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A Fair Future

Written by Martin O’Neill

Since its launch in October last year, Hear|Here—a project in partnership with Fair Scotland that collaborates with Scotland’s travelling Showpeople—has been steadily gaining momentum. This initiative, alongside collaborations with Fair Scotland and Dr. Mitch Miller’s Atchin Tans & Tobers project, forms part of a broader artistic exploration of Scotland’s Showpeople culture, including Miller’s deep-mapping practice known as dialectograms.

We have ambitious plans for 2025, a dynamic programme of installations, performances, and newsprint, and an upcoming series of events coinciding with the March Spring Fair, the project continues to grow in scope and impact. 

Left to right: Dr Mitch Miller (Fair Scotland), Dr t.s Beall (Fair Scotland), Alex James Colquhoun (Chairman of the Scottish section of the Showmen's Guild of Great Britain and Vice President of the European Showmen's Union, Albert Reid (Reid's Amusements, Local Showman)
Left to right: Dr Mitch Miller (Fair Scotland), Dr t.s. Beall (Fair Scotland), Alex James Colquhoun (Chairman of the Scottish section of the Showmen’s Guild of Great Britain and Vice President of the European Showmen’s Union), Martin Joseph O’Neill (Artistic Director, The Stove) Albert Reid (Reid’s Amusements, Local Showman) at the launch of the Hear | Here project. 

I’m always eager – perhaps to the point of annoying (!) – to remind Doonhamers just how deeply embedded and longstanding the travelling fairs are in Dumfries. From medieval feasts in the 1300s to the Rood and Spring Fairs of today, this rich tradition remains a defining part of the town’s cultural landscape. Showpeople played a pioneering role in early cinema, contributed significantly to the town’s development—including the construction of the suspension bridge—and supported local efforts during the Second World War. Their history is not just alive but constantly evolving—adapting to the present while remaining fiercely proud of its unique identity.

There is a growing recognition of Showpeople’s cultural significance, the recent BBC Scotland docu-series Licensed to Thrill has brought their stories to a wider audience, while the European Showmen’s Union Conference in Edinburgh earlier this year—an event I was fortunate to attend—highlighted the continued importance of this community across Europe. This renewed interest signals a much-needed revival and acknowledgment of their contributions, woven intricately into Scotland’s industrial, cultural, and civic fabric. 

This cultural resurgence comes with challenges. Inconsistencies in local policies and licensing rules continue to create uncertainty. In Dumfries, the debate around the flood defence scheme highlights these tensions. On the positive side, there’s growing support from local leadership, with calls to ensure that fairs remain on their current site by the Whitesands. But sustaining these historic fairs remains an uphill struggle, with rising costs and bureaucratic hurdles. 

The recent European Showmen’s Union Conference brought these issues to the forefront in a parliamentary debate addressing key concerns for Scotland’s Showpeople:

Furthermore, efforts to safeguard Showpeople’s heritage are gaining traction. The UK signing up to UNESCO’s Convention for the Safeguarding of Intangible Cultural Heritage is an encouraging step, as are initiatives led by Fair Scotland, which has recently launched a survey documenting fairs under threat and those lost over the past century. You can read more about this in a recent BBC article.

And members of the public are encouraged to take 5 minutes to fill in the short survey here: https://bit.ly/LostFairs

How can we support the future of the fair? 

At the recent European Showmen’s Union conference, presentations from various international organisations shed light on successful models of support. The German Showmen’s Association (Deutscher Schaustellerbund), for instance, highlighted the scale and resilience of fairs in Germany—where, in 2024 alone, 7,500 fairs attracted 200 million visitors, generating a turnover of €4 billion. Despite rising operational costs, these fairs continue to flourish due to their deep integration within cultural and historic celebrations. Events such as Oktoberfest, Stuttgart’s Cannstatter Volksfest, and traditional Christmas markets demonstrate how fairs can be framed as essential cultural fixtures rather than standalone attractions.

Stuttgart’s Cannstatter Volksfest
Stuttgart’s Cannstatter Volksfest

Closer to home, Kirkcaldy’s Links Market—Scotland’s largest street fair—offers an inspiring example of longevity and adaptation. Running for over 700 years, it remains deeply embedded in the town’s identity. Unlike fairs relegated to isolated spaces, Kirkcaldy’s fair, as with Dumfries, runs along the waterfront. Its success, thanks to longstanding advocacy from leaders in the local council, underscores how traditional fairs can be seamlessly woven into the cultural life of a place, contributing to the long-term economy of a town. 

Kirkcaldy’s Links Market in Fife is Europe’s longest street fair, thought to be the longest in Scotland. 
Proposals for the Future

It wouldn’t feel very Stove-like if I didn’t use this blog as a space to throw some ideas into the mix—so here are a few to get us started! If we want Dumfries’ fairs to thrive, we need to think about how they fit into the town’s future and make sure they remain at its heart. Some ways to do this could include:

  • Cultural integration: Weaving the fairs into wider community events, arts festivals, and seasonal celebrations to make them a more visible and celebrated part of town life.
  • Heritage interpretation: Bringing the fairs’ history to life through walking tours, museum exhibits, and talks that deepen people’s understanding of their significance.
  • Urban design integration: Making sure fairs aren’t just accommodated but actively designed into the town’s spaces—imagine seating areas shaped for fairground rides or performance zones that transform throughout the year.
  • Sustainability initiatives: Looking at greener energy solutions, like hydroelectric power from the River Nith, to make fairs more environmentally sustainable and cost-effective.
  • Diversity and inclusion: Ensuring fairs are welcoming spaces for everyone, where diverse voices—including travelling communities, LGBTQ+ groups, and multicultural communities—are celebrated and included.
  • UNESCO Intangible Cultural Heritage Recognition: Pushing for Dumfries’ fairs to be recognised as part of Scotland’s protected cultural heritage, similar to how the Tilburg Fair (The Netherlands) has been designated.
Show woman Lucille Pullar speaks to ‘Fairground Walkabout’ attendees in March 2023. Lucille shared her experiences working as an Education Liaison Officer for the Showmen’s Guild, and her grandson’s ‘mini Lorry’ – painted with the family colours! Image t s Beall

Looking ahead
The Show Must Go On postcards (The Stove)

The work of Hear|Here is taking shape not just as an advocacy project but as a catalyst for deeper integration and innovation – by embedding the voices and ideas of Showpeople into urban planning and cultural strategy. Through collective action, we have the opportunity to secure a future where Scotland’s travelling fairs not only endure in Dumfries but flourish as living, dynamic elements of our town and community.

Learn more about Here|Hear.

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News

A New Chapter for The Stove

Matt Baker, Photographed by Coulson & Tennant

A New Chapter for The Stove as Matt Baker Steps Down as CEO in 2025

As we enter our 14th year, I’m writing to let you know about another major milestone for The Stove, as our co-founder Matt Baker stands down as CEO in summer 2025. This progression has been in planning for over a year between Matt and the Board. The Stove is constantly evolving, and the Trustees and the team are confident that this will be another positive process of change for us.

A small team from the Board have been working with Matt for about a year now in planning for this change. I’m delighted to tell you that we are not losing Matt; he will take on a new part-time role for The Stove as our ‘Prospector’*, continuing with the brilliant work he does for us in regional and national strategy and policy development, and working with prospective clients and funders to shape new work opportunities.

In co-founding The Stove, the challenge Matt set himself was to help establish a sustainable, innovative arts organisation embedded in his home region. As he says himself, ‘the final step in creating something is to step away to allow it to stand on its own and flourish’. With the incredible team we have built—you, our members, and all of our partners—we have the experience and skills, and we are ready and excited to embrace this new stage together in our evolution. We can assure all members that no significant change to the direction or operation of The Stove is anticipated; we will continue to serve the creative community and the wider communities of Dumfries and Galloway as we always have.

We are deeply grateful for the extraordinary contribution that Matt has made to The Stove, the region, and the country over the past 14 years, and delighted that his commitment to Dumfries and Galloway and the pioneering practice of creative placemaking will remain his focus. We are excited at the prospect of new adventures with Matt and all the new connections he will make for us.

The wonderful recent news of the award of multi-year funding from Creative Scotland means that The Stove is now in its third cycle as a national portfolio arts organisation, an incredible achievement for such a young and highly original organisation. This award was based on our business plan for 2025–28. The plan is built on the twin strands of (1) community-embedded creative practice, for and with the communities of Dumfries, and (2) regional creative placemaking and creative sector development. These two areas of work are based on the solid foundations of existing work and future innovation, and are underpinned by four areas of income generation, all of which are comprehensively supported through effective governance and working systems.  

We will now enter a short process of internal reorganisation and planning to refine the shape of our team and working systems. This is something in which everyone at The Stove has a voice, but we have planned things in such a way that the process should create as little disruption as possible within everyone’s busy schedules. The process will be enabled and supported by the constitutional changes we made in the past year and the well-embedded operations of the Board and senior leadership team, which we have all developed together. We will do our utmost to keep everyone informed throughout, and I am here for any queries—please do not hesitate to reach out

This feels like a big change in our Stove foundations. As you all know, Matt has been the leader of this special place. However, we’re confident about this next chapter, the new opportunities it will present internally and externally, and the fact that we won’t lose our wonderful Matt completely. As it is traditional to say at The Stove at times like these, ‘may it continuse on!’


Lynsey Smith
Chair of the Board of Trustees at The Stove


* A prospector company is defined as one that is a leader in its market and is driven by innovation and thought-leadership. Prospector companies are known for being entrepreneurial and investing a lot of time and effort to find new products and solutions. A prospector strategy is a business strategy that involves actively seeking out new markets and opportunities. It’s a competitive strategy that emphasises innovation and flexibility to respond to changing market conditions. A prospector seeks precious elements.

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News

Creative Spaces – Narture Go & See

Written by Anna Murray

The Spacers were off on our first go-see of the programme in January. Zooming up the A76 to Ayr, gently serenaded by James on the kazoo (see our Instagram Reel from the day), we were all buzzing to get into the nitty-gritty of another fantastic arts organisation.

Narture, founded in 2020 by father-daughter duo Robert and Saskia Singer, is a community arts organisation funded by their very own sourdough bakery, where they produce fresh breads and pastries each day. On this foundation of good food, they “re-invest all surplus profits into creative projects, as an instigator of town centre regeneration. The spaces host a community darkroom, Riso printer, exhibitions, events, workshops, holistic therapies, and talks.”

We arrived and were welcomed to their cosy and creatively decorated café by Saskia, and were able to grab some delicious lunch while we got chatting. We were then introduced to Saskia’s dad and co-founder Robert, and were given some of Narture’s backstory. They have both studied art, and Robert has a background in catering, all of which comes together in what they do at Narture. We could really feel the passion and dedication they both have for the organisation, and they clearly have put a lot of hard work into building what they have. You can read more about Narture and what they do on their website: https://www.narture.co.uk/.

We then went on a tour of the spaces Narture uses on Ayr High Street. Seeing what they’ve done with the spaces—the artist studios, Riso printer, etc.—was inspiring and definitely got us thinking about what could be transferable to our own town in Dumfries, as well as our own creative practices.

It was brilliant to get out and about as a team, and spending the day with a new organisation has definitely brought a fresh perspective. The car ride home was full of discussion and chat about new ideas—we left Narture with a sense of connection with the organisation and their community.

Creative Spaces is a Dumfries-based collective of young creatives, working with and advocating for our region’s young artists.

Situated in the heart of Dumfries, Creative Spaces collaborates with young creatives from across the region, providing young people with opportunities to engage in the arts. Whether it’s through events, workshops, mentorships, or our annual Associates Programme, we aim to enhance Dumfries and Galloway’s creative scene by offering free access to opportunities and paid commissions.

Keep up to date with the Creative Spaces team on Instagram: @creative.spaces_

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News

History as an Act of Imagination | Creative Caerlaverock 2024-2025

Since its inception over four years ago, Creative Caerlaverock, commissioned by Historic Environment Scotland has embodied a fresh, grassroots approach to heritage engagement. Rather than following a ‘descended’ model—replicating the same methods across different sites—this project has embraced a deeply place-based philosophy, rooted in the unique stories, landscapes, and people of the Caerlaverock area.

One of the core challenges in engaging with heritage sites lies in the conventional narratives of history—stories often written by the victors, steeped in patriarchal perspectives, and leaving vast silences where marginalised voices should be. Creative Caerlaverock has sought to challenge this by asking provocative questions: Whose histories are we telling? What about the untold stories—the queer, the repressed, the forgotten?

This project strives to create equal opportunities for connection with one of Scotland’s most remarkable historic sites. Whether through personal stories tied to the land, collective memories from local communities, or imaginative escapism, it encourages participants to use history as both a mirror and a canvas. By blending tactile engagement, creative exploration, and open dialogue, the project has inspired participants to reimagine their relationship with heritage—not as a static past but as a living, evolving force.

Over the past year, Creative Caerlaverock, delivered in partnership with DJ McDowall of The Imaginarium, has worked with diverse groups—young people, local residents, and LGBTQ+ communities—to rediscover Caerlaverock Castle and its surrounding landscape as spaces of connection, creativity, and inclusivity. By exploring the intangible threads of identity and history, participants have uncovered new ways to see themselves in the fabric of Scotland’s past.

As we step into a new year, full of uncertainties, one question lingers: Could our reimagined engagement with history serve as a guiding light for the future?

Site & Sound 

Sonic Labs & Creative Toolbox (Creative Wellbeing Network) 

Site & Sound is a collaborative project that brings together the creative expertise of the Stove’s Sonic Labs collective—explorers of sound and music—and Creative Toolbox, part of the Dumfries & Galloway Creative Wellbeing Network. This youth-focused programme offers activities to young people dealing with low self-esteem, low confidence, or poor mental health by fostering creativity as a tool for growth and connection.

Over Autumn and Winter, Site & Sound guided participants through an immersive creative process, including sound foraging, free improvisation, circuitry, creative writing, and spoken word. The result? Six powerful audio tales and poems, written and performed by the young people themselves, inspired by the rich landscape and history of Caerlaverock.

These imaginative stories will soon be available via the Echoes App, geo-located across the Caerlaverock site. Visitors will be able to embark on a unique auditory journey, immersing themselves in the vivid worlds crafted by young voices and their fresh perspectives.

For more insights into this incredible project, visit the Creative Wellbeing site to read an article by Georgia Ireland, Youth Creative Wellbeing Lead at Outpost Arts.

Our Land, Our Story

The Imaginarium & Caerlaverock Estate 

Led by The Imaginarium and in partnership with the D&G Heritage Service, Our Land, Our Stories brings the rich tapestry of Caerlaverock Estate’s history to life. By working with the older farming community of the Caerlaverock Estate, the project captures stories, memories, and reflections deeply tied to the estate’s 800-year legacy. These are more than just anecdotes—they delve into profound themes like climate change, community celebrations, agricultural transformations, and the enduring bond between people and the land they cultivate. From zeppelins soaring over the estuary to Viking longships and local legends, these stories bring history to life.

In 2025, these recordings will take on new life. Through community gatherings and folk nights, The Bookshop Band, Wigtown’s renowned musical duo, will collaborate with the local community to research and reinterpret these stories, resulting in the creation of up to three original songs.

Our Land, Our Stories serves as a poignant reminder of how personal histories connect to broader narratives, ensuring that the voices of the past resonate with and inspire the future.

The Imaginarium’s Missing Museum 

The traces of queer history in Scotland have long been overshadowed or confined to the struggles of the 20th century—protests, legal battles, and the fight for recognition and justice. This narrative of resistance has shaped much of LGBTQ+ history, but as we trace this thread further back into the depths of medieval history, the trail fades, becoming overgrown and obscured.

This is where The Missing Museum steps in, offering an innovative approach to heritage engagement. A Museum Without Walls, it invites you, as Community Curators, to notice what is absent in our cultural heritage stories and to redress the gaps. It’s time to bridge the omissions in our shared histories, ensuring more honest and inclusive representations of the past.

Once you don your top hat, smooth your mustache, and pull on your handling gloves, the question arises: what changes will you make to ensure the museum collections reflect a richer, more inclusive tapestry of the past?

Working with an open collective of LGBTQ+ individuals and their allies, Queer Caerlaverock provocatively explores what is missing in our histories. LGBTQ+ people have always been here—so how can we reimagine and interpret our past through their lens? This project blends the tactile, lived experiences of marginalized communities with the dominant monarchist and heteronormative narratives of history.

Coming in February and March 2025, The Missing Museum will host a series of sessions culminating in an evocative installation on the grounds of Caerlaverock. Together, we’ll reassemble the fragments of the past to create a more inclusive and imaginative story of our shared heritage.

Interested in Creative Caerlaverock?

Feel free to reach out to us or discover more by visiting our project page on our website here.

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News Opportunities

Instagram Takeover Call Out – Creative Spaces

The Creative Spaces team are looking for young creatives who are from or live in Dumfries & Galloway to feature on their Friday Takeovers on Instagram Stories.

Project Overview

This project aims to provide a platform for creatives to showcase their work, share insights about their practice, and connect with a broader audience. By taking over our Instagram Stories for one day, creatives will have the opportunity to engage with our followers, highlight their portfolios, and promote their creative endeavours.

Objectives

Showcase Creative Work: Allow creatives to share images, videos, and stories of their projects.

Highlight Creative Practices: Provide insights into their creative process, tools, and techniques.

Promote Individual Portfolios: Direct followers to the creatives’ websites, online stores, or social media profiles to boost their visibility.

Build a Creative Community: Foster a sense of community among creatives and our audience by introducing them to diverse creative talents.

Scope of Work

Each person will: Take Over Instagram Stories for One Day: Post a series of stories showcasing their work and creative process.

Introduce Themselves: Provide a brief introduction, including their background, artistic journey, and current projects.

Share Creative Insights: Offer behind-the-scenes content, such as sketches, drafts, or work-in-progress shots, and discuss their creative methods.

Engage with the Audience: Respond to questions and comments from our followers throughout the day.

Promote Their Work: Include links and information on where followers can find more of their work, such as websites, online stores or social media profiles.

Fee

Fee: £50
Payment Terms: Payment will be processed upon completion of the Instagram Takeover.

Requirements

  • Aged between 16 – 30
  • Either from Dumfries and Galloway or currently working/living in Dumfries and Galloway

Deliverables

  • A complete series of Instagram Stories for the takeover day, including:
    ◦ At least 5-10 story posts showcasing creative work.
    ◦ An introduction to the creative individual.
    ◦ Insights into the creative process.
    ◦ Engagement with the audience.
    ◦ Promotional information directing followers to the creative’s portfolio.

Interested? Get in touch!

Please send an email to [email protected] with the subject ‘Instagram Takeover’, and a bit about yourself and your creative practice and we’ll be in touch.

What is Creative Spaces?

We are a Dumfries-based collective of young creatives, working with and advocating for our region’s young artists.

Situated in the heart of Dumfries, Creative Spaces collaborates with young creatives from across the region, providing young people with opportunities to engage in the arts. Whether it’s through events, workshops, mentorships, or our annual Associates Programme, we aim to enhance Dumfries and Galloway’s creative scene by offering free access to opportunities and paid commissions

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News Project Updates

WRITE: A Community Anthology

Each month in the Stove Cafe, author Karl Drinkwater hosts ‘WRITE’ – a creative writing workshop. Sessions are guided by thought-provoking prompts, offering dedicated time for free-flowing expression. Afterwards, participants have the opportunity to share their creations within the supportive group, receiving valuable tips to enhance their writing skills and boost confidence.

Over the last year, participants have shared their workings that have been borne from prompts from WRITE. Read a selection of works below.


The Gift

Taking a break 

from his bench

the clock restorer’s

mind turned within wheels.

Absorbed in measuring

minutes and hours

how had he permitted

years 

to escape?

Was pride in precision 

simply an illusion 

of keeping time?

A young boy

gazed longingly 

at clocks

in the dusty window

as another child 

may have eyed                      

jars of tempting toffees

reckoning 

how many sweets 

could be gained

for clinking coins.

Fresh eyes 

eager to uncover 

secret workings

spy 

as

cogs mesh

pivots revolve

flywheels spin

coils unwind.

On an impulse 

the clock restorer 

beckoned.

An estimation made 

pocket money 

exchanged 

for a slate-cased clock

in want of renovation.

On the next impulse

the clock restorer 

lifted down

a box of parts.

A gift 

a wondrous trove 

of mechanical magic

awaiting discovery.

Boyhood

many 

intricate tasks 

ago.

A rhythm set 

to guide his tracks

the boy

though older now

still unpacks the box

selecting 

pieces

by name and designation.

Understanding 

the drive to impart 

knowledge

skills

art.

Polished

restored to working order

the slate-cased clock

marks 

progress.

At its centre

escapement 

locks 

frees 

locks

frees

locks

frees

whilst 

its heart

beats

encouragement 

motivation

belief.

Remembering an encounter with the clock restorer of Easton in Gordano, 1966.

© Jeanette Abendstern for and with Brian Leaver 


Resolution

Resolution, wake up, make a change.

“We can’t do nothing” is the sad refrain.

Oh oops the Tories got voted in again

But I’ll never vote to put our grandkids in chains

Make a resolution get political, be more critical

Stop being arthritical, intellectually paralytical

Enough of being cynical

Sitting doing nothing is just parasitical.

Here’s what will happen if we just leave be

Money will spend into politics to make money

More money more as they build a dynasty

Neo-lords raised up off our kids not being free

But the billionaires,

Their worst nightmares

Are angry stares, our righteous glares

As we organise, challenge and protest

Step up to demand what’s best

Loss and damage

Free school meals

Working lives less stressed

Win back some rights

Without worrying about arrest

They’re murdering Palestine

Our industries are in decline

It’s not all fine

So now’s the right time

So come on make a January resolution

Build a revolution

It’s the solution

Solve pollution

Draft a constitution

The House of Lords needs dissolution

Corporate criminals need retribution

If you do one useful thing this year

Decide to get your bum in gear

Talk politics to everyone without any fear

Because a better world really is just near

And the You that makes it happen is sat right here.

© Simon Jones


The Mountain

Early gleaming of the sun kissing that beautiful peak of the mountain,

Radiating its light like silver stars in the sky,

Catching the eyes and touching the hearts of millions,

Spreading profound joy and leaving a wonderful memory in hearts.

Viewing these beautiful peaks takes away all pain and suffering,

Warming your heart and making your day bright.

Borrowing your willing ears, it allows you to listen to that tranquil music,

Secretly asking you to smell that calm air as if you were touching stars.

Sometimes it makes you speechless and takes your breath away,

Cosseting you with its natural beauty and bringing you more peace.

Nothing can erase such beautiful memories that stole your heart away,

They remind you that they are still alive snuggling up to that mountain.

You remain deep inside the heart of it, full of great gratitude and deep affection.

They bring back the beautiful memories of the mountain,

Ever smiling and living in its eternal beauty.

A beauty of nature, of peace, and of serenity.

© Sherima Pradhan


Rubble Kings

Like the torch of a slow burn
your best days are done,
you may well blaze skylines –
we’ll rebuild with the bones of
you murdering tyrants!
hack hard at your roots purge your truth
when you waken at twilight

No frills, no thrills,
no pills for your ills

Join in, gut your own out as
bleeding rats raze your house,
vomiting secrets your conscience deleted
turned cheeks get smacked, mirrors crack
your bubbles burst
forlorn king of rubble and dust

no shimmers or glimmers
no breakfast no dinners

Our ancestors weeping while war
keeps repeating. Lost souls fast asleep,
their bodies smart, crawl and creep.
Yearning for drugs cut with violence,
washed down with radio silence

no home fires burning
empty guts churning

The stench threat of warlords unbothered
in Westminster’s corridors
by children in Palestine wailing in horror
flames fanned with fear,
Tory papers, online warriors …

No pills for your ills

No pills

For

Your ills

© Davey Payne


The Princess

Once upon a clear crisp evening, while I gazed upon the stars, white gleaming,
A lone, cold tear raced t’ward my chin, broken spirit.
My heart beat thudded beneath my breast, as I tossed all thoughts of my moral quest,
I slithered to bed for desperate rest and whispered “sleep a minute.”
“Blasted storm within my brain,” I muttered, “sleep a minute” –
Yet the storm raged on, broken spirit.

Retreating, I rose and paced my chamber, mind still racing in weary labour.
These stone walls ensnared my soul, broken spirit.
Desperate for release, locks dancing with the night’s breeze,
Turning towards the dark abyss, sighing “Please! I know my limit,”
Turret window dominating the land, I yelled out “I know my limit!”
Silence. Broken spirit.

A moment later, a pitter patter, has someone heard my mournful chatter?
Is this it, are my prayers heard, restoring my broken spirit?
“Please god, my merciful master, I’ll repent to any pastor,
Free my soul from this disaster, with just one visit.”
I listened still and I listened sure, “just one visit,”
Nobody came – broken spirit.

The foreign noises, confused me still, as I peered out from my window sill,
Till the frayed ‘supper rope’ was cast before me, broken spirit.
I gathered the pot, rancid rotten veg – my lot.
Recoil on my face, excitement shot, rope returned to the captor, git!
How dare she imprison me in this perilous tower, my captor git!
To see out my life’s days, broken spirit.

Sitting still, engaged in siege, once a girl of bestowed prestige,
Till stolen from my family home, by a broken spirit.
Body against my chamber walls, sinking, I dreamed a peaceful thinking,
Of a prince, on a horse, armour clinking, rescued from the woeful pit,
Nonsense! He knows not that I’m here, in my woeful pit,
In my infertile sanctuary, with this, my broken spirit.

© Rosie Squires-Cowan


Castle of My Mind

Within my sanctuary, I am under siege,

Anxiety and stress – my only liege.

No guards on the gates, no lock on the door,

Most days I struggle to rise from the floor.

No battles raging across the plains,

Yet everyday crippling chest pains.

Outside boasts peacefully – calm and tranquil,

Inside, dark and flustered, consuming my pill,

Fire lit, body sheltered and warm,

Mind not protected from the torrid storm,

Food and water in plentiful supply,

No tears when I’m broken, cheeks are dry.

Family gathers to enjoy our suppers,

Failing to stay present, my mind scuppers,

No song or dance to raise the spirit,

Tortured by demons; Devil, Ifrit.

Begging the torment will be over soon,

Hoping screams fade to a lighter tune,

Peace will reign as it did before,

Pray, happiness return once more.

© Justin Squires-Cowan


Last Christmas – Excerpt

The 4×4 breathing technique isn’t working. She’s forced to rummage through her bag, grabbing at the various sheets of pills she always carries with her. Like a baby blanket. A safety net.

A cheeky valium or two just to take the edge off, she reasons.

Freya sashays her way to the train’s buffet carriage. Her eyes dance across the fridge doors and their shining contents, landing decisively upon the alcohol section. It is 11:11am. A frozen, snowy Monday. She averts the judging gaze of the woman behind the counter who makes a point of repeatedly looking at her watch, with cocked brows.

Message received, bitch.

A hard stare and smirk as she pays. Returning to her seat, she washes the pills down with a pre-mixed can or two. Or was it three? Either way, despite all that, by the time the train pulls in, she feels electric. Feels…silly.

***

She squeezes her way through the bustling crowds, out of the frosty hustle of King’s Cross Station and into The Black Phoenix, she is struck by the warmth, laughter and stale tobacco lacing the air. Years of spilt Chardonnay and ale, trodden deep into the paisley carpet. She somewhat trips in across the threshold, for the uncharacteristic fact she is wearing heels today. For him. She stamps and shakes the snow from herself. Her eyes, searchlights seeking.

Is he here? Breeeeathe.

Her heart is racing. Her cheeks burn a horny shade of fuchsia.

I can always blame it on the cold.

She’s never been subtle. Shit at poker. She’d named her face ‘Judas’ in the mirror one messy night, years ago in some stranger’s bathroom. She takes in the festive glow of the twinkling lights draped around the bar and windows. George Michael’s ‘Last Christmas’ croons through the speakers, weaving its way between loud cackles and hushed chats. A smile slithers across her lips.

So this is why they call it the silly season. Ha.

She bites her lower lip. Silly is an understatement.

The heat pumping throughout the cosy pub feels especially luxurious, considering the whipping cold outside and the crippling recession which has stifled the country with its cost of living. Old friends with grand bellies sit around small wooden tables, chuckling with nostalgic glee. The knitted sleeves of xmas jumpers wipe froth from whiskered chins.

A ruddy faced barfly calls out:

‘Oi oi, Captain, another, eh? Good lad,’ as he proudly slams his empty pint glass down. A leathered wink and a discreet stumble. Glasses clank loudly as they collide, amber contents splashing and spilling out.

© S.J. Wildling

Read the full short story here.


Through The Stars Dumfries

You can see Dumfries from the Moon. On trips to the observatory decks I would point the large lens telescope towards the Southern part of Scotland and have a better look at what we left over. Others who were crammed here in the living centres would use the time they bought to look at the parts of history they wished they had visited. My Grandfather and I would often study the old images of the town stored via projections from the company data packs. Grandfather would always show me the pictures he had saved of the place our family came from. We couldn’t take them too far away from the Grid though, stray from the network and the company would delete them regardless of payment. The charge for reactivating any memory was too much for most, myself included. Most of the images stored in the Grid were constructed from various accounts and memories of those who had left us. The ones Grandfather and I had were real though, at least to me.

The first thing I always noticed about them was the sky. Sometimes it was a bright, radiant blue but mostly it seemed to settle on a dull grey. The main thing was that it was there. No glass above your head, no sealed domes to control the atmosphere, just an expansive sky you can look up to at any time. The people would walk places without the constant connection to the Grid to monitor everywhere they were going.

On the last visit to the observatory deck I asked my Grandfather about going back to Dumfries.

“Very dangerous” he replied.

© Cameron Phillips

Read the full short story here.


Hosted by multi-genre author and editor Karl Drinkwater, WRITE! is designed to allow you to play with words and construct short or longer pieces of work, whichever you desire, and it is open to all abilities!

If you would like to attend the next WRITE! session, click here.

To learn more about Karl his website, click here.

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