Published in Gold Dust magazine, Literally Stories, Near to the Knuckle, McStorytellers, Penny Shorts, Soft Cartel, Whatever Keeps the Lights On, and Shooter magazine.
Matthew Richardson is a writer of short stories. His work has featured in Gold Dust magazine, Literally Stories, Close to the Bone, McStorytellers, Penny Shorts, Soft Cartel, Whatever Keeps the Lights On, Flashback Fiction, Cafelit, Best MicroFiction 2021, Writer’s Egg, Idle Ink, The Wild Word, and Shooter magazine. He is a doctoral student at the University of Dundee, a lucky husband, and a proud father. He blogs at www.matthewjrichardson.com and tweets at https://twitter.com/mjrichardso0
Greys Estate Agents is pleased to present a rarely-available investment opportunity. The property requires substantial renovation and updating. Buyers are advised to take this real estate opportunity at face value. Local newspaper articles often exaggerate, and a professionally-produced home report is available on request.
Property description
The accommodation comprises entrance vestibule, combined kitchen and lounge, bathroom, and bedroom.
Entrance vestibule
Extensive security measures on the front door bely what is now a very safe neighbourhood. Visitors are advised to ignore the smell. The key to the property will be underneath the door mat in the common close. Prospective buyers are asked to show themselves around the flat.
Combined kitchen and lounge
Albeit without modern amenities, the kitchen is surprisingly well appointed. Extensive cupboard space is complimented by an antique double range – unusual for a property this size. The range is in excellent condition, despite having seen much use. There is some damage to the room in the form of carvings in the skirting boards and what appears to be a symbol in faded paint upon the floor. A decorator is needed as a matter of urgency. The room comes appointed with excellent quality blackout blinds and, unusually, sound-proof insulation.
In the ribboned fog of a February daybreak, dog barks stilt strangely in the dank air. Hoar frost clings to raw-fingered branches and to the tortured holly. What leaves are left from autumn’s mulch sit skeleton and crisp, drifted in between tree roots or huddled at the entrances to abandoned setts. Clouds scud over the lightening sky, looking upon their skulking brethren clinging to the dells and corries below. A time for paperboys and farmers, milk floats and commuters huddled bitter at some rural bus stop. The sensible stay put – the foxes in their underground fugues, the hares in frozen, clod-circled forms.
One of the best aspects of being a member of Ayr Writers is the variety of outside speakers we have in our programme. Writers are by their nature storytellers, and we’ve had some fantastic yarns spun to us in my time as a member.
Some of the most interesting talks have come from (to my mind at least) unusual sources. We’ve had workshops on writing song lyrics and publishing via Mills and Boon, both of which taught me things about writing of which I was previously ignorant.
Matthew Richardson is a writer of short stories. His work has featured in Gold Dust magazine, Literally Stories, Close to the Bone, McStorytellers, Penny Shorts, Soft Cartel, Whatever Keeps the Lights On, Flashback Fiction, Cafelit, Best MicroFiction 2021, Writer’s Egg, Idle Ink, The Wild Word, and Shooter magazine. He is a doctoral student at the University of Dundee, a lucky husband, and a proud father. He blogs at www.matthewjrichardson.com and tweets at https://twitter.com/mjrichardso0
Siren’s wail and loudspeaker’s bark are dampened as Adam closes the door against the night. One, two, three padlocks go on. Two deadbolts scrape across the pitted iron of the doorframe. The smell of the flat welcomes him home – mildew and rusty water.
Adam lights a candle using the box of Cook’s matches. A man at the food line had told him that, pound-for-pound, matches were now worth more than gold. The expectation had been that Adam would have been impressed, or even disbelieving, but who had use for gold anymore?
The candle is placed atop the cardboard box that serves as a table, and Adam uses its guttering light to place plywood over kitchenette and bedroom windows. It doesn’t stop the wind whistling through the blown insulation, but it might persuade the after-darkers to move on to the next house. The next target.
A dinner of cold lentils, soaked all day, is eaten. Adam’s eyes never leave the guttering, tremulous flame. The wax is cheap. It runs down the sides of the candle and pools, translucent, on the cardboard. The candle occasionally pops and fizzes as it burns, like fireworks.
Adam glances covetously at the book he is halfway through, but he knows he cannot spare the wax. Licking the tips of his thumb and forefinger, he pauses, and then pinches the flame out. The lumpen, darken shapes that he knows so well immediately rush into the grey. The sofa, stuffing removed to supplement his duvet. The bank of bottled water that has to last until spring. The squat radio in the corner – his one link with what now passes for civilisation. Adam only switches on at 5pm Sunday for the emergency broadcast.
It was alright, he thought, picking a lentil from between his teeth. The Prime Minister’s budget would get people working again.
Matthew Richardson is a writer of short stories. His work has featured in Gold Dust magazine, Literally Stories, Close to the Bone, McStorytellers, Penny Shorts, Soft Cartel, Whatever Keeps the Lights On, Flashback Fiction, Cafelit, Best MicroFiction 2021, Writer’s Egg, Idle Ink, The Wild Word, and Shooter magazine. He is a doctoral student at the University of Dundee, a lucky husband, and a proud father. He blogs at www.matthewjrichardson.com and tweets at https://twitter.com/mjrichardso0
Moving across a room is more of a challenge than it used to be. Mark has given up waiting for his sea legs – landlubber ones will have to do. He opens the door to find the first mate about to knock again. The man doesn’t even bother to sneer at Mark’s seasickness anymore.
‘We’re here.’ The man looks warily at Mark as though worried he might shortly be wearing his guest’s breakfast. ‘Although why anyone would want to be is another matter.’
Mark nods and begins to follow the sailor up the narrow corridor, arms braced against the corridor walls like a drunkard. His lifejacket puffs up in front of him ridiculously, and the first mate opens the door at the end of the passage for him.
The wind, whose fingers had already been tendrilling through the broken seals in the door, seizes the opportunity and heaves through the doorframe, salt-spittle-flecked and cold. The first mate does not waste any more words in the squall. He mimes that Mark should remain clipped in whilst on deck, and through a wagging finger the fact that no-one will be coming after him if he does go overboard. Mark nods and clips in.
This was going to be a couple of drought-themed haiku, but in the end I thought a refreshing one to finish was more palatable.
‘Breccia’ is a haiku based on the Flannan Isles off the west coast of Scotland, a notoriously difficult place to land a boat and the setting for a mysterious disappearance in 1900. I’ve just finished ‘The Lighthouse: The Mystery of the Eilean Mor Lighthouse Keepers’ by Keith McCloskey – an excellent book on the subject if you are interested in reading more.
Matthew Richardson is a writer of short stories. His work has featured in Gold Dust magazine, Literally Stories, Close to the Bone, McStorytellers, Penny Shorts, Soft Cartel, Whatever Keeps the Lights On, Flashback Fiction, Cafelit, Best MicroFiction 2021, Writer’s Egg, Idle Ink, The Wild Word, and Shooter magazine. He is a doctoral student at the University of Dundee, a lucky husband, and a proud father. He blogs at www.matthewjrichardson.com and tweets at https://twitter.com/mjrichardso0
Matthew Richardson 