Warning: This work has been rated 16+ for language.
1
Brugmansia
Here’s how I know I’m home. Nobody asks for my name.
They don’t ask at the B&B. It’s a squat place, hunched so close to the station that the windows rattle whenever a train passes, dislodging dust motes and old spiders. The man behind the desk takes cash only, and raises an eyebrow when he catches sight of the plastic in my wallet. The card’s facing upwards. I forgot to turn it around.
“New to the place?” he asks.
I have to follow his lips closely, because his voice is quiet.
“Grew up here, actually,” I say.
The other eyebrow goes up. “Must’ve been gone a while.”
Not long enough, I almost say, but think better of it. Dun folk can be proud of anything. They’d rather die in the boat than acknowledge the leak, Mum used to say.
So I just nod. The man stands up in a waft of tobacco and sweat and musty old-man clothes, leading me up the narrow stairs to my room. He gives me a warped key and leaves without saying goodbye. The room is small, with bells dangling from the curtain rail and a plate of fruit bread on the sill.
I look out. Grass, brambles, woods. Foxgloves and foxgloves and foxgloves, nodding in the breeze.
Let’s get this over with.
-
Gran’s house is further away than I remember. Some bugger recognises me as I’m walking through the village – they stop and tilt their head and start with the ‘hey, did you…?’, so I fake a vaguely European accent and tap my (watchless) wrist like I’ve got somewhere to be.
I have got somewhere to be. Violet said to get there for half past four. I’m as late as I can get away with, rapping on the door at a little after five. Train delays, trouble with the room. I’ve got excuses lined up like soldiers.
The door opens. I try to smile.
“Oh, thank god, thank god,” Violet says, beckoning me inside. She’s got flour down her front, which means I’m probably going to have to endure a courgette cake. “What took you so long? No, never mind, don’t explain – just get in there. Hold the fort.”
“She’s being a pain?”
“I think she knows something’s up.” She runs a hand through her black hair, streaking white through it. “Try and get her in a good mood.”
“How?” I say, but Violet’s already halfway down the corridor, disappearing back into the kitchen.
I take off my shoes as slowly as possible. Gran’s house isn’t much like I remember, which makes things easier. The floors are swept and neat and most of the family photos have been taken down, leaving only the watercolour landscapes she painted herself. But it smells the same. Old wood. Lavender.
Gran’s waiting for me in the living room. She looks the same, too: like a strip of pale leather left in the sun too long.
“Oh, there he is,” she says, from underneath her mound of blankets. “Finally thought you’d show up, did you?”
I add some pins into my smile. “The train was delayed.”
“Bugger it was,” she says. Then, with a sigh: “Go on, then. Give us a kiss.”
She’s a stickler for pleasantries. I kiss her on her left cheek, because her right is mottled black with bruises. Another fall. The fourth one this year, apparently, not counting the one at New Year after she necked too much gin. She keeps forgetting to leave bread out, as well, even with how close she is to the Road.
But my job is to get her into a good mood, so I don’t mention any of this. Conversations go best with Gran when they’re as one-sided as possible. I let her complain about my degree for a good five minutes (‘nine grand a year to learn about a load of dead bastards?’), then let her complain about my hair for a few more (‘why’ve you let it get so long?’). By the time she gets onto my jeans (‘are you paying extra money for them to rip great holes into them?’) she’s sitting up much straighter, her eyes bright.
I hear about one word in three, because she’s got The Chase on and Bradley Bastard Walsh drowns out almost everything. When Violet finally comes back in, laden with a tray of tea, she sees the look on my face. She sets the tray down and mutes the telly.
“Don’t be doing that,” Gran says, while Bradley mouths soundlessly on the screen. “This is my house. You don’t do that.”
“It’s just so he can hear, Gran,” Violet says, handing out cups of tea.
“He’s got his hearing aids in, hasn’t he?” Gran says. “Don’t encourage him. He’s got to learn to bloody listen.”
“Well, I think it’s best we leave it quiet for a bit, anyway.” Violet sits down in the armchair opposite, leaning forward in the way you do when you’re beckoning a skittish cat. “There’s something we want to talk to you about.”
“I don’t want to talk. I want to watch The Chase.”
She definitely knows something’s up, but Violet keeps hold of the remote so she can’t snatch it back. “Please, Gran. We just want to talk about – about the future, and what’s best for you.”
Gran’s eyes narrow under a shelf of brow. “What’s best for me?”
At least I think that’s what she says; she’s got her hand up near her mouth, and her voice has gone dangerously quiet. Violet takes a deep breath.
“You keep falling down, Gran. And it’s getting hard for you to move about – and there’s all this stuff with forgetting the bread, loads of times now. I can’t keep coming down to keep an eye on you, not while keeping on top of the dresses as well—”
“Make them down here.”
“She can’t make them if she’s rushing after you,” I say.
Gran’s head jerks. “And what would you know about it, swanning off to London like you have? I’ve not seen hide nor hair of you for months.”
“Gran,” Violet says.
“Don’t you ‘Gran’ me.” Her face is flushed – stained leather, now. “He doesn’t get to come back after god knows how long and shove me in a bloody nursing home.”
“Nobody said anything about a nursing—”
“You think I was born yesterday?” Gran snaps. Her eyes flick to me again. “The bloody cheek of it - saying I forget things. It was your mother’s birthday this week. You remember that?”
I dig my nails into my palms. “’Course I did.”
“But you didn’t bloody show up for it, did you? You won’t show up for your own mother’s birthday, but you’ll come to bully me out of my own bloody house.”
“Gran!” Violet says, and clutches the remote so hard that she unmutes the telly. Bradley Walsh’s voice booms back into the room, announcing that the chase is on. Gran turns around to look.
“There, good,” she says, nodding. “That’s much better.”
She settles back into her blankets to watch, chuntering to herself – something about me, but I can’t hear what. Violet looks adrift, her eyes wide and helpless. I drain my tea.
“Well,” I say, “I need the loo.”
I duck out into the hall. On my way upstairs, I bump my shoulder against one of the watercolours, almost deliberately, but it doesn’t fall.
-
I don’t need to piss, but I do anyway. After, I sit on the toilet lid, thumbing through Facebook. It’s a bad thing to do in a village like this. Thousands of names on show, brazen and bolded, stacked up like bars of gold. It took me four weeks to psych myself up to get an account. I made out to my flatmates that I was some social media-hating hipster, because it was better than admitting I was scared shitless of it.
The group chat’s dinging away now. Lewis asks how I’m getting on in the savage North.
Fine, I type. Gran’s a crabby old bitch as always.
I delete the last bit. They’d ask for details.
Ten minutes have passed. I slip my phone in my pocket and get to my feet, splashing my face to try and wake myself up, fire myself up, waste more time. Over the sputtering water, I almost miss it.
The tinkling of the bells.
The sound slips like ice down my back. They’re hanging from the rail above the window, both willow-patterned and weighed down by dust, ringing in a quiet, constant way that reminds me of tinnitus. When I was growing up, I never noticed the noise – barely looked up from my homework – but London has no sounds like this, and I’ve forgotten how to feel used to it.
So I look towards the window, my heart beating.
First, I see only rearing grass and wildflowers, a fence half-swallowed by hawthorn. The foxgloves sway in ragged lines. Then something moves under the oak tree – something human-shaped and half-hidden, which is gone when I blink.
I wait until the bells fall still, until my pulse eases. Then I open the door and go back downstairs.
End of chapter
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Hi Panikos!
I love it as an opening chapter.
I thought it worked well as an opening bit when I started. But as I read on, I appreciated it more. Sure, nobody asks for his name because they probably know him. It also sets up that he's been trying to adjust to some different setting/city for a while. But I wonder if it says something more about the village itself — are the villagers such that they don't really care who you are, they'll treat you the same way? So then, does home imply the home that he knows? It's an interesting bit.
I like this part for what it adds to the character. It tells us the protagonist probably has a habit of being late a lot. Must have been late to family gatherings before as well. So he knows what he can get away with. Or maybe I'm reading too much into it.
I find it interesting that you didn't reveal his name. I thought I missed it after the first read. I went back to places where I expected to find the name drop, e.g. when Violet opens the door, when he shakes off the stranger, when Gran greets him etc. I wonder if there ever will be a reveal. (Or am I missing it!?)
Gran's probably the most interesting/well-developed character in 1.1
Gran’s head jerks. “And what would you know about it, swanning off to London like you have? I’ve not seen hide nor hair of you for months.”[/quote]
I like how well the tension was held and stretched in this interaction between the three. I like this outburst of repressed anger — unless this was an unfortunate slip up on Gran's part. Also makes me ask the question: any chance Gran was being nice to the protagonist just so the topic about the nursing home doesn't come up?
I got a little confused reading this bit. Why 'almost deliberately'? What does that mean? We can assume — and it's confirmed in the next part — that he did that out of anger. Is there something special about the water colour? If yes, then what is it? Whatever it is, it kept him fully committing to shouldering it. But I don't think not fully committing means the same thing as 'almost deliberately'? My point is that the phrase may just be too vague. If you write that he deliberately did it, that conveys that same thing (that he's angry) except it'd probably be clearer. That's one suggestion. Unless there's actually something about the water colour that we find out later (that'd be cool!).
This one's subjective. I felt the first paragraph of the last scene didn't flow too well. The infos presented seem to be unrelated. He goes from scrolling the newsfeed, from talking about a possible taboo and then mentioning his feelings about social media. It took me out of the story. In my opinion, it'd flow a little better if you exclude the sentence "It’s a bad thing to do in a village like this," or if you bring it up before — he wonders that the villagers don't like it when people do it but he chooses to do it anyway.
All the windows in the village seem to have those bells. I think it has something to do with the mystery. But the fact that the protagonist is now [i]unused to the noise makes me question exactly how long he's been away.
I love the reveal in the end. It's intriguing. Is it a person? A monster/ghost from a local legend that the bells are related to? I like where it's going.
Overall, a solid beginning.
Hope it helps! Keep on writing.
Excelsior!
~MAS
Hey Pan!
It's been a while since I've looked at any of your work, and I know you've been so generous with reviewing mine so I was excited to see this kicking around in the Green Room.
As a sample of your writing, I quite liked this. From what I remember about your work, you're very good at not only evoking a feeling but building atmosphere. I feel like I'm present alongside the narrator.
As the beginning of a story however, I wanted more. I was a bit surprised this was the beginning of a piece, because I felt like there was information I was missing. Mainly, I don't know who the narrator is, what her name is, how old she is, or much else about her. Most of all, why she's returned. While I wouldn't reveal too much about her early on, but the reader should have a sense of where the story is going.
As of now, I didn't have too much else to critique, but please feel free to tag me in future parts.
I hope this helps! Keep writing, and feel free to let me know if you have any questions.
Cheers,
Elinor
I'm responding to this really late because I'm a silly, but oh well xD The protagonist (who's actually a guy, haha) has basically just returned on a visit because his sister wanted backup talking to their grandma, but I definitely agree that this is not the strongest reasoning so I'll probably alter that in redrafting.

As far as the protagonist's name, you might have to wait on that! Considering how important names are in the world of the story, I'm actually toying with the idea of keeping it secret for a long time.....but the jury is still out on that.
Thanks for this!
Hello! It's a shame this hasn't been reviewed yet, people are honestly missing out. I personally loved the story -- I love how raw and genuine it feels; as if this isn't even a work of fiction. I love your style of narration -- a little dry wit mixed in with pessimistic sarcasm and a dash of realism. It's the best part of this plot, the thing that actually moves the plot along. It's also why I love your main character so much. Honestly, if you decide to add even more narration or self-thought in between more of the events of this piece, then I wouldn't complain :p
If I had to make a suggestion for improving this piece, it would be to better balance your types of story-telling. Narration; description; dialogue. You're great at all of them, but you tend to have a huge chunk of only one, followed by he abandonment of it to pursue another for a few paragraphs. It's not the worst thing in the world, but mixing these things together a bit more could help the story feel more like a story rather separate passages pushed together. It might be worth experimenting with!
The other minor nitpick is that I detect a few tense mess-ups in places. It may just be me; it may just be the fallacy of a first draft. When you talk about the flatmates, for example -- that's in the past. It should be "I'd made out to my flatmates that I was some social media-hating hipster". Notice the "I had". It makes more sense, unless I'm misreading this bit.
Beyond that, this is one of my favourite pieces from the green room. Again, your dry narration is an absolute charm to read, and you should totally use it a lot!