up early. As I sat quietly while he prepared the bar, my friend walked in carrying freshly made sandwiches. She had taken a job with Bella GoodCake, helping in the kitchen, delivering sandwiches by bicycle, and doing whatever else was needed.

    “What about Kraków?” I asked.

    She explained that she had reconsidered. She was hoping that working alongside the café might eventually lead to a trainee barista role at KAFO. The early mornings were tough, but she was determined. I told her I’d make a wish and keep my fingers and toes crossed for her.

    It wasn’t long before that wish came true.

    Walking into KAFO one morning, I was overjoyed to see her standing behind the counter wearing an apron, beaming with pride.

    In her absolute excitement to see me, her hands came together as if to clap — completely forgetting she was holding a glass Kalita server in each hand. The jugs collided mid-air with enough force that both shattered instantly.

    The moment went quiet. Paweł and another barista stood frozen. I offered a sympathetic shrug, muttered something terribly unhelpful like “accidents happen,” and beat a quick retreat to the back room. Behind me, I heard Paweł speaking in low, astonished Polish. I didn’t need an interpreter to understand the mood.

    A minute later, she rushed into the storeroom for a broom and dustpan, looking utterly shocked. When she eventually came over to take my order, her eyes were wet with tears. She mentioned quietly that she’d have to pay for the broken glass. All I could manage was, “Don’t worry, it’ll be okay.”

    Every cloud has a silver lining, though.

    She didn’t just stay at KAFO; she thrived.

    She learned quickly under firm but fair guidance. Beyond her growing technical skills, it was her radiant energy, warmth, and laughter that made her a pillar of the team. While other staff might prefer to spend their breaks in the office or in a quiet corner, she would often sit next to me and chat about life, coffee, and front-of-house service. You have no idea how much those conversations meant to me.

    Around this time, we did a few informal English sessions. Her conversational skills were already fantastic, but we worked on fine-tuning idioms and mastering articles—a classic hurdle for non-native speakers. She once asked me the golden question: “How can I sound more like a native speaker?” My advice was always total immersion: read the books, listen to the radio, and, if possible, live in the country whose language you want to speak.

    I shouldn’t have been surprised when, a while later, she sat down on her break to tell me that she and her partner — another talented KAFO barista she’d met whilst working together — were moving to London.

    I was thrilled, though admittedly a little anxious for them. I needn’t have worried. They took London by storm, working with trailblazing speciality coffee institutions like Kaffeine. (If you look closely at their site, you can still catch a glimpse of her in the homepage video, and both of them grace the alumni page).

    Our paths nearly crossed again back in the UK during the Midlands regional AeroPress heat hosted by HasBean (now Ozone Coffee) in Stafford. Train delays meant she didn’t make it, and caused a competitor to have to drop out, leaving a free spot. The legendary Steve Leighton turned to the audience and asked, “Fancy it?” I panicked and declined—a decision I still playfully regret. What if I had won? With no takers, Steve rolled up his sleeves and filled the empty slot himself. In true AeroPress fashion, he didn’t win either, proving that the device is a great equalizer even on your own home turf.

    As it turned out, she was the one doing the winning. In 2017, she won the UK title, then went on to Seoul, Korea, to take the crown as the World AeroPress Champion. In typical fashion, she gave full credit to her partner for coaching, training, and encouraging her every step of the way.

    The last I heard, they had moved north of the border to Edinburgh. Her partner remains a respected coffee roaster, while she has expanded her artistic talents into ceramics and pottery, showcasing her work at markets and design pop-ups.

    Sitting on my shelf today is a small vase I bought during her early Kickstarter campaign. It serves as a fond reminder of early morning coffees, shattered glass, and watching a determination turn a dream into a world-class reality.

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  • Non, je ne regrette rien

    It helped immensely that the KAFO crew spoke flawless English, though I still tried to use Polish as much as possible. Polish people are remarkably generous when you attempt their tongue; they will earnestly insist your accent is almost perfect even when it is disastrously far from it. It is a fiercely difficult language, but not impossible for grasping the essential courtesies. Inside KAFO, I knew I had a linguistic safety net. For complex thoughts or long conversations, the staff would seamlessly switch to English without a shred of judgment.

    Except for one team member, of course.

    He was a gentle, deeply funny guy and a passionate Francophile who refused to give me an easy out in English. With a bright twinkle in his eye and a playful laugh, he drew a hard line: Polish or French only. And so, it fell upon my dusty schoolboy vocabulary and old family holiday phrases to bridge the gap. I could manage the weather and place my basic order in Polish, but anything further required me to dredge up whatever dormant French remained in my memory. It became a highly entertaining daily battle. I would summon every ounce of French I could muster, navigating the linguistic tightrope until those inevitable, humbling moments when he would look at me, laugh, and ask:

    “Gary… tu n’as pas compris ça, n’est-ce pas ?”

    Guilty as charged. The look on my face in those moments must have been as blank as a fresh Toulouse-Lautrec canvas.

    Linguistic battles aside, he was also the undisputed master of the best tray-baked granola I have ever tasted. I had just one single issue with him: his absolute refusal to change the soundtrack. The man loved to play Kate Bush’s debut album, The Kick Inside — ad nauseam.

    The record player sat prominently on display in the back room. I never actually asked if I could use it; there seemed to be a strict, unwritten rule that vinyl selection was a staff-only privilege. There was a wide, fascinating selection of records to choose from, but looking back, I can’t recall a single one of them other than some experimental 1970s Polish jazz and Kate’s album. Now, I’m not averse to Kate Bush. She is an undeniably legendary and highly talented artist. But she is just not my cup of tea.

    I honestly have no idea how many hundreds of times I sat there listening to the familiar, soaring numbers of “Wuthering Heights” or “The Man with the Child in His Eyes”. All I know is that to this day, if any part of those tracks plays on the TV or the radio, I am instantly teleported straight back to that room in KAFO. I’ll be sitting on the low sofa, looking at my bowl of incredible granola, thinking: Goodness no, please no, not again.

    On reflection, perhaps he was simply trying to make me feel a little more connected to my first language.

    Even so, given our daily sparring, I’d have much preferred to listen to the warblings of the little sparrow, La Môme Piaf. A rousing rendition of Édith Piaf’s “Non, je ne regrette rien” would have been a far better soundtrack — and put a proper French slant on the whole affair and would have been a perfect, unapologetic soundtrack for his brilliantly stubborn, “listen or leave” attitude at the turntable.

    Eventually, he moved on — first to Gdańsk, and later, so the story went, to a top-tier fashion house in Warsaw. I could never confirm it, but there was a quiet style to him that made the rumour entirely believable. Places like KAFO are rarely about permanence; they are about the brief, vivid characters who pass through, leaving behind a trail of incredible coffee, stubborn rules, and songs you can never quite unhear.

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  • The Man Who Preferred Tea

    Somewhere in those earliest memories, long before my love affair with the AeroPress blossomed, back when I still routinely ordered a large mug of filter coffee or a mild, milky latte, I was offered a choice.

    “Would you like to try a flat white?” Paweł suggested one morning, explaining its origins with quiet enthusiasm.

    I agreed, completely unprepared for how that single cup would redefine my routine.

    Moving from a latte to a flat white felt like stripping away the filler. Where my usual drink felt like a tall, comforting bowl of warm milk with a gentle coffee whisper, this was an awakening. The first sip brought a powerful espresso-forward hit that woke up my senses, but before the bitterness could bite, it was wrapped in a velvety, almost buttery sweetness. The milk was seamlessly woven into the espresso, creating a texture so rich it felt luxurious.

    It was so smooth it was easy to forget just how potent it was. I often discovered this the hard way while hunkered down at KAFO, intensely focused on drafting lesson plans. Lost in my work, I would eventually look up to realise I was typing at double speed, over-animated, and riding a massive vibrating caffeine wave.

    Soon, the flat white became my absolute go-to.

    Then came the next gentle nudge.

    “I can do you a cortado?”

    Me? A cortado? I didn’t even know there was such a thing. Looking around the café, I don’t think I’d ever seen a single soul drinking one.

    How did Paweł even know this stuff?

    Before I knew it, he was breaking down flavour profiles and milk ratios, explaining with a quiet smile that it was a traditional Spanish drink, its name coming from cortar, meaning “to cut”, because the small splash of warm milk was just enough to cut through the sharpness of the espresso. He presented me with a perfectly layered, caffeinated work of art served in a glass tumbler.

    The cortado offered the same intense coffee clarity as a flat white, condensed into a smaller, punchier ritual. Looking back, I realise that what Paweł offered wasn’t just coffee. It was an invitation into a world that most people, myself included, passed through without ever really noticing.

    I don’t think these were all mine — but on reflection — they may have been.

    Paweł was a man of meticulous, uncompromising standards.

    If I arrived early on a quiet morning, it was not unusual to find him crouched beneath the counter, tinkering with a complex water filtration unit. When I once asked if it was really that important, I received a highly detailed lecture on the mineral composition of Silesian water and its effect on extraction. It was a classic response from him: deeply technical, completely earnest, and fiercely dedicated to the unseen mechanics of a perfect brew.

    Yet despite this purist dedication, he possessed the grace of a true diplomat.

    Running a bustling café meant navigating rotas, suppliers, business pressures and difficult customers, but like a swan he kept any frantic paddling strictly below the surface.

    I once watched a customer complain that their coffee wasn’t hot enough.

    Paweł didn’t sigh or roll his eyes. He calmly explained that overheating milk scorches it, ruining the flavour. He wasn’t rude or patronising. Nor was he about to compromise his principles. Yet the true mark of his hospitality came immediately afterwards. Having delivered this gentle education, he turned around and remade the drink to the customer’s exact, scorching requirements anyway.

    He understood that being right and looking after people were not always the same thing.

    That same constructive honesty extended beyond coffee.

    I remember a local character named Bella bringing in homemade cakes to see if they might sell in KAFO. She loved baking and was tentatively exploring a business venture of her own. Paweł tasted them and offered a straightforward assessment: if she wanted them to sell, the sweetness would need adjusting for local tastes.

    Even back in 2011, he was suspicious of excessive sugar, well ahead of the dietary curve.

    What struck me was that he took her seriously. He didn’t offer polite encouragement or vague praise. He treated her like somebody capable of succeeding. The feedback was direct, practical and useful. It helped her launch Good Cake, and in doing so introduced another familiar face into the wider KAFO story. Bella became somebody I was always delighted to see, invariably sitting down beside me for a chat.

    The truth is that for the longest time, coffee simply tasted like coffee to me.

    Single-origin versus single-estate, washed processes, growing regions, altitude above sea level… I appreciated the vocabulary, but I couldn’t truly relate to it. I knew I preferred chocolate and nutty notes, and I secretly envied people who could swirl a cup and confidently identify hints of brown sugar, plum compote or burnt cinder toffee.

    I’d nod along enthusiastically.

    “Yeah!”

    Then I’d take a sip and think:

    It’s coffee. Nice coffee. Would make a great flat white.

    I even bought an SCA Coffee Taster’s Flavour Wheel poster, privately thanking my lucky stars that I’d never tasted anything falling into the category labelled simply “Other”.

    When invitations to cupping sessions appeared, I declined with genuine sadness. I didn’t want to feel as though I was participating in the Emperor’s New Clothes.

    Yet while I never developed a sophisticated palate, I never lost my admiration for the craft.

    What places like KAFO taught me was an appreciation for balance, ratio and technique. For the difference seemingly tiny adjustments could make. For the simple pleasure of someone caring enough to get things right.

    Naturally, I bought an AeroPress and a bamboo paddle of my own.

    Fourteen years later, I continue to use one of the three AeroPresses I seem to have accumulated over the years. In my opinion, it remains the most forgiving and consistently delicious way to brew coffee on Earth, largely because I lack the discipline to check water temperatures or use scales.

    I still use that original bamboo paddle, too. Darkly stained by years of coffee oils and worn smooth by time, it has survived countless mornings and even a temporary disappearance during a frantic camping trip. Whenever I pick it up, I am instantly transported back to that quiet morning in KAFO when I asked whether the bamboo paddle changed the science. It didn’t. But it was nicer than the plastic one.

    Two rather worn items, the much-beloved bamboo stirrer on the right, both survivors from 2011

    If you spend enough time in a city, you eventually find your third place: that essential sanctuary between work and home.

    For me, in Gliwice, that place was KAFO.

    I spent much of my spare time there socialising, working or running free English conversation groups, a venture Paweł graciously permitted. My obsession soon became fully entrenched. I visited day after day, sometimes two or three times daily, perfectly happy to pour my money across the counter.

    To me, it was an investment in happiness.

    To everyone else, it appeared to be a structural anomaly.

    Pan Bronek became intensely curious about the sheer number of hours I clocked at those wooden tables. One of my students concluded that native English speakers must earn enormous salaries, judging solely by my extravagant caffeine budget.

    To the local eye, a man sitting all afternoon surrounded by books, an iPad, a MacBook and a growing collection of empty cups looked less like a teacher and more like a visiting technology magnate.

    Looking back, KAFO was part of something larger.

    Long before third-wave coffee became ubiquitous, it was helping to elevate the daily habits of everyone who walked through its doors. Conversations flowed there. Friendships formed there. Businesses were quietly born there.

    Paweł didn’t achieve that alone. He had a remarkable team of baristas, relationships throughout the coffee world and connections to a wider movement of independent makers, craftspeople and entrepreneurs that was only just beginning to find its feet in Silesia.

    There was an intimacy to that moment because the culture was being built in real time. The owners, baristas and regulars were all contributing to it together. Looking back now, it feels like a tipping point. Small, courageous independent spaces were appearing across the region, quietly altering the rhythms of industrial towns and planting seeds for the kind of urban Polish life that feels commonplace today.

    And Paweł stood right in the middle of it all: passionate, knowledgeable and endlessly devoted to the pursuit of the perfect cup.

    Which is why one morning stands out above all the others.

    Despite his encyclopaedic knowledge, his uncompromising standards and his unwavering devotion to the bean, this pioneer of Silesian coffee culture leaned across the counter, glanced around to make sure nobody was listening, lowered his voice, and quietly admitted that he actually preferred tea.

    THERE IS A BAD DOG SITTING IN THE BACKROOM 🤔 (I never saw a dog in there, but I could be wrong) 🤣

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  • It Wasn’t Just The Coffee

    During my time living across three different flats in the area, my daily commute into the centre of Gliwice became a familiar and well-trodden path. I would head down Kozielska and cut onto Jana Siemińskiego, a short street that soon became the anchor of my daily routine. I’d discovered a kawiarnia — with a difference — called KAFO.

    The interior of KAFO was defined by a simple, highly effective functionalism. The moment you crossed the threshold, you were just a few steps away from the masterfully proportioned counter, loaded with a tempting spread of morning treats that inevitably sold out too quickly. Beyond the counter lay the engine room, where sleek espresso machines and heavy grinders hummed and clicked, providing a rhythmic mechanical bass line to the room.

    Two baristas at work in a Polish Kawiarnia.

    I seem to think that the Campbell’s soup can on the counter was an upcycled tips container

    The ritual of the place was effortless. You walked in, were instantly seen, warmly greeted, and had your order taken. From there, you could either perch on one of the two bar stools or plonk down onto the long bench running down the front half of the room. I loved the simplicity of the small tables in this area. It was the definitive place to sit. The large front windows let natural daylight stream across the wooden surfaces, making it the perfect vantage point to watch the world pass by outside on Siemińskiego. It was a wonderful spot to listen to the cadence of the local language, a makeshift classroom where I tried my best to absorb and learn Polish.

    image of a dog waiting with it's owner at the counter of a café

    Pedro the Shiba Inu, as viewed from the best seat in the kawiarnia. I liked Wostok, Not too sure about Pedro — but you never know..

    The back room offered a completely different energy, a quieter enclave split from the front, furnished with low, comfortable sofas, tables, and chairs that were perfect for mornings of lesson planning, long afternoons spent chilling out, meeting friends, or simply getting lost in a book.

    Exposed walls, Café tables, chairs, low ceiling lamps

    The layout, colours and design changed frequently, this shot of back room was taken in June 2011

    It was back there that I set up camp, desperately trying not to look like a stereotypical hipster while failing spectacularly. Spread across the table would be the ultimate 2011 tech layout: an iPhone, a MacBook Pro, and an iPad, all meticulously integrated and humming away. I sat there in the corner as if the room were my own personal, rent-free executive office space. I thought I looked like a serious educator at work, but to anyone else, I must have looked like the absolute poster child for the new café counterculture.

    View of a café room and a table with flowers.

    Looking out from a table in the back area. I think the record player may have been removed by the time I snapped this.

    Before finding KAFO, my concept of coffee had been entirely utilitarian: a standard Americano splashed with milk, or a latte at a push. I had never even considered that an entire, vibrant world of specialty coffee existed. It was while perched on that front bench that I saw a pour-over being made for the very first time. I remember watching the barista and thinking, What on earth is going on here?

    The whole process looked less like a morning routine and more like a precise chemistry experiment. There were digital scales measuring to the gram, tiny stopwatches ticking away, and a glass Chemex sitting on the counter that looked far more like an elegant wine decanter or a laboratory flask than a coffee pot. They spoke of equipment with a reverent, technical vocabulary, names like Hario and Kalita, treating the bean not as a commodity to be scooped, but as a craft to be engineered. Intrigued, I took my first sip of a filter coffee, and my perception shifted instantly. I fell completely in love with how clean, vibrant, and wildly different coffee could taste when stripped of heavy milk and bitterness. It was an awakening.

    That fascination didn’t stay behind the counter at KAFO. The crew’s passion was contagious, and it rewired my own morning rituals. Before long, I bought my own gooseneck Hario kettle and a complete V60 ceramic setup. I thought it was a beautiful set, though it required the patience of a saint to consistently dial in the right taste for myself.

    The undisputed best seat in the house. ☕️📖 Tucked in the corner by the door, under the magazine rack. If you know, you know.

    Yet, right nearby on a shelf sat a small stack of cardboard boxes holding a coffee-making gadget for sale. I had stared at the packaging for weeks, utterly baffled by the picture on the box. AeroPress. What a name! Hario, Chemex, and Kalita sounded like they were born to make great coffee. AeroPress sounded like something you would use to fire up a jet engine. How on earth could this cheap-looking plastic tube produce anything drinkable?

    During a quiet spell, that morning gap — a pause in the day when everyone else seemed to have finally got to where they needed to be — I noticed Paweł busying himself behind the bar. I picked up the box.

    “Paweł… is this thing really any good?” I asked. “It looks so ugly compared to the elegant glass carafes.”

    Paweł smiled broadly. “I can make you one right now, Gary.”

    “Yes, please.”

    I watched, completely fascinated, as the maestro produced the bizarre apparatus. In all honesty, it looked less like a high-end coffee brewer and more like a medical syringe, or something a vet might use to medicate a rather large animal. Paweł placed a small dish on a blocky digital scale, weighing out a precise measure grams of single-origin beans before grinding them to a precise, sandy texture. He didn’t just boil a kettle; he submerged a digital thermometer into the water, waiting with absolute patience until the temperature dropped to an exact 89°C. (Really? I thought. Note to self: buy a thermometer.)

    He explained that while there were multiple ways to brew it, he was going to show me the inverted method. To my surprise, he assembled the giant syringe completely upside down and dumped the fragrant grounds into the open chamber. He added that he preferred a steel filter over the standard paper ones supplied. (Second note to self: buy a steel filter.) Clicking a timer, he poured just enough water to wet the grounds. I watched intently as the coffee bubbled, bloomed, and expanded like a living thing. After filling the chamber to the brim, he took a small bamboo paddle and stirred the slurry exactly three times with the quiet, focused grace of a chemist.

    “Why the bamboo?” I whispered. “Does it change the science?”

    Paweł’s smile widened. “No. But it is much nicer than the plastic paddle that comes in the box.”

    He screwed on the cap, flipped the entire apparatus onto a glass server, and used his steady body weight to press down with an unwavering, deliberate slowness. The mesmerizing process ended the exact second a soft, collective hiss of air escaped the rubber gasket. He poured the amber liquid into a small ceramic cup and handed it over with a knowing look. I took a sip, bracing myself for the bitter, over-extracted bite I still subconsciously associated with drip coffee. Instead, I tasted a remarkably clean, sweet, and vibrant brew with absolutely zero bitterness.

    I was so profoundly blown away that I insisted on buying one right then and there, before I had even finished drinking the cup. Paweł reached onto the shelf, handed me the box, and charged me exactly what it had cost him to buy it. He had no real desire to make a profit on the gear; he just wanted another person in the world to experience the joy of a proper brew. It was the mark of a true teacher.

    AeroPress,and mugs

    AeroPress No1: An original Społem „kubek barowy” (Bar Mug) in the background, sadly missing in action.

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