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They used the same picture of Meggie in all the newspapers, back in 1997 when she first went missing.

It was a photo her dad took on the last holiday they’d had as a family, four nights in a Pembrokeshire caravan the summer before Meggie disappeared. They cropped the version they put in the papers so only a hint of the backdrop can be seen: a pebble beach framed by rolling hills, a few centimetres of overcast sky encircling Meggie’s head like a halo. Meggie stands alone in the centre of the frame. She’s wearing a crop top with spaghetti straps, the pale crescent of her arms and throat on display, so it must have been warm out despite the clouds. That expanse of soft white flesh makes the picture difficult to look at, Lauren thinks. Meggie seems delicate, unfinished, like a lump of dough yet to be shaped by careful hands into something a little more defined, a little surer of itself and its purpose. 

Lauren thinks about this picture a lot. It’s hard not to; she sees it almost every Sunday. It’s framed on the wall in the Queens Head where her mum tends the bar, above a long-since-faded police appeal for information. Meggie’s face fascinates her. Something about how she’s not smiling nor frowning, but looks like she could be on the cusp of either, as if the camera caught her in the very last second of ambiguity. 

The old men in their regular seats raise a glass to her on occasion when the night is winding down and the Doom Bar has softened the steel around their hearts. They look at Meggie, who is looking at nothing, and Lauren looks at them. Is it Meggie they mourn for, she wants to ask, or is it the myriad small losses of their own lives Meggie makes them grieve – the daughters who don’t speak to them anymore, the long-ago girlfriends and ex-wives who got away? 

One time, maybe a year ago, Jack Holcomb had a few drinks too many and said it must’ve been local immigrants that took her, trafficked her into one of their rings, pretty little blonde girl like that. He’d said it loud so the whole pub could hear him, but his eyes were narrowed across the bar at Anwar’s dad. The atmosphere between them was tense and ugly until Rob, the owner, stepped in. After Jack went home the rest of the men filled his space with restless murmurs: well, you can’t really blame him, can you, didn’t his daughter run into some trouble with boys, away in the city for college? The whole time Lauren kept looking at the picture on the wall. Sometimes she thought it might be nice to join Meggie there, in that walled-off moment of eternal pause, that strange nowhere-place.

It’s not like any of them even knew Meggie, not really, but when someone disappears from a community as small as theirs, it leaves a mark. Lauren was only five when Meggie vanished and she doesn’t know anyone her age who didn’t grow up shouldering the weight of it. It made itself felt, first in their parents’ pinched worry, then in the taunting words of uncles and older siblings – you’d best be home before dark, or whatever took Meggie James will take you too – and finally, when they reached their teens, in the stories they made up at sleepovers. Thrilled whispers: Meggie was stolen by a serial killer who skinned his victims and dissolved their bodies in acid, and if you got into the bathtub and chanted her name three times—

        It’s silly, Lauren thinks. She thought it then, and she thinks it now that she’s almost sixteen, the same age Meggie was when she disappeared. She feels like she’s on the cusp of something; a new kind of maturity, perhaps, or some sudden rush of understanding as to the mysteries nested like Russian dolls inside the notion of becoming a woman. Maybe boys will start liking her, start looking at her the way they’ve been looking at some of her friends since Year Eight. Maybe she’ll start liking them. Maybe Meggie’s expression in the picture on the wall in the Queens Head will become a cipher she can solve, as if the commonality of their newly shared age will shift them sideways onto the same transcendental plane. It’s the latest iteration of the same private wish Lauren’s held onto ever since childhood, since she first heard Meggie’s name invoked as a cautionary tale: to see what Meggie saw, to know her like none of the men drinking a pint on a solemn Sunday evening ever could, ever will.

So when Amy suggests the ouija board, Lauren shelves her disdain for urban legend and goes along with it. The tenth anniversary of the disappearance came and went a couple of months ago, still no leads, and the renewed national interest still has all the Year Elevens feeling giddy, hopped up on seeing their state comprehensive on the nine o’clock news. Energy like that needs an outlet, Lauren supposes, and there are surely worse kinds than this – a gaggle of school-uniformed girls sitting cross-legged in Amy’s attic on a Friday after school, their attention focused on the fussily ornate wooden board that Amy places reverently down on the ground between them. Amy, Lauren, Feyi, Alana, Chanel, arranged alphabetically by surname in a subconscious holdover from the beginning of secondary school. They’re in a circle, close enough to smell each other’s pubescent sweat and bubblegum-flavoured lipgloss, knees brushing lightly on every exhale.

‘Like this, yeah?’ Amy puts a finger on the planchette. The board belongs to her mum. Linda’s a hairdresser but she’s into tarot and reiki and stuff like that on the side, fancies herself a mystic. Some people in the village don’t like her because she says she can see patches of purple energy in the air that she thinks are the ghosts of dead people. She’d freak out if she knew what they were up to, Amy said, which is why they’re in the attic.

‘Okay.’ Chanel raises an eyebrow. ‘Who’s going to ask the questions?’

‘I will.’ Amy is bossy, but no one complains, so she sits up a little straighter, slides her eyes shut in a display of ceremonious grandeur. Everyone else joins their finger to hers.

‘Alright,’ Amy begins. ‘We want to talk to Meggie James. Meggie, are you there? Can you hear us?’

A nervous giggle. Amy opens her eyes and narrows them at the offender. ‘Feyi, shut up or this won’t work.’

‘It’s not going to work anyway,’ Alana says, then raises her hands placatingly when Amy turns her glare on her. ‘Sorry, sorry. I’m taking it seriously, I promise.’

‘Let’s try again,’ says Lauren, ending the argument before it starts. The role of mediator comes naturally to her. Amy shoots one last offended glance in Alana’s direction then closes her eyes again and sighs loudly.

‘Okay. Can you hear me, Meggie? Move the planchette to yes if you can hear me.’

Nothing happens. Lauren glances around the circle, averting her gaze when Feyi catches her eye and smirks. She doesn’t particularly like this, the way they’ve all reduced Meggie to an afternoon’s entertainment, but she’s excited too, and a little morbidly curious.

Amy shifts in place as if frustrated by the board’s refusal to yield to her obvious authority, her rolled-over skirt riding up another inch. ‘Meggie? We want to talk to you. Are you there?’

Nothing. Lauren is about to suggest they give up, simultaneously relieved and disappointed, when suddenly there’s a jolt beneath her finger and the planchette begins to move smoothly across the board. It travels in a straight line, stopping at the letter I.

‘What the fuck,’ breathes Alana, eyes rapt.

The planchette hovers over the I, jerks away, then returns to it, over and over again; I-I-I-I, a staccato rhythm, like the beating of a heart.

‘I?’ Amy’s expression is victorious, ignoring the uneasy murmurs of the other girls. ‘Is that Meggie? What are you trying to tell us?’

I-I-I-I-I. Amy’s questions go unacknowledged. Lauren feels a cold roiling in the base of her gut. The planchette moves faster until suddenly it changes direction and shoots across the board to the W. It pauses there for an instant and then keeps moving, spelling out a word.

‘I want? Want what?’ Amy leans in as if she can urge the planchette to keep going from the sheer force of her desire alone, her body a taut line of hungry, thrumming energy, the ends of her long blonde hair skimming the board. As she does, her bare thigh presses up against Lauren’s. A sudden firm line of contact, Amy’s skin soft and yielding and unexpectedly warm – Lauren twitches away on instinct and the planchette, still trapped under her finger, wobbles off to the side.

‘Oh.’ Amy slumps, and looks at Lauren, her brow furrowed. ‘You were pushing it, weren’t you?’

‘What?’ Lauren shakes her head. ‘No, I –’

But Amy’s already pushing herself up and away from the board, her shoulders tight. ‘Whatever,’ she says, and she walks off, slamming the attic door behind her. There’s a moment of silence, then the moody decrescendo of footsteps down the stairs.

‘I didn’t,’ Lauren says, looking around at the other girls. ‘I wasn’t pushing it, I swear.’

Feyi raises her eyebrows but doesn’t comment. ‘I’ll go after her,’ she says instead. She stands, then nudges the ouija board with her foot. ‘And this was stupid, by the way. I know one of you was pushing.’

Feyi leaves. Again the attic door closes, this time with a curt click. Alana glances sidelong at Chanel, her lips tight as if stifling a smile.

‘Was it you?’ Lauren asks.

Alana looks at her, face unreadable, then tosses her glossy black hair over her left shoulder and shrugs. ‘No,’ she says, after another moment’s pause. Lauren isn’t sure if she believes her. She doesn’t think it was Chanel, who’s currently turning the planchette over in her hands, frowning down at it, confused.

It was Alana, probably. What’s the alternative? Lauren thinks about the message – the repeated I like a frustrated grab at personhood – and her stomach turns over. The other possibility, the one that somehow scares her even more, is that Amy had been right; that maybe Lauren, subconsciously, had altered the direction of the planchette’s movement. It doesn’t feel implausible – her body with its unruly growth and traitorous whims barely feels like it belongs to her these days. I WANT fizzes up through her bloodstream like a biological imperative. The secret realm of her desire is vast and monstrous; she is afraid of it, and tries not to let herself dwell there.

Her leg still tingles, not entirely unpleasantly. She rubs it with the heel of her palm, then pulls her skirt down to cover it, but the sensation doesn’t fade.

It’s only a few months later that a woman walking her dog in a patch of woodland near Easton-in-Gordano finds what turns out to be an exposed human femur protruding from a loose pile of twigs and dirt. The police are called in immediately, of course, and a further search unearths the rest of a young girl’s skeleton. She’s identified provisionally by the remnants of clothing found with the body, conclusively by dental records. The task force responsible eleven years ago for investigating Meggie’s disappearance is promptly reassembled.

‘We’ll probably have some answers soon,’ Lauren overhears her mum telling the regulars in the pub. ‘They can tell all sorts from bones these days, can’t they?’

Lauren doesn’t share her mother’s certainty. Meggie’s never been one to relinquish her secrets easily. And as it turns out, she’s right – Meggie’s remains offer up few answers save for the eradication of the theories that hinge on her still being out in the world somewhere, living. The absence of evidence soon gives way to speculation. What was it that had taken Meggie out there to rot? Wilbur from the pub whose son’s a constable says there were nicks on some of Meggie’s bones that could have been made by a knife, but they could just as easily be the results of post-mortem animal predation; there’s no way to know for sure. If they’d found her earlier, perhaps – and then he shrugs expansively and downs his drink, ostentatious theatre for a hungering audience. Leave her alone, Lauren wants to shout. It doesn’t feel right, these rapacious old men picking over Meggie’s bones; she wants to shield her, bury her even deeper beneath the leaves and moss, keep the vulnerable insides of her as private as they were when she was alive.

In the aftermath of the discovery, Lauren feels drawn to the woods behind the school. Pupils aren’t supposed to go there, technically, but no one really watches the fence that separates the trees from the football field, and the council doesn’t do much to maintain it, either, so it isn’t difficult to find a section of sagging chicken wire and to pull herself up and over. She starts going there after class ends on a regular basis, trudging through the undergrowth and keeping herself roughly parallel to the path she’d usually take home, so that she doesn’t alarm her parents by getting back significantly later than usual. If anyone asks, she knows she wouldn’t be able to explain the strange magnetism of the trees, not in a way that makes sense – these aren’t the woods that Meggie was found in – but no one notices her, so no one asks.

A few times, she sits at the base of one of the taller oaks and leans back against its trunk, closing her eyes and trying to make herself as still and silent as a corpse. Then, when she’s as still as she can manage, she sends out questing tendrils from her mind: Where are you, Meggie? What do you want? Will you tell me what happened to you? On one occasion she’s answered by the sharp crack of a twig nearby, as if someone’s foot had come down on it, and for the briefest second she’s convinced that she’s succeeded, that she’s managed to reach through to Meggie somehow across the impenetrable barriers of space and time, and when she opens her eyes the thing that killed her will be standing right there, looking back. Her body thrums with excitement and apprehension. But there’s nothing there when she looks, only her own pale legs sticking out in front of her, the same scuff marks on the toes of her patent school shoes, scabs on her knees as proof of the blood that pulses beneath her skin.

In July, school ends for the summer, and Lauren goes to a party. It’s the day of the regatta down on their stretch of the Avon, so everyone’s outside and half-cut already, shoulders and ears tinged pink from the sun. Lauren and her friends manoeuvre their way through bustling groups of rowdy middle-aged men. A crowd of men can be dangerous, she knows, especially drunk ones, but the girls linking arms grants them a kind of invisible armour that allows them to pass through unscathed. Together, they wander all the way to the back fields out behind the pub. There’s already a large group of kids from school there, girls sitting on the prickly grass eyeing up the shirtless boys passing around sun-warmed six-packs of Natch and Scrumpy Jack. It’s a strange kind of temporal dissonance for Lauren, who used to play in this field with Feyi when they were kids, one of their dads keeping a cursory eye on them from the pub’s back garden. 

When Amy delves into a nearby cooler and comes out with an armful of sweaty ciders, she takes the one that’s offered to her, pops the tab, tries to drink without shuddering the way everyone else seems to have mastered already. 

For the first time, she gets drunk. The setting sun casts long streaks of orange and violet across the sky, and the light makes everyone look beautiful. Alana leans back on her elbows and stretches out her legs, crossing them at the ankle like she learned from The Princess Diaries. She’s kicked off her sandals, and her bare big toe presses lightly against Lauren’s knee. After a minute Lauren begins to feel dizzy, so she lies down on the grass, staring up at the darkening sky. The sound of people talking fades into a comforting buzz. She stirs only when she hears someone say Meggie’s name, the sound of it bringing her back abruptly.

‘– sure, yeah, I heard that’s where they found her body.’

Lauren opens her eyes – when had she closed them? – sits up and looks around for the speaker. A guy, several feet away, talking to a girl. They both look to be around Lauren’s age, maybe a little older.

‘Really?’ the girl says, her tone somewhere between sardonic and aloof. Lauren squints to see her better in the low light. Her mouth is cherubic, her eyes lined in black. 

‘Those woods over there.’ The boy raises his hand and points to a thatch of trees on the horizon. ‘My brother saw –’

‘That’s not true,’ Lauren says, without meaning to. ‘It was further away. Out by the services.’

‘Oh yeah?’ The boy looks unimpressed by her interruption. He stands up straighter, crosses his arms. ‘How do you know?’

‘I just do.’ 

‘You just do,’ the boy repeats. ‘Right.’ He smirks at the girl he’s with, but she’s looking at Lauren, a glimmer of interest on her face. 

‘Do you know a lot about her?’ the girl says. 

Lauren shrugs, uncomfortable and a little embarrassed. ‘Not more than anyone else around here.’ More than this guy, she wants to say, but she manages to keep the words back. She glances around for her friends, looking for a way out of the conversation she’s blundered into, but they aren’t there. They must have wandered off while she was dozing. She feels a brief jolt of panic at being abandoned but then she spots Amy, over by the cooler with Chanel and two boys from their Maths class. 

‘Relax,’ the girl says. Lauren looks back at her; the girl’s gaze is amused, penetrating. ‘Don’t worry. I wasn’t going to, like, interrogate you.’ 

‘No, I –’ 

‘It’s just interesting, isn’t it? Something like that, happening here.’ 

‘I suppose so.’ 

‘This seems like the kind of place where nothing ever fucking happens.’ 

‘It is, mostly. Um – are you not from here, then?’ 

The girl shakes her head. ‘From Leeds. We just moved down, me and my mum.’ 

‘Oh.’ Now that she’s looking for it, Lauren notes the traces of an unfamiliar accent.

‘I’m Nat.’ She grins at Lauren, a rapid flash of dimples and pointy canines. Beside her, the boy scowls, walks off. Nat doesn’t seem to notice. 

‘Lauren.’

‘So did you know her? The girl who died?’

‘No,’ Lauren says. ‘She went missing when I was a kid.’

‘I thought everyone knew everyone, around here.’

‘Well, kind of, but…’ Lauren bites her lip. It dawns on her suddenly that she’s afraid of losing Nat’s interest, of revealing herself to this pretty newcomer with gothy makeup as being just as dull as everyone else, so she blurts out: ‘Me and my friends tried summoning her, a while back. With an ouija board.’ 

Nat raises her eyebrows. ‘For real?’

Lauren can’t tell if Nat’s impressed or if she thinks Lauren’s stupid, just a kid messing around. The latter, probably. Lauren flushes, wishing she could take it back.

‘Did anything happen?’ 

‘Uh…’ Lauren hesitates, shrugs, and says, ‘Yeah. Kind of.’ 

‘Shit,’ Nat says. Her eyes are wide – suitably impressed, Lauren decides – but then she glances to the side and frowns. The boy from earlier is standing nearby with a gang of his mates. He’s staring down at them both with a sneer. ‘Come on,’ Nat says suddenly, turning back to Lauren. ‘Let’s walk.’

‘You want us to go for a walk?’ Lauren repeats. The sky’s gotten properly dark over the last few minutes. ‘Now?’

‘Now,’ Nat says, decisive. She’s already on her feet, extending a hand out in front of her to help Lauren up. 

Lauren nods, then pushes herself up without taking the hand that’s been offered, staggering a little on the uneven ground. Her heart thuds, but she doesn’t want to seem afraid, or uncool, and she’s already gone against her parents’ wishes by drinking, so – ‘Not past the edge of the field, though, okay?’ 

Nat shrugs like she doesn’t care.

They walk across the field towards the trees that line the furthest edge. ‘Sorry,’ Nat says after a moment. ‘I didn’t want to keep sitting there with Jake staring at me.’ She spins around to face the crowd of people they’re walking away from and raises her middle finger, safe under the cover of darkness. 

‘I get it,’ Lauren says.

‘Fuck him. Him and all his douchebag friends. But whatever, tell me more about your ouija board. I love scary stuff like that, you know, like, occult shit.’

‘Oh. I mean, it was probably just my friend messing around. But the thing – the planchette thing – it moved.’ The ground dips suddenly and Lauren stumbles. Nat’s hand steadies her, a warm weight on the back of her arm. Closer to the treeline, they stop, as if in unspoken agreement. 

‘Did it give you a message?’ 

‘Sort of? Like – just words, not a whole sentence or anything.’

‘What did it say?’

Lauren pauses. Remembering it now sends a shiver up her spine. ‘I want,’ she says. Out here in the night, spoken aloud, the words sound like a declaration.

‘I want,’ Nat repeats, hushed. Her eyes are big and dark. ‘Spooky.’ 

‘Yeah,’ Lauren says. The atmosphere between them has changed, somehow, as if they’d let something in by saying the words out loud. Lauren remembers the rumours about Meggie’s ghost, about what would happen if you said her name in the bathtub, and she wonders – what might she summon now, if she looked at this girl and said I want, I want, I want?

‘Wow.’ Nat laughs, low and throaty, and tosses her hair back. ‘Probably your friends messing around. Hey, do you smoke?’ 

‘No.’

‘Do you mind if I do?’

Lauren shakes her head.

Nat rummages around in her pocket, comes out with a cigarette and a cheap plastic lighter. She puts the cigarette in her mouth. Her lips are a deep, dark red in the flickering light of the flame. Lauren watches, mesmerised, as she takes a drag, and exhales a plume of smoke. ‘I know I should quit,’ she says, noticing the direction of Lauren’s gaze. ‘But we all have our vices, right?’

Lauren feels herself blush but she doesn’t avert her gaze. ‘Can I try it?’ she says, emboldened.

‘If you want.’ Nat doesn’t seem surprised, just passes Lauren the cigarette, watching her in the same way Lauren’s friends do when they’ve dared her to do something.

Lauren takes the cigarette. She holds it between her index and middle finger like she’s seen people do, and brings it to her mouth. The filter is slightly damp when she puts it between her lips. The smoke burns her throat but she doesn’t cough, tries to look cool as she blows it out.

‘There. Now I’ve corrupted you.’ Nat’s expression is mischievous. When she takes the cigarette back from Lauren, their fingers brush. Lauren’s breath catches, and in the silence of the night, it’s audible, but Nat doesn’t laugh, only smiles with her lips together and steps closer, smoke coiling around both of their heads like a translucent veil rising to shield them from the rest of the world.

Maybe it’s because they’d just been talking about her, but Lauren finds herself thinking of Meggie, even as she reaches up to take the cigarette again. Did this ever happen for her, the crackle of a flare being lit in the pit of her stomach, her lips closing over the shape of someone else’s mouth on a cigarette? Or, perhaps, a real kiss, her eyes sliding shut, someone’s fingers in her hair? Lauren hopes, fiercely and suddenly, that it did; that before everything ended for her in that acre of shitty woodland she’d had the chance to feel out for herself the shape of the adulthood she’d never reach, sparks in her chest and fireworks lighting up the black space behind her eyelids.

And Lauren also knows, deep down, that Meggie won’t always mean as much to her as she does right now. Within a few short years Lauren will be gone from here, away at university or travelling the world, and she won’t think of Meggie much at all; a fleeting memory now and then, a gentle heart-tug spurred by the shape of someone’s face or the private look in their eye as they turn away. Meggie belongs to a moment that’s passing, that might already be gone, and when Lauren, too, lets go— 

But stars are at their most radiant just before they sputter out, and for now, the moment endures. Lauren looks up, up at the girl who’s watching her and smiling with her chin tilted high like anything might happen, and the face that shines in her head is vivid, bright, alive.

Robyn Jefferson is an aspiring novelist in her late twenties. She has a BA in English Literature and an MA in Creative Writing, for which she earned a distinction. She was born and currently lives in Bristol, but grew up in the South of France.

The funny thing about the night I bump into her is that I’ve got some cracking power ballads going on in my head. Proper wind machine stuff. I’m in an eighties music video. I’m in a shoulder-padded dress. I’m in an air-punching, air-grabbing frenzy when suddenly I spin to face a different camera for an epic key change and some high-stakes drumming. 

I’ve just been kicked out of the pub. It was after last orders, so technically, everyone else was kicked out too, but the barmaid (face like a Brutalist ruin) was especially stern with me, leaned in close and said, “Drink up, love. Yeah?” 

I asked in a how-could-you voice, “Have you never been heartbroken?”

“Get out,” she snarled, her leather trousers creaking and flexing with menace. 

I am now pounding the semi-rural roads of my small market town. I am a wronged and vengeful Shire horse. I have been dumped. I have also decided to eat that dump. Figuratively. The giant, steaming dump he did when he said, “Yeah, I’ve had second thoughts. I’m not really sure we’re that compatible, you know?” Well, joke’s on you mate, because I don’t actually ‘know’. Because I thought we were made for each other and I do not relate to what you are saying. Ha ha ha. 

I start to cry. Oh fuck. No. I remind myself that I am an attractive and majestic equine and he is just a little Shetland pony and not even a cute one. He is a stinky, mangy, evil, dreadful Shetland pony. He kicks all the other Shetland ponies for no reason, and he stamps on baby rabbits. He can’t even move very fast. He struggles to get beyond a trot. He is nothing but a shit canterer – and that is a word I made up because it is very close to sounding obscene. He is not like me who gah-lops. I pronounce gallops gah-lops because I am innovative. I am a shimmering, gorgeous, captivating, intoxicating Shire horse. And I am gah-lop-ping and I am neighing, and I am causing awestruck bystanders to whisper, ‘Steady girl, easy there, girl,’ and I am not Black Beauty because I am massively more original, and I have just walked into Celine Dion.

“Oh my God, fuck, shit, merde.” I take her in. 

She is magnificent. She is ethereal. She doesn’t belong here. I mean, what is she actually doing among the faux Tudor houses of Herringsgrove? Is she actually Celine Dion?

“I’m so sorry,” I say. “I thought you were Celine Dion.” 

This is not the right thing to say. She does not speak. Her skin is golden next to a lamppost graffitied with the word ‘Beans’. 

“Umm.” 

Her eyes are glaring. If she had a tail, it would whip me in the face right now. 

“You are even more beautiful than Celine Dion, though.” I give a dazzling smile. 

It works. She speaks at last. 

“You think?” She touches her face and looks up. 

I look up too. There’s nothing to see. Just a moth bathing in the crackling streetlight; I guess it believes it’s found a star. 

I’m still looking up – it seems like the glamorous thing to do. 

“I bet you can sing better than her, too.”

She says, “I can’t hear you. Look at me when you’re speaking.”

I stand to attention and try not to sob. 

“Oh darling, what is it?” she asks.

I just want to melt into her and absorb her possibly phony, Celine-Dion allure. I want to ride the Titanic with her. I’m flying, debatably-fake, Celine-Dion lady, I’m flying. And I’m crying. Again. I wish she would carry me round in a sling and assure me my heart will go on.

She studies me, pulls me to her and says, “Fuck him.”

“I already did,” I wail.

“No, not literally.”

“Oh, right. Sometimes I get confused.” 

“It’s ok,” she says. She takes my face. “You are a wonderful Shire horse.”

I gasp, “How did you know?”

She puts a finger to her lips.

“You really are Celine Dion, aren’t you?”

“Did I make you think twice? …Did I make you think twy-yice?” she sings, with tremendous vibrato as she walks slowly backwards, disappearing into the shadows. 

Something lands on my head. It is the moth, dead. 

Twice, twy-yice? I think huh, karaoke. Amateur. I shake my head. Celine Dion would never slide her words about so sloppily. Probably just some mad, old bat, I think. And I turn on my hoof and gah-lop away into the night.

Liz Churchill lives in Birmingham, UK. She has words in VirtualZine, Ellipsis Zine, Janus Literary, STORGY and ‘Unmute’ – a Comma Press Ebook anthology. She was long-longlisted for the Brick Lane Bookshop Short Story Prize 2020. You can find her on Twitter: @LillabetRose

There is a note on the microwave door. ‘WIPE CLEAN AFTER EACH USE’

Your voice carries through walls, travels along pipes, pierces wallpaper, drips from taps. Your smell is a film that rubs off every surface I touch, no matter how much I scrub and clean.

I cannot find my key. I check every pocket, my bag, the top drawer. Retrace the familiar steps I take. Stand still and ask the universe to show them to me. Light spills through the lead glass door. I bend and peer through the lock. It is blocked by a key. My key. I did not leave it there.

Sun hits the dining table. I spread out the pieces, smooth creases with my palm. Nibbled edges, stains, fingertip traces. Everything a life could have been. There is a cup stain, neat and small, made by a hand painted porcelain cup with a handle just big enough for one finger. An ivory lace collar is moth eaten, frayed edges waiting to be gently brought back together. Muslins are in fine cotton, initials in red on each corner. When the light hits the bookcase, I will clear everything away.

I have put too much salt in the soup. You tell me three times as you spit it out, let it dribble down your chin and seep into your shirt. When you leave, I scan the cupboards. I have not bought salt for three years. Doctors’ orders.

There is a note on the bathroom mirror. ‘SQUEEZE FROM THE END OF THE TUBE’.

The bus has free Wi-Fi, no password needed. I buy an all-day ticket and sit upstairs, right at the front. Silver branches brush against the window, emerald leaves tickle and dapple light. I lay the work out on my knee. Thread heavy cotton onto the needle and follow the video tutorial. Needle the thread, do not thread the needle. Sturdy backstitch to join the edges, then a second row to make sure. I switch buses once, taking in the entire town, the edge lands shrouded in smoke, the glimpse of sea and heavy endless sky. I get off at the supermarket, collect food shopping and arrive before the sun hits the bookcase.

Our neighbour stops me as I fill the recycling bin. Each item wiped then washed out with boiling water. Puckered fingertips. You will check before your bedtime cigarette. She has not seen much of me lately. I look thin. Am I keeping well? Eating enough? Are we still trying for a baby? Such a shame about your loss.

There is a small case in the bottom of the wardrobe, one you would never open. Filled with things that never were. Shoes that sit in the palm of my hand. Soft ears and lemon wool. I move them aside to make space for my work. As the pieces come together, shifting into a new form, it gets harder to close. 

There is a note on the inside of the front door. ‘BE HERE WHEN I GET BACK’.

I sit in the window of the café looking out across the park. My sister is always late. I wish I could stitch while I wait, but the work is voluminous now, spilling out of itself and difficult to manage. She arrives like a whirlwind, kisses, excuses, and a smear of foundation on my cheek. She orders for us. The coffee is too strong. Everyone uses two shots now. I stir in three sugars, tense, then remember she is not here to scold me. She holds her face very still as I talk. Nods only occasionally. Leaves a long silence before speaking. ‘Give it time. It’s been hard for him, you know?’

At home, I work despite the trickling darkness, unpicking stuffing from our pillows, the settee cushions, the padding in the window seat. Just a little, here and there. I read my notes and sandwich wadding between the patched layers. Check the measurements, then check them again. There will only be one opportunity. I must get it right.

You are smiling when you open the door. You forget to raise your hand to latch it behind you. You hand me a letter and wait. A soft expectance. I have long given up on having my opinion valued. ‘Promotion. Transfer to head office. With a relocation package’. Sweat pools under my arms. I clamp them to by body, turn my mouth into a shape that I hope is a smile. Offer a swift kiss on the cheek. You bound upstairs. 

You think you are all I have. That my world revolves around you. But there is life here. Vegetables growing in the garden, birds returning year after year to nest, bulbs bursting through creating carpets of lemon and lilac, familiar nods and hellos in the street. Family a bus trip away, salt and crashing waves carried in on the breeze. If I let you take this, then you will have taken everything.

There is a note on the fridge door. ‘ESTATE AGENT COMING TOMORROW. WEAR YOUR BLUE DRESS’.

I let the knob of butter melt slowly, disappearing to a sizzle of foam. Lift my nose. You are still upstairs on the toilet, your stench a fog that chokes me. I crush the tablets with the heel of my hand, stir them into the sauce until they are rosemary and red wine. Red meat has not passed my lips for three years. Doctors’ orders. But I still make your favourite dinner every Friday. Just how you like it. 

Tonight, you go to bed early with a headache, open your mouth to blame me, soften when I suggest it’s the excitement. You work so hard. I listen for your thump and rumble, then move upstairs. 

The box is heavy now, stuffed with my work. When I unfold it, I realise for the first time how beautiful it is. Pieces of our life in a patchwork quilt, collected scraps, unused sleepsuits and repurposed linens. A keepsake. I slip it over your toes, lift your mottled calves and edge it around your waist and up until it sits around your shoulders. You stir, eyes sliding open. But you cannot move, crushed pills bubbling and settling in your veins, your arms and legs stones in a sack. I pull the thread tight, and the fabric ripples. There is a knot somewhere, fibres fighting against each other. The pale sun that had lit the room is setting, pink wisps and muted shadows. I cannot stitch in unnatural light, all flickers and brightness. I work faster. My index finger pulsing still, blood dried on the tip, pierced by the needle to the bone. I wet my fingertips with my tongue and work the thread between them until it relaxes and the knot comes free. One more row and it will be finished. Your muffled voice comes through, confused and frantic. Hot breath stinging the air. You head rests in my lap, heavy and unmoving, your shroud already soaked through with your tears. I knot the end three times. My signature. It’s for the best, I whisper. 

Sarah Davy is a writer, facilitator and lecturer living and working in rural Northumberland. Her short fiction is published online and in print and her first short play, A Perfect Knot, was performed at Newcastle Theatre Royal in 2020. Sarah was shortlisted for the Northern Writers Awards in 2020 and 2021. She was commissioned by Hexham Book Festival in 2020 and was writer in residence at Forum Books in Corbridge for 2019-2020. Sarah is working on her first novel, a collection of essays exploring belonging in rural communities and a DYCP funded full-length stage play.

He’s awoken at dawn by snuffling on the blankets at the end of the bed. The room is dark, embers in the wood burner glowing iron red. But there’s no use lying there, not now. He can’t get back to sleep once he’s awake. Besides, there are things to do.

He pulls back the sheets. The air is cool. The embers from the stove don’t reach far, it’s nearly out. The cottage is always biting cold in the morning, with its stone walls, tiny windows and draughty doors. Rising in the morning is like taking an ice shower. He doesn’t like ice showers, although sometimes he and his wife jump in the harbour, when she’s there. It’s good for the soul, she says. It’d be too cold to jump in the harbour on a day like this and for a moment he’s glad she’s away. But only for a moment.

Pulling on slippers and a terry-towelling gown (also cold but quickly warm) he opens the back door. The morning is dewy and still, the western sky gloomy. Jessie streaks past him, a blur of white and black, racing back and forth through overgrown grass like a ricocheting bullet, hot breath coming in clouds. She finds a spot, does her business. He looks the other way. 

Afterwards, they return indoors. He gives the dog breakfast, puts the kettle on. Bread toasts. He checks the calendar. Wednesday. Three more sleeps until his wife comes home.

“She’s away too much,” his mother says when she calls, once a week on Tuesdays. “She should consider your needs more.”

“She’s not on holiday, Ma. She’s travelling for work.”

“So are you,” his mother replies.

Which is strictly true; although he’s not sure it counts. He travels between hotels, not continents. They travelled more together when they first met, when they were younger. Back then, their world was a stream of unfamiliar countries and shoe-string hostels, a blur of rickety train rides between music festivals and ayahuasca retreats. Now she travels alone. Her work takes her away. 

After breakfast (Marmite on toast, a hardboiled egg and a little fruit—two plums today; there are no apples) he takes a shower, pulls on his overalls and throws some coal on the wood burner to keep it ticking over throughout the day. He departs into a chilly morning, flask of tea in one hand, bundle of keys and tobacco in the other.

Out front, the sun creeps above a hilly horizon. Liquid gold lights his face. The grass is still dark with night. Dew clings to the grass. He can’t see it, but he knows it’s there; it crackles against his work boots as he walks to the van, soaks into flecks of plaster on the soles, dampens Jessie’s fur as she strides alongside him. She paces ahead, sniffs a rabbit hole, returns faithfully to his side.

An amber sun offers the only light.

As usual, the neighbours’ cottages are still dark. Still asleep. Still.

It takes an hour of bouncing through narrow country lanes, winding between hedgerows, up and over hills before he arrives at his first hotel of the day. By now it’s a beautiful morning. He wishes his wife was there to see it.

“Thank goodness you’re here,” says the girl on reception. She has nice hair. It’s not as nice as his wife’s, but his wife isn’t there. “Somebody flushed a tampon again,” she rolls her eyes knowingly. “They never read the sign, do they?” she says, as though he’d written the sign himself. “Anyway, it’s all backed up and stinks of sewage. Can you fix it?”

That’s what I’m here for, he says. 

He wonders why the girl thinks a sign will stop people flushing tampons. He knows from sore experience that people will flush whatever they like. But he doesn’t ask. People often laugh when he asks questions, they think he’s joking. Usually he’s not. 

The girl with the nice hair points him in the right direction. 

The toilet bowl is full of brown water and other unpleasant things. Semi-solid things. Returning to the van, he collects the proper tools, pausing to give Jessie a good scratch between the ears so she knows he won’t be long. She licks his face. He laughs a little in disgust, wipes his sleeve across his cheek.

When he’s done, he explains to the reception girl how he fixed the loo. It’s not important to tell her, but he wants someone to talk to, for a little while. 

“Oh, thank you!” she keeps saying, keeping her distance, keeping her shiny hair away. He wants to talk more, but she interrupts. “Well, I guess we’ll see you next time someone blocks the loo.” 

He takes his cue to leave.

Outside, the blue sky is patchy with fast-moving clouds that dapple the road as he drives, casting shadows on the cracked tarmac, leopard print grey. 

He wonders what his wife is doing. It’s 9.33am here. Before she left, she said she’d be six hours ahead… in case he wanted to keep her in mind. He isn’t good at sums, but he always keeps her in mind. 

He figures it must be around lunchtime wherever she is. Perhaps there’s a break in the conference. Perhaps she’s eating exotic cafeteria food in an exotic cafeteria, with other scientists. Good-looking men, probably. Scientists usually are. He wonders if any of them have wives who keep dog shit in the fridge.

“It’s for work,” she’d told him, when he’d asked what was in the Tupperware box. “I need a sample for the lab.”

She’d taken it fresh from the yard, explaining there was something special in Jessie’s shit. In all dog shit. If anyone could see beauty in a dog turd, he’d joked, it was her. She’d flashed a wry smile. It was a virus, she’d said—one she needed for work. He can’t recall the name and it’s bugging him. Toxo-something. He can remember that much because toxo sounds like toxic, and if dog shit in the fridge is anything, it’s toxic.

He tries to focus his thoughts, picturing a magnifying glass on a piece of paper, waiting for it to catch. What was the name? Something that made him think of Venice. Toxoplasma-something… Gondola! Yes, that was it. Toxoplasma gondola. 

He’s never been to Venice. 

His wife has. 

He arrives at the next hotel at just after ten. The day is bright and brisk but it won’t stay that way. The weather changes here so fast. The hotel manager is gruff and tired. She doesn’t speak much, except to say there’s a problem with one of the taps in the staff room. 

Most of the calls he gets are taps. Or toilets. Things that’re easy to fix. Sometimes he wonders why hotel staff can’t fix these things themselves. Of course, if they did, he’d be out of a job. It’s a quick task; the tap’s just dripping. Needs a new washer. It’s usually a new washer. Have you tried a new washer? He always asks first. It’s the plumbing equivalent of, Have you tried turning it off and on again? He probably replaces three or four washers a week. Even if he’s called for something entirely unrelated, if he’s near a tap, he’ll check if the washer needs replacing. Could save him another visit. 

He informs the hotel manager when he’s done. She’s not as friendly as the reception girl with the nice hair. And she’s got a big nose.

“Just needed a replacement washer,” he says. “That’s usually all it is.”

“Thanks,” she replies, but she doesn’t sound very thankful. Maybe she’s having a bad day. Still, he tells her to call him if there are any more problems but that replacing a washer is easy if she wants to do it herself? Or she could get one of her staff to do it, if they have a wrench? Could save him a visit, he says. But she doesn’t seem interested in washers, or taps, or wrenches. 

He leaves.

When he gets back out to the van, the clouds have completely blown away. The view from the car park is really nice. This particular hotel is on a clifftop between two towns, right alongside the coastal path. That’s what people come here for: to walk. But not so much at this time of year. Few hikers today. He decides to take a break, roll a cigarette, pour a cup of tea from the flask. 

Even with the windows up, he can hear the ocean battering the beach below. Slightly east from here, there’s a quiet cove. He and his wife spent the day there once. In summer. They sat on the beach. She read a book. He listened to music. They tried a little surfing but weren’t very good. Then they went for a walk, found a dead dolphin. He’d buried it in the sand, using a big flat rock for a spade. She’d sat on a boulder nearby, watching him. He’d thought it might be cool to come back in a year or two, once the flesh was all rotted away, see if he could collect the skull. It might make an interesting curiosity, he’d thought. 

That was a year or two ago. He thinks about going down to the beach, digging up the dolphin’s skull. But then he realises he can’t remember where he buried it. Besides, there’s a new blanket of cloud rolling in on the horizon. It might rain soon. He stubs out his cigarette, gulps down his tea and drives on.

The next hotel is in the centre of a nearby town. He’s got a bathroom tiling job that’s been in the calendar a while now. The assistant manager is a tall man, friendlier than the woman at the last place. The man reminds him of his brother, Stephen. The Stephen lookalike even remembers his name. Shakes his hand.

“Here you go, this is the one that needs tiling,” says the tall manager who reminds him of his brother. 

“It should only take a few hours,” he tells the man.

He decides to tile the bathroom in an overlapping brick pattern, which always looks nicer.

Mid-afternoon, the bathroom’s almost done. He’s not had lunch, so he takes Jessie to run around a nearby park. Children play in the playground, with their parents. They squeal on swings, chase each other up and down a metal slide. He likes kids. He’d like to have one of his own, one day.

“We wouldn’t be able to travel,” his wife says. She has a point, he supposes. Still, he’d like a kid someday. He’s getting older. He wouldn’t want to be too old of a father.

“You know what you married,” says his kid brother, Stephen. “If you wanted kids, you should have talked about it beforehand. She’s career-driven—you can’t hold her success against her. Expecting her to drop everything because you want kids is a bit sexist, isn’t it?”

That’s what Stephen says.

Thing is, he’s proud of his wife’s success. He sometimes wishes she wasn’t away so much, that’s all. It gets lonely with just the dog. But he doesn’t tell his family this. Not his mother, who would use it against his wife if she could. And not Stephen, who takes offence so easily. Every time he says something, Stephen finds a reason to jump down his throat.

 Stephen would never appreciate the reception girl with the nice hair. And not just because he prefers men. Judging people on looks isn’t right, he’d say. But that makes no sense. Doesn’t everyone judge people by how they look? 

Once Jessie has run round some, clouds are rumbling in and the playground is empty. It’s starting to rain. He drinks the last of the tea and finishes the tiling. By five o’clock it’s all done. 

“Well, it’s very neat,” the assistant manager says, arms crossed. “But the rest of the bathrooms are tiled straight, not with an overlapping pattern.”

Not again, he thinks.

“I’ll come back in the morning to redo it,” he tells the man.

“That’d be great,” the assistant manager says. He smiles, but his smile looks irritated. 

When he gets outside, rain is coming down in sheets.

By the time he gets home, it’s dark again. He feeds the dog, stokes the fire, makes some dinner. Just beans on toast. He hasn’t the energy to cook. He’ll save that for when his wife gets back.

He checks the calendar again. Tomorrow it’ll be two more sleeps before she’s home. She’ll only be back a few days, but he reminds himself how lucky he is to have her. Still, the thought makes him so tired that by eight o’clock, he’s in bed. By nine, he’s out.

Jack Petrubi is a European writer based in the UK and Germany. Prior to dabbling with words he worked as a furniture salesman, a glass collector and a welder. His favourite colour is pink and he enjoys romantic walks in heels at various hardware stores. His short story ‘Hearts and Minds’ won the 2021 Cambridge Short Story Prize. T: @jackpetrubi

It’s Sunday morning. The days are longer now and today there is the first real heat of summer in the air. I’m shopping in a market in the suburbs of London. I’m in the market shopping and I’m standing in front of oranges. Oranges from Seville. They’re piled high and they are spectacular and I realise I’d completely forgotten you, for all these years. And I remember now how Seville is oranges – oranges that are on trees and squeezed in cafes in metal machines. They roll down metal slides on these machines, one by one. Firm, waiting to be parted, clenched until dripping. Makes me wonder what I owe you. 

I’m twenty-two and I’m in Seville for a month and I’ve decided to be a different person. I’m here to do a course. I get allocated a shared apartment. I get a room right at the top of the apartment that leads out onto a roof-terrace. There’s a washing machine up there somehow and laundry hanging out in the dry heat. I share the apartment with two other guys who are also on the course. Older than me. Grey hair, divorce, cancer. They’re both starting out on a new life. A second existence for them too. We’re really all the same in what we want, what we’re striking out for. Newness. For something to happen to our lives. And we do well together and we get on. They understand one another and get close and I’m on the edge of that, which is what I want. But we still sit out at night together on the front steps of the apartment and we drink red wine and watch this residential street in Seville cooling in the dark.

And Seville is oranges. It really is. They actually hang from the trees around the city – these orange trees that are all over the place. And not even for the tourists, they’re just there. They’re not trying at all. And I’m here walking around this hot city in the early autumn and I decide I will be happy, open, I will say yes and I will forget all about that pathetic person I was. And the city is mine, it swallows me up. It’s there for me and I can turn down any of the winding streets I choose. I can turn down any street and no one knows me and I’m light on my feet and every street, every street is some possibility.

I’m popular with the other people on the course, this new person I am. They all seem to like me. Particularly the girls. Which doesn’t feel too bad, seeing as I’m not me. I’m into this. And the girls – it’s so hot in the city, even in October – they’re kind of on show. We’re all on show. We’re all in a foreign country with people we don’t know. In the first few days the girl with the strawberry-blond hair makes it so we’re walking together to the bar, or wherever it is we’re all going, and it’s a really warm evening and she’s wearing a white vest and she wants to walk with me and I don’t remember you yet, but this girl, she’s made sure it happened that we’re walking together like this and she’s asking questions. So, why are you here? This must be what it’s like, I think. It’s so easy and I can’t believe it. Although I don’t really care. Even though it’s warm and she’s beautiful and she’s kind of walking with her shoulders back.

We all go for the morning coffee break to this tiny bar where everyone’s standing and someone’s paying for a coffee and I hear how they say it and takes me a while but I piece it together into English. What is my debt to you? Or maybe it’s, What do I owe you? Anyway, I like that – what is my debt to you. The barmen are in white shirts and they have black hair that shines and there are mirrors all around the outside of the bar to make this small place feel so much bigger and even the counter of the bar is all chrome metal. We can see ourselves everywhere reflected all over the place. 

On the weekends I turn down invites to visit places and see the sights with the others. This just seems to make them like me more. I stay in my room and on my roof-terrace surrounded by terracotta tiles. I can see rooftops for miles around. All terracotta tiles. I read. I read books on religion. Dostoyevsky. An academic commentary on Mathew’s Gospel. I do stretching exercises in the sun. I’m obsessed with this – a thirty-minute routine. I hate it too though. It’s like a penance. But I’m convinced it will make me better, that it will make me a better person. I want to be lithe and flexible and achieve some sort of inner strength. I want my body to hide a coiled power – not to use it, but so I know it’s there. On hand. I want to be surprising to people. 

I wasn’t even thinking about you at this point, hardly at all. You are all edges is how I remember you though. Plimsolls, skinny jeans, tight long-sleeved tops. Your elbows pointing. All angles. Like your limbs have an extra hinge somewhere. Cutting too – no  bullshit – you say exactly what you mean and you’re not afraid of anything. This whole thing is a breeze for you. 

Then we have a party at our apartment for the end of the course and everyone comes over for it, even the tutors. Inside there’s music, lamps and everyone is arriving and everyone is talking and you are talking to Ian. 

‘So what does your girlfriend do?’ you ask him.

‘She’s a dancer.’

‘A dancer? That’s interesting. What kind of dance?’

Your tone. I don’t even know if I care. I go to the kitchen and in the kitchen there are wine bottles beer bottles red plastic cups ice in the sink blue plastic bags and it’s all everywhere. José is in there too. José is young and he has long black hair that he keeps tucking behind one ear and he wears a white V-neck t-shirt and a black necklace. He’s into jazz, plays jazz piano. He’s the real thing. He helps me to say it’s okay in Spanish. All I seem to want to say is it’s okay. 

‘I think you are not saying it right,’ he says. ‘You are saying you are good, which means you are always good. You are never always good.’

The kitchen spills out into the living room where everyone is and Joanna is wearing a dress of bright sharp colours. She’s tied her blonde hair on one side with a red flower in it and she looks very Spanish and like she’s standing in some extra light or something. The music gets louder and someone opens the door to let air in. The walls of the living room are all blurred edges and feel too close like they’re pressing us all in, and the next moment it’s like they’re not there at all. And Maria, in a long sand-coloured dress, is leaning against the open door, laughing.

Then I’m upstairs somehow showing you around, sparkling drunk now and we’re having such a good time and we’re drunk and everything’s so funny and I think it’s so good being someone else, it’s so good that we’re avoiding going back downstairs where we can hear everyone and the party that is ignoring us. But to go into a bedroom would feel too irreversible so we stay on the landing with all these doors around us and the stairs going down. I want to stay where everything is still possible all of the time, all of the time, before some blunt act shuts off all those other ways. But then we’re too close and it’s all going away going away fast now and you’re leaning against the wall and I’m leaning against the wall and then it’s just too late and your lips are parting and there’s no way back. And although I’m enjoying all of this – because I know this isn’t me, I’m so pleased with myself – it’s still all just about ruined because those other possibilities all those others things that are meant to happen or happen but not like this they’re all closing now like eyes shutting. 

Then it’s done – the course – and we’re finished and we have to move out. But we all hang around in Seville not knowing what’s next and we all go out drinking and me and you from the time on the landing carry on drinking together and the others kind of drift home. We’re really into each other and we’re all over each other and the bar closes and we walk out and around the streets. We walk for a long time around the dark streets of Seville. We’re walking aimlessly with no idea of where we’re going and we end up down by the river. It’s either really late or it’s really early. There’s no one around. Then I’m trying to tell you I’m not actually that into you and I’m a real prick about it and you get angry and somehow while we’re arguing we end up going back to the pensíon where I’m staying. It’s the cheapest place I could find to stay and the pillows are lumpy and the bed sheets are thin with all their colour washed out of them. 

Once we’re in the room there’s nothing else but the bed. It’s just the room and the bed. So it’s going to happen. It has to happen. The bed is flimsy and the sheets are so old and worn and it’s so hot and we do the best we can here and we actually manage to make it something – something more than just sex in a cheap room. And everything’s all orange, everything’s washed in an orange light. It’s early morning, the curtains are dark orange and the gathering light outside is coming through the curtains and the room and everything is washed in orange. Your skin is dark orange all over. Your arms, your shoulders, your thighs. And we’re holding each other clenched together just right there. 

The next morning when you’re gone and I’m clearing out of the room – because I want to get out of this place and get unknown again – I find a used condom on the floor behind the bed. It’s not ours. It’s been there the whole time. It’s behind the bed on the laminate floor. It looks cold. Something just cast aside. But then I pack and get out and outside the sunlight is everywhere and it’s hard and definite and that helps. 

I’m trying to tell you something. In Cadiz in a restaurant, I saw a woman having dinner alone. This was before all of this in Seville, before any of this had happened. She had dressed up. This was in a restaurant in Cadiz. It was a modern restaurant. Bright. Large white plates. She was alone and she’d dressed up and she’d brought a book with her to read but she wasn’t interested in the book at all. It was like a prop. She was having dinner alone but she wanted something. She kept looking around. She wanted something else. That pointless book. She was ready – ready for everything to happen. For a hand to be offered, and  all the ordinary days to fall to earth around her.

Jacob Parker lives in London and teaches in a sixth form college. His short fiction has also featured in Structo, Open Pen, MIR Online, Litro, The Interpreter’s House, and others.

She’d walked along the beach for an hour that afternoon in the sun and rested up on the pier to lick her vanilla and blackcurrant cookie ice cream in a waffle cone. On the next bench, two pink- and purple-plumed teens with tentacled H.P. Lovecraft creatures tattooed on shoulders and thighs were speaking rapidly in sing-along French, luinesavaitpasmemefairecac’estunvraicochon! She wanted to eavesdrop, to join in, to ask them if they’d seen the crocodile everyone was talking about, but knew no French so lick-licked the soft gold cream, before it ran down her arm and dripped between the cracks of the wooden planks into the water below.

The teens got up, drawn to the call of the bongo drums beating out across the esplanade, leaving her alone with the incinerated hulk of the west pier, staring across at its burnt bones falling away into the roiling silver, while squally gulls glided, their arched wings shaping eyebrows in the air, as frothy wavelets curled and splashed over long, stepped groynes, like the crested tails of large lizards. 

She wasn’t taking the escaped crocodile seriously, no one was. In the news reports, it was just one more mythical beast, not a razor-crunching reality. She wondered if the reptile would return to the sanctuary of the ocean, as its ancestors had in the dreamtime, when creatures that could fly flew up, and creatures that could swim swam down. The sea was a place where a crocodile could hide, where it could grow and shape-shift into whale or beaked turtle. 

She too had washed up here, breaking free from the silent civilised city of smooth glass and cream stone that had been her long-time home. A chance to start over, to change. Slowly, the crocodile shaped itself in her mind: its barnacled pebbly hide, rackety teeth and polished garnet eyes, hidden there, beneath the shimmery surface of the Channel. 

The multi-tongued sea taunted her with the impossibility of transformation, that her story, at forty, was already mapped out like a nautical chart, that she was settled in shape like a stone on the beach, that she could not shed her crabbed skin, that she would remain in hues of sandy orange, mottled grey, chalk white and charcoal, as far as the eye could see. 

“I’m hard and dry, as fixed as rock, when what I want most is the turquoise lightness of water.”

Sun further west, sea further in. It was a shock to find someone had sat down next to her. “That’s the sea for you. It’s slippery, it seeps into your cracks and takes you unawares.”

  A noble profile; skin the colour of kelp, eyes pale and glinting, like the albino fish she’d glimpsed once in a subterranean cave in Slovenia. Hair deep blond with a curl and carelessly pulled into a chignon on top of the head, eyebrows shaven, nails manicured, painted lavender. She wanted to look more closely at the torso wrapped in its cape but reluctant to stare, concentrated instead on the dark polished cane they were holding in front of them. On top was a small carved face like a netsuke, and as she studied it, saw it was not one face but two: the conjoined masks of leering comedy and cruel tragedy. 

She looked up and saw the pale eyes on her. “I’m new here. Moved down from London during… well, you know…”

They were nodding, “I know.” 

It seemed then  she fell into a trance, couldn’t describe afterwards whether they had talked an hour or sat in silence, hypnotised by the inning and outing of the tide, the slipping away of the sun, the pixilating shingle along the curve of the coast.

“The crocodile,” she said at last. “Has anyone found it? I mean a crocodile on the loose is a dangerous thing…”

“Oh yes,” they said. “No question.” A hesitation, a smile. “But I’ve got it. It’s safe in my special place. Like to see?”

She was astonished by the invitation, suspicious of it. “You’ve got the crocodile?”

“I have.” A whiff of humour, like the joke was on her. She glanced at the carved knob on the tip of the cane.

“…fractured my ankle and waiting to heal. Are you coming?”

She stood up and strode alongside her limping caped companion; had to run to keep up with them as they navigated the empty esplanade, the spaceship cars and troglodyte bicycles parked at Sea Life World, turning left then right, into the cheery lights of Kemp Town.

They stopped outside a low tavern with bow window where an upside-down naked doll hung, arms and legs all swapped around. The stranger knocked, with the twin-faced walking stick, on a door festooned in fairy lamps.

“So Harry Potter, isn’t it?”

The door opened. A shaven-headed carnival gull in feathers exclaimed “Janus!” then darted a sharp peck at the She.

“Soul mate, found adrift,” they replied.

“Come in, driftwood welcome here!”

They entered a narrow, condom-tight cabin, that extended back to cellar stairs; walls throat-red and mirrors somehow liquid, a bright tank next to the bar flashed with the round gulping mouths and disk-shaped eyes of silver fish. 

She felt mottled grey. An old stone you’d want to hurl into the flames of a fire. 

A crowd flooded in to hug and shake Janus and finding herself separated she went to where a crocodile stood on its hind legs behind the counter, a crocodile with long dreads and hoofs for feet, a crocodile wiping a dimpled glass into which it poured sea water.

She took the glass and stared. Were those tiny plankton shuddering about inside? She lifted the beaker up to the light to see.

“It’s not spiked,” grinned the crocodile.

 She sniffed, inwardly held her nose and swallowed, then looked around for Janus, saw them sucked down the throat into the cavern below. She followed, sank herself deep into its dark belly where the candles guttered and oddball chairs stood at mishmash tables, where the low ceiling dripped with fishing nets and swinging plastic lobsters; more mirrors, more fish tanks. She perched on a seat in front of a band of leathery pterodactyls as they struck up. Dream Tobacco sounded out.

Once I was a man and I loved a woman

Truly I believed that she loved me

Then some other woman came and stole my woman

Right away my life meant nothing to me…

The music, the dancing shadows, suggested the vast ancientness and newness of life; how she was floating in a bubble of time, then how time itself was stretching and spooling back to the pre-time, when crocs were dominant in the world drama, and then suddenly, she saw time flinging its tentacles up to the stars like a giant squid, up there, where one day spaceship arks would soar, seeking sanctuary, to build a home somewhere else, from which to watch the dying earth.

The pterodactyls played on.

Someone hand me down that opium pipe

Oh dream tobacco take me away

Where there ain’t no memories to lead me astray

Where I can hear sweet music the lived long day …

She sipped her drink, pausing to decide whether it was Elderflower or Kombucha. The dancers, some lean and lithe, others ponderous, were lurching and skidding on the froth of beer and seawater. There were tails; there were horns, and there was Janus, throwing off their cape, caught by a long-snouted toothless iguanodon in mulberry red who wrapped it about themselves. Janus had lost their cane, was dancing limp-free, healed by this flirtation with water.

“Who takes your fancy?” asked a proud stegosaurus in lazy drawl, wearing Lycra cyclist tights, not looking at her but lost in their own reflection in the mirror, gaze enchanted by what they saw.

“No one. I’m spoken for.”

A snort as they pulled away from the reflection, glancing at her. 

“Where is he, then?” Eyes working the room.

“It’s not a he.” 

Eyes returning, settling on her, like a surprise find.

“A she?” 

Heads spun, inquisitive glances, glitter ball fishes tapping their noses against glass aquarium walls. 

She shook her head again and took another sip of her drink. 

“It’s not a she, it’s a what.”

“A what?” Stegosaurus quizzical, wondering if she was meat.

“A croc.”

“A what?”

A whoop, as a shower of light and dead stuff fell from the ceiling, making the cavern snap and gurgle and laughter rippled out, catching Janus, her crocodile, swimming towards them in its current.

“I knew she’d fit right in,” they were saying.

In an instant, the cavern erupted into sprays of bubbles and she was paddling with Janus, singing the song of Dream Tobacco and everything boundless and boundary-less, and it was obvious that her shell was pierced.

Later, when she thought back, she remembered a tale from her childhood: the one about a Fairy Queen holding court in a big empty house, who invites two musicians from the human world to entertain her guests for the evening. They play their fiddles and stay 200 years, though they think they’ve been playing for only one night. When they leave, they catch up with human time and disintegrate, blown away by the wind. She worried that the same might happen to her, that finding herself so changed she might not survive in both worlds.

After the asteroid crash and the opening of the oceans, she crawled out of the cavern and along the esplanade, back to her own neat home, back to the cat waiting for her, and she knew she was diversified, changed from rock to croc. 

“I’ve found my tribe,” she thought. “I’ve found where I belong.”

But the next week, and every week, she tried to locate the bar in Kemp Town with the sea inside, but she never managed it. Perhaps they were all swept away by the outgoing tide, dissolved in the morning sun, perhaps they had been lost for eternity, like the escaped crocodile.

Deborah Nash is based in Brighton and has had an eclectic range of employments from fish n’ chip shop and factory floor shoe-picker to community artist, sub-editor and now writer. She has written 12 children’s books and is a regular contributor to The Wire, Selvedge, Londonist, and France magazine, among others. She was prize-winner in 2020 for the YPPT script-writing competition for a puppet play, longlisted for Emma Press picture-book call-out 2020 and her short stories appear in Litro, Stand magazine and Ambit.

“The swans on the river where we used to live have laid some eggs on a nest they made at the weir,” said Olive, who was waiting at the nursery door to collect her children, Nia and Mikey. The other mothers turned to look at Olive, but not in a good way. “I was just texting my friends to find out if they’d survived the high tide,” she continued, “and if any had hatched.” 

Olive had hoped that by saying something interesting she could engage them in conversation. And that she would have signalled that she was new, open the way to talk about moving. They might sympathise about missing friends and so on. 

“It’s a precarious place to build a nest,” she said, her voice tailing off. 

The only response from them was to move their sunglasses, as one, from the tops of their heads to cover their eyes, which was equivalent, Olive thought, to slamming a door shut.

They knew she was new anyway.

Trying to talk to them only served to precipitate the formation of the huddle that they formed every morning. Olive felt like a robot penguin that had been embedded in the huddle by the team from Frozen Planet to record their goings on. Only they’d worked out quite quickly that she may look like a penguin, but she didn’t smell like one. This was now the second week she had listened to their daily gakker about who was free for tea. By tea, they meant tea dates for the children. If the children were not available, the reasons were mostly sporty. Cricket, tennis, rowing.

Olive had chosen this school because she had liked the small classrooms set in the rooms of the old house that had been converted into a prep school. She thought the small class size of only twenty children would benefit Nia, who was a bit shy, when she started school in September. The lawns were used for games, the girls skipped across them in their straw boaters and striped summer dresses, white socks falling down around ballerina ankles. The boys kicked footballs in the timeless grey shorts of the English private school, their green woollen caps askew on their sweaty heads, all stuffed full of learning. 

Nia and Mikey had joined the nursery only a few weeks before the end of the summer term, so the timing was bad for finding some families to hang out with over the holidays. As each friendless day went by, Olive began to feel more desperate. There were two months of holidays to fill and she was going to have to spend them alone with the kids. What with all the renovations on the house, there was no money for holidays. Though no doubt Alex would manage to get abroad, Trieste or Budapest – conference season was in full swing.

Back at home she created a word document with her name and address on it, email and mobile number, plus the names of the children, imported a pretty flower motif, copied and pasted several times. She printed out the sheets and then cut them into little homemade calling cards. She made the children their tea then started baking.

When she dropped off the children the next morning, she handed the cards out to each mother as she arrived.

“I’ll be at home today,” Olive said. “Pop round, I’ve baked a cake.” 

A thin, angular woman with white-blonde hair pulled back in a severely aggressive bun, reached out her hand to Olive taking the homespun visiting card. While she assessed it, Olive looked down at the woman’s shoes – shiny black with a jewel-encrusted strap across them, with heels of only a millimetre in diameter.

“I am Liudmila. I cannot,” the woman said, in an eastern European, or possibly Russian accent. “I am cardiologist. That is,” she continued emphatically “- the heart.”

She went to return the “card” to Olive, but Olive stopped her and said, “Oh maybe you can give me a call in the summer? – your son, I don’t know his name, might want to come and play with Mikey?” 

Liudmila handed the card back, saying “Leonid has water sports and Russian language camp on Lake Baikal – that is Siberia. Do you know?” 

“Only from Dostoevsky,” Olive replied.

The look Liudmila threw her made Olive hope the spiked heels were not in fact darts.

She handed out more cards then waved bye-bye through the window to Nia and Mikey who had already donned painting aprons. 

Crossing the playground, she was passed by Clover running towards the nursery, dragging her daughter behind her. Clover’s long hair hung wavy and unkempt, her coat open.

“Hi,” said Olive. “Want to come by my place this morning? Coffee. You know.” 

“Sorry, in a rush…”

Olive waited in the street for Clover, watching the prep school mums mount their Range Rovers and drive their Sweaty Betty asses off to their yoga classes.

When Clover exited the school gate, she took the “card” from Olive with an unsteady hand.

“Who’s going?” she asked. 

“It’s a sort of open morning, I’ve invited everyone,” Olive replied in as upbeat a voice as she could manage. “But I don’t know who’ll turn up.”

Clover reached into her pocket and took out a packet of cigarettes and lit one.

“That bunch of bitches? Fuck me no!”

Then seeing Olive’s reaction and with a disdainful wave of her hand, she declared that they were all so “nouvy.” 

She puffed out a long exhalation of smoke.

“I’ve got a massive hangover. I need to find some aspirin.”

She dragged on the cigarette again. Then she stubbed the fag out in the eye of one of a pair of plaster cherubs that decorated the entrance gate of the Victorian building. Once extinguished, she used her middle finger to flick the butt over the wall into the playground.

“I’m off to see my solicitor.”

Back at home Olive filled the kettle and set some cups and some plates out on the long farmhouse-style table. And waited. 

Half an hour later there was a knock on the door and when she opened it, Kendra was standing there, and, coming up the path behind her, Nadine. Olive had seen them in the huddle and knew their names, but apart from that she had no idea what to expect of them. 

Kendra strode inside while Olive waited for Nadine. She showed her into the kitchen where Kendra was already having a good look around. 

“Nice space,” said Kendra. “You going for the ‘urban vibe’?” Her steely grey eyes coolly assessed the bare floorboards and the walls which had been stripped back to brick and not yet replastered.

“Oh no,” Olive replied. “It’s just that we’ve run out of money for a new kitchen. Replacing the roof cost a fortune.”

“Ohhhhh!” said Kendra, her eyes widening.

“The cooker’s new, obviously, and the fridge.”

Olive stood at one end of the table, at which, in their previous home, she, Alex and the kids had had many a felicitous gathering. Kendra and Nadine sat at the other end. They seemed a world away. And when Olive asked what they’d like to drink, their voices rang out, clipped and glacial, in the empty space.

“A decaf soya latte,” said Kendra.

“Peppermint tea,” said Nadine.

“Jesus Christ!” Olive joked “where do you think you are? Starbucks?” 

Instead of the expected laugh, Nadine snapped that she was dairy intolerant. She was dressed for exercise in leggings and a black hoodie. Her dyed black hair was pulled tightly back which made her face stern, prissy, even. If her aim had been Sporty Barbie, the result was more Penitential Barbie.  

“Would you make fun of a child who had allergies and intolerances?”

“Errr… no… not at all,” said Olive. “I’ll get you a glass of water.” 

Olive took the cakes out of the cake tins anticipating gasps of appreciation but neither of them noticed and they kept talking to each other. 

“I’m off to Sasha’s shortly,” Kendra said. “Need to keep an eye on the time. She wanted to show me some fabric samples for the blinds in the orangerie.” 

“Oh Sasha’s!” said Nadine, looking at Kendra as if to say, but she was my friend first. “I invited her to mine but we haven’t managed to set it up yet.”

“She told me she was overwhelmed with people inviting her places, since they moved into the Hall.” 

Olive awaited her moment, an orange and cardamom cake in one hand and a pineapple tarte tatin in the other. The tarte tatin had been tricky to produce. She’d had to throw the first attempt away and start again.

“I’ve been told my cakes taste pretty good,” she said. 

They looked up at her as if they had suddenly realised they were in a theatre and the play had begun.

“I’m thinking of setting up a cake making business.”

“Tippi’s cakes are amazing,” said Nadine.

No, they were not watching a play. They were watching the ads during an intermission for a product they were not interested in buying.

“She did one for Sam’s birthday with cricket stumps, two teams with different coloured kits, and a scoreboard that actually lit up!” said Kendra.

“Really it’s more about how they look,” said Nadine, “than about how they taste.”

“Yeah, you’d have major competition. Major.”

Olive took out a knife and the cake slice.

“Which would you like?” 

“I’m trying to lose a few pounds,” said Kendra. 

“I’m gluten intolerant,” said Nadine. 

“Anyway, I’m not that into cake.”

Olive cut herself a piece of cake. With all the waiting for things to cool and the tidying up, it had been 1.30 am before she’d got to bed, so she wanted at least to try one. But knowing that she would be the only one to indulge lessened the pleasure she would have in eating it.

Kendra stood up and went over to the large draughty windows.

“What are you doing about window treatments?” she asked, looking out to the garden that was full of rubble.

“All the frames seem in good nick. The surveyor didn’t highlight any issues.”

“I don’t mean the woodwork. I mean the dressings.”

“Dressings?”

“Have you got a designer?”

“Oh, I see what you mean. Alex has put up roller blinds til we get sorted.”

Kendra sat down beside Nadine and sighed.

“My mother-in-law has refused to pay for my new curtains.”

“That’s terrible!” Nadine’s words sympathised. But she seemed to hold her breath, her look watchful.

“Said it was the curtains or the school fees. I’d’ve happily taken the buggers out of school but Arty said it wouldn’t do for Whittier boys to be seen at a state school.”

Olive laughed.

“You think it’s funny but no one else is having to make these choices.”

Olive reined in her laughter. They all seemed to take themselves so seriously. She was going to have to adjust her sensitivity monitor because she seemed to keep misjudging them.

Kendra took her phone from her hip pocket, swishing through it. “I’m just checking the bidding,” she said. “It’s almost the hour.” 

“What are you having to sell this time?” Nadine asked.

“The Limoges.”

“The Limoges? No!” Nadine seemed horrified. But there it was again – was that an element of schadenfreude in her tone that went unnoticed by Kendra?

“Am I missing something?” Olive asked.

“Dinner service wedding present from the mother-in-law,” explained Kendra. “When am I ever going to use that? I’m no cook. It’ll pay for the curtains. It’s a Zoffany fabric, two hundred quid a metre and there’s a lot of windows.”  

“I would be surprised if the Limoges covered it,” said Nadine.

“You would be surprised,” said Kendra, rising up on the heels of her thigh length boots that she wore even though it was summer. “People pay a fortune for that old shit!”

“Old?”

“She didn’t buy it new. The dinner service was passed to her and then it was passed to me.”

“I never thought of pet food money being old money,” said Nadine.

“Pet food!” said Olive. “Is that your husband’s job?”

“He doesn’t have a job exactly,” Kendra explained, giving a deep throaty laugh. “He just lives off it!” 

“Where did you meet?” asked Olive.

“I worked for the business. In accountancy. Til I had the kids.” 

“Somebody’s got to bring up the heirs,” said Nadine.

“Two boys. Nightmare.”

Without knowing Sasha, Olive could see why she would choose Kendra over the more spartan Nadine for a curtain friend. Her clothes declared that she was not only not afraid to spend money, she wanted everyone to know it too. Over her top, she wore a fur gilet, fake or real, Olive was not qualified to appraise it.

“The thing is,” Kendra continued, “she gave us the money for a big house but then withholds the money to furnish it.”

“It doesn’t seem right!” Nadine sympathised.

“But what I say is we either get the money now or when she dies. Why wait?” 

She held her hands up in a gesture of despair, and the charms from a bangle jangled and sparkled.

“When I submitted the proposal for the curtains…”

“Hang on a minute,” Olive said, “what do you mean submitted the proposal?”

“I mean I have to ask in writing for money for every aspect of the project.”

“What project?”

“The house.”

“Oh, are you doing up a house?”

“It’s the one she lives in,” Nadine explained.

“That’s right. I have to submit a proposal to the mother-in-law every time I want to buy something for the house I live in with her son and her grandsons.”

“It’s like asking for alms,” said Nadine.

“And I’m no Catholic.”

“It’s a pity you didn’t find out about the tight grip of her hands on the purse strings before you married him.”

“That is a major regret. Major! But like I say, she can’t live forever. Anyway, in the proposal, I’d factored in an extra ten grand to clear off the credit card.”

“Can’t Arty pay it off?”

“Ask me no questions, I’ll tell him no lies.”

Now it was Olive who was watching a play from beside the kitchen counter where she was surreptitiously helping herself to another slice of cake. Kendra strode about Olive’s kitchen, her heels rapping forcefully on the wooden floor as if she was on an empty stage that she was totally owning. There was a kind of magnificence to her awfulness and her expectation that the audience would totally get her and her terrible predicament. 

“Thing is, it’s not like any of it’s for me. It’s only things for the house. But I had a few transactions go wrong.”

“What do you mean?”

“I bought more on eBay than I managed to sell. I usually make a small profit or even if it’s a loss it’s usually small enough to be “disappeared.” I’m hoping the Limoges will do it this time.”

“It’s incredible you have to live like that,” Nadine commiserated. “Selling expensive old stuff to buy second-hand new stuff.”

“I’m maxed out on my cards. I’ve had to ask my dad to pay them off for me.”

Kendra took her car keys from her bag.

“It was nice to see….” she looked around. “… where you live.”

Olive saw her to the door and when she returned to the kitchen, Nadine wasted no time in setting upon her.

“What’s she like? Asking her mother-in-law to pay for the curtains.”

“I thought you were friends.”

Nadine hesitated. “There’s no such thing as friendship here. Only …. manoeuvres.”

Olive wondered if Nadine’s presence at her kitchen table was an example of the said manoeuvres – Kendra went somewhere, Nadine followed.

“Is her dad loaded, too?”

“He’s a retired miner…”

“A miner? 

“… or redundant, however you put it.”

Money may make the world go round, but it seemed it was miners’ money that was doing the spinning.

“But I thought Kendra….” 

“Yeah, County Durham. She dropped the accent.  She only worked in the business til she thought it would be more profitable to marry into the family. Social climber.  In the first week of nursery, she managed to wangle the addresses of everyone from the school office, then drove around each house to see who had the biggest one! That was Sasha’s. So Kendra set about bagging her, like she had done her husband. No one else could get a look in.”

“Are they all equally awful?”

The length of time Nadine took to say “no” was not reassuring. “The question you have to ask yourself is, do you want to be socially dead?”

Olive considered this proposition and was filled with a lacerating homesickness. She had imagined an ingenuous coffee morning from a time before: the mothers would moan about their husbands and express equal amounts of pride and exasperation in their children.

There was a knock at the door.

“That might be Clover…”

It turned out to be the delivery guy with another box of paint samples.

“I didn’t think it would be Clover. She doesn’t socialise much.”

“Oh that’s a shame. She seems…. interesting.”

“She can be a bit … flaky.”

Oh?

“You didn’t hear this from me….” Nadine looked around Olive’s kitchen, though there were still just the two of them in it. “You won’t know since you’ve just arrived… She’s just come out of a clinic.”

“Oh! What sort of clinic?”

“Drying out.”

“Just come out or about to go in?” Olive asked, thinking about the playground at drop off.

“Just got out. The husband’s affair sent her over the top.”

“Is Clover ok?” 

“I think they’ve decided to make a go of it,” said Nadine picking up her bag and getting ready to go.

Olive accompanied her to the door and with quite some relief closed the door on the second of the Mothers Grim.

When Alex got back from work he asked how her morning had been. She thought about explaining, in the manner of an anthropology lecture, that in this culture it seemed to be acceptable to stalk potential friends til you worked out how much they were worth. 

“Kendra is married to the Paws and Jaws family so they’re living on dog food, as it were.” 

Alex was already sitting at the table with his laptop open. Olive glanced over his shoulder.

“Sorry, darling, what did you say?” He was looking at the average daytime temperature in July in Ankara.

Soon it was the last day of school before the summer. Olive waited outside for the children to gather up their belongings while everyone in the frenzied huddle asked everyone else where they were going on holiday. Even though they all seemed to already know. Dubai.

“Are you all going together?” Olive asked.

“Ha ha! No!” Kendra laughed, then asked “Have you ever been to Dubai?”

“I prefer not to visit places that haven’t abolished slavery,” Olive replied realising as she spoke that she was heading for social death.

She stared at the mothers as they reformed the huddle. Surely there must be someone worth getting to know? Who was she kidding? They were as grotesque as circus acts. Where was Clover? She might have proven an ally, but she had seemingly disappeared from the playground a few days after the cakeless coffeeless morning.

The children came filing out of the nursery, clutching in their guileless fingers the term’s output of crafting. Mikey handed a pile of paintings to Olive. She set them in the pram and followed him and Nia across the playground, glancing down at Mikey’s piece of art nouveau. White feathers glued onto some glinting, coloured paper. It made her think of the swans on the river where they used to live. “What is it you’ve made?” she asked, hoping for spiritual guidance from her small son. “What does it mean? Is it swans? Are they swimming away? Or are they returning to the riverbank where they were born?” But Mikey’s interest lay elsewhere now and he ran to the school gate beyond which beckoned the carefree days of summer.

Nadine called from the huddle that she’d be in touch. It was pathetic, Olive felt, to hang on to this potential offer, like receiving a job offer to work for someone she didn’t like. What would she have to do or become to breach Fortress Huddle? Why did she want anything to do with them? It was this: they had what Olive, Nia and Mikey needed – children. Maybe the white feathers in Mikey’s collage were not swans but her soul which might be swept away by dark waters, if she stayed here, and entered into a Faustian pact with the huddle. 

During the holidays, Olive divided the local park into what she termed Zones of Enjoyment, the playpark, the paddling pool, the pinewoods. All summer, the three of them alone. In the last week, she received a postcard from Nadine with a picture of the Burj Al Arab hotel. On the back was a scribbled note saying sorry they’d been too busy to get in touch but would “catch up” soon. The card had been posted in England. It reminded Olive that they’d be returning to the elite sports academy she had unwittingly signed up for. So she booked a tennis court for an hour and tried to give her four year old and two year old some tennis coaching. It didn’t go well.

In the next court sitting on a bench was one of the mothers she recognised from school. She was reading a book while her twin boys were coached on the courts.

“What you reading?” Olive asked. 

The woman didn’t speak but, by way of an answer, she turned the book to Olive.

Olive took in the title, “How to Raise a Champion” while Nia stood by, observing. Beside them, Mikey scuffed the tennis racket along the surface of the court. 

“Not my cup of tea,” said Olive, chivvying Nia and Mikey to pack up their belongings.

“No wonder nobody likes us,” Nia commented as they set off home. “You should’ve just said you liked that book. That’s what we do at nursery when you don’t like someone’s drawing. If you don’t, they won’t be friends with you.” 

“So you lie to make friends?”

Nia folded her arms across her chest like the village wise woman and, head down and determined, set off up the stony path that led to the road home. Olive followed behind pushing Mikey in the pram. The little Joan Miró was making abstract drawings in a notebook, holding three different pencils in his left hand, a frozen lolly in his right. Nia stopped at the locked gate of every house they passed and pointed in, saying “Do they have children in that house? Do you think any children live in there?”

And at home, hearing children’s voices from the garden next door, Mikey crouched down on his hunkers and called through the gap in the hedge. “Children! Children! Come and play! Look! See! I’ve got pencils.” And he set the very pencils down on the hardened earth below the hedge like an offering to the Gods of Friendship. 

It was as if the children knew a tangible relationship such as friendship was the only way to prove that they existed. But no reply came from behind the locked gates, nor through the glossy leaves of the suburban privet. They might have been the otherworldly family, Olive, Nia and Mikey, from a ghost film, going about their lives on one side of a wall, unseen and unknown, on the other side of which lived The Others.

My debut novella, Source, won the New Fictions Prize in 2020 and was published by Story Machines in 2021. I have completed a debut novel, The Children of Angels’ Eyrie, about a century of conflict as seen through the eyes of two families who live in the same house in Yorkshire, 100 years apart. My short story collection, Dismantling the Catapult, is nearing completion. I am the editor of The Vixen, a magazine of art and lit based in Harrogate, North Yorkshire, where I live with my family.