My essay on the joys of browsing in secondhand bookshops has been accepted by Litro. More news soon.
Take out or eat in
Hollywood Chicken: a new story
“Happens to me quite a bit. People think they know me. Perhaps they do. I wouldn’t know. I’m not a people person.”
Hollywood Chicken was published in issue two of LossLit Magazine and can be read in full here.
LossLit is an attempt by its co-creators, Kit Caless and Aki Schilz, to explore the various influences of loss in literature. The project aims to produce a body of work that will look at loss from all angles, alongside its online micro-project, the #LossLit hashtag on Twitter. Find out more at losslit.com.
Each contributor is asked to pick a book concerned with loss. You can read about my choice in the magazine.
Enjoy the story. And don’t forget to clean up after yourself.
Tasty new story
Good news. I heard today that I’ll have a story appearing in the second issue of LossLit Magazine. Follow @LossLit
Window Shopping
Return Journey: phones, plimsolls and Stoke-on-Trent
Travelling home, facing forward.
It will soon be midnight. There are no clouds now, at least none that I can see as I look out of the window, or rather into it, for I am presented with a blurred version of the carriage in which I sit. Coach A, the quiet carriage. (But all the carriages looked quiet and empty as I walked along the platform, relieved that I had made it on time.) Beyond or inside my reflection, somewhere in the blackness, there is a cluster of lights, yellow and white, marking the edge of some faraway reality, a town or village. The cluster becomes a string as the train surges on. This is the last train of the day. By the time I reach Manchester it will be tomorrow. The announcer affects a silly, jocular accent. He swings his voice up and down, sliding through vowels and twirling his sentences at the end. Stoke-on Trent becomes something like Stork Untrained. Is he attempting a crude northern accent? No one laughs. At first he sounds simple or cheerful (the two often coincide). Then he sounds menacing. I imagine him sat in his underpants, clutching a meat cleaver, as he trills his way from Watford Gap to Macclesfield, singing the names of stations we might never reach.
There are not many passengers on this train. We stretch our legs. We define our kingdoms with jackets and books and canned drinks. Four seats for every person: unthinkable luxury, the commuter’s dream. There are no rowdies, no swaggering suits or boisterous tourists. A petite woman is curled across two seats, wrapped in a grimy red coat, sleeping. “Legs in, please,” says a man in a blue uniform as he passes through the carriage. The sleeper does not respond: her plimsolled feet are poking into the aisle. The man moves them out of his way, as if turning a handle, and receives a mumble for his trouble. He says something I cannot catch. A large round woman with a surprisingly young face is playing with her phone, pink fingernails pecking at the screen. She is talking to a companion I cannot see. Her observations are met with dunno and maybe and finally silence.
My face in the window looks tired. I am tired. I’m pleased to be facing forward, travelling home in this tube of pale light and cream moulded plastic. Out of the darkness, a station appears, excavated from the night. It looks rickety, insubstantial, held together by a rig of thin lights and slanting shadows. I cannot see the station’s name. It slips away and my window becomes a mirror again. I am two hours away from my bed, rushing towards sleep and temporary oblivion. The announcer tells us, in the jaunty voice of a children’s entertainer, that the buffet bar is open, selling a range of hot and cold snacks, hot beverages, teas, coffees, etcetera, alcoholic beverages, crisps, snacks, etcetera. But cash only, please, there is a problem with the card reader. The sleeping woman is awake now, sat up like a judge and looking straight ahead, as though terrible things were told to her in her sleep. A man is speaking on his phone, a low grumble: “It’s in the kitchen. I told you. Yes. I did. In the kitchen. Yeah. No. Not in there. Kitchen. By the. I don’t need this. Where I said it was. By the thing. You do know.” I hear another voice behind me. “Tickets, please, tickets, tickets.” That’ll be the man in the uniform. My reflection has an anxious face, floating out there in the variable darkness. My reflection yawns. Tickets, please, sir. I look up and the uniformed man, his mouth overfilled with teeth or sweets, is asking for my ticket. I show him. He nods and moves on, into someone else’s dream.
Travelling Backwards
Thoughts from a train
I’m travelling backwards through the English countryside. Trees and bridges flicker by, while the fields in the distance seem to move at a slower pace, sliding out of view, turning unhurriedly beneath the enormous sky. It is as though the land is not solid at all, but molten and shifting, full of currents and channels that only become evident from the window of a speeding train. The world approaches, then flies away.
‘Look at the trees,’ says a young girl.
‘Yes,’ says the woman I assume is her mother.
‘You didn’t see, you weren’t looking.’
‘I was, I was, sweetheart.’
‘You weren’t.’
I am in coach A, the quiet coach, where electronic gadgetry and impulsive gobs must be kept under control. The rage of rappers must not leak from headphones. Please kill your alien warriors quietly. Curiously, I am facing the rest of the passengers. I am on a table at the end of the carriage, facing backwards, while almost everyone else is facing forwards. I feel like a cox. Perhaps I should bark instructions. ‘Read your book. Concentrate.’ ‘Don’t rustle that bag.’ Or perhaps I am an invigilator at an exam. Shush. No talking. The young girl is still mesmerised by the twirling trees, and shouts about them with such joy that no one dares remind her mummy that we are in the quiet zone.
From Manchester to London, the train rattles on. Yes, it rattles. Occasionally. Sometimes it even lurches. But it is a mostly pleasant way to travel, provided you have a seat. Sleepers and texters. Nose-pickers and fidgeters. The mother is chatting to her friend (or perhaps it is her sister). This is the quiet coach but there are no business men staring with psychopathic intensity at laptops. I am sat next to a reader. The bookmark on the table bears the logo of Daunt Books. The reader has a high forehead and heavy-lidded eyes. He reminds me of a friend. I am intrigued to know what he is reading. His paperback looks smart and literary, a cool grey-green cover, but I cannot see the title or the author’s name. I say I am intrigued but I’m not intrigued at all. Neither, it seems, is he. He spends more time checking his phone than he does reading his elegant book. Ah, it’s called The Iceberg. I’ve not heard of it. Have you? Is it good? Shame on me. I can smell the toilet – a warm confection of chemicals and faecal matter – soft dumps and blue poisons.
The laptops are out now, but everyone is behaving themselves. It is a bright day. The clouds look freshly laundered. They look cleaner and brighter than the ones I left behind in the city. These clouds remind me of the clouds in those brilliant old paintings of saints and scholars you see in the National Gallery.
Ted Baker. Fred Perry. There’s Ralph Lauren. We pass an expanse of meadows and marshes. The tall grasses undulate and ripple, waving me away. Shrubs and brackish water. Lanky wildflowers firing off rockets of pink and yellow. I’m travelling backwards from Manchester, my home, to London, where I was born and raised. Except I never really thought of myself as a Londoner, especially not with Irish parents. None of us at school really thought of Ilford as part of throbbing London. The city was Soho and Trafalgar Square and Hyde Park. All we had was C&A and the Kenneth More Theatre. London was where the news happened, a thrilling otherness – a place of sex, music, drugs, murder and history. We were caught in the blandlands between Essex and east London. (And London for me started at Manor Park and didn’t really get going until about Forest Gate). But maybe it was just me. Even at home I felt that I was on the edge of things, although I doubt I could have told you what those things were.
Everyone is quiet, even the observant child. She has long tired of trees. She is sleeping on her mother’s lap. There are no accents to assess and gauge. Eyes sometimes connect – but it feels like an intrusion, an accidental touch of hands. My orange juice is nearly finished. I shall not brave the toilet.
I have nothing to read, which is unusual for me. I was going to bring The Beginning of the End by Ian Parkinson but I changed my mind at the last minute. It disrupted the feng shui of my pockets.
Warehouses with smashed windows and grubby brickwork. Cooling towers – monuments from another world. We are nearly there. It won’t be long. Jackets and holdalls are rescued from the rack. I check my pockets. I pack away my notepad and pen. London. This is my home city but I do not live here. My home is in Manchester but that is not my city. It feels good not to belong, not to be implicated. And yet the purpose of my trip is all about belonging, or wanting to belong, for I am attending a football match. The mother of the observant child is struggling with various bags and cases. I lift one on to the platform. “You’re welcome”, I say, and head for the exit, full of anticipation, with a creased shirt and a spring in my step.
Everything here is before language
Some notes on Hawthorn & Child by Keith Ridgway (Granta Books, 2012)
“The city rushed past them like words on a screen, and he would have read them but they went too fast.” Two detectives, Hawthorn and Child, negotiate the seedier districts of North London. During the course of their somewhat dilatory investigation they meet an editor (and possible sex-killer), a religious maniac, a crime boss, a football ref who sees ghosts and a man whose illness is “due to the perverted Catholicism” of Tony Blair.
The detectives are constantly assessing their surroundings. Everything is evidence. Their conversations are terse but playful, a doleful Morecambe and Wise. Details are glimpsed, then gone. Their own thoughts lead them into zones of doubt and confusion. The implication is that in a world of clues and signs, of vivid details, everything is ambiguous, everything leads to something else. This is not a conventional police procedural. London is a place of emotional misunderstanding and impulsive violence.
Eight loosely connected episodes form the narrative. The opening story “1934” sees the detectives looking for a car. Did the witnesses see an “old car” or an “ochre” car? If an old car, did they mean a vintage car? The ambiguity builds into a comic riff, and the interplay between Hawthorn and Child is one of the novel’s most successful and unifying threads. There’s a closeness here, as they quip and quibble like a married couple. And as with all marriages, there cannot be closeness without distance. Even when they are together, sat in their car or in a caff, Hawthorn and Child sound as though they are speaking to each other through their police radios. But coppers do have an odd way of speaking – a tone which Ridgway captures beautifully.
Reading and writing are recurring themes, although Ridgway avoids the familiar cul-de-sacs of postmodern gimmickry. A pickpocket can only express his feelings for his girlfriend in a journal. Hawthorn writes copious notes, a practice mocked by Child: “You’ve just scribbled some random fucking words”. Information spurts from the police radio. A wall is marked with the “ghost” of graffiti “but a shape persisted, snaky”. The possibly psychotic editor reads “stories all day long … I weigh characters in my hand like I am buying fruit.” There is a cod-fantasy manuscript, which may be a coded chronicle of gang warfare. At a demonstration, Hawthorn hears mouths making “noises prior to language … Everything here is before language.”
Ordinary urban details are crucial. Hawthorn, inspecting a crime scene, studies the pavement: “A cigarette butt and a hair clip. Slightly to the left there was a tube ticket … He looked down to his feet, at the small, impossibly detailed space he occupied. His patch.” And it is the our patch too. A world of rubbery scrambled eggs and family barbecues. Like the detectives, we need to be alert. “When nothing is happening we want something to happen and when something is happening we want it to stop.” There are startling images: a body whirling through the air like “a slice of wet bread”. But the language is more restrained than the flared-trouser prose of Amis’s Lionel Asbo.
The dialogue is spare and precise, the rhythms clipped. Here’s Hawthorn and Child chatting about their work:
– … We explicate.
– We what?
– Explicate?
– I don’t think that’s the right word, Hawthorn.
– We put them together.
– Extrapolate?
– Yeah.
– We work it out.
The reader must work it out, too: and that is one of the pleasures of this book, paying attention to our patch.
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New Story in Popshot Magazine
Good news!
A new story of mine will published in next issue of the handsome Popshot magazine, due out at the start of October.
Austerity Horror
In a recent review of Black Static 45, writer Tom Johnstone referred to ‘austerity horror’, a term I had not encountered before. It’s an interesting if unsurprising idea: that economic and social stagnation creates a climate of fear, contingency, instability, moral squalor. It is certainly true that poverty is increasingly seen as a contagion, or a self-imposed aberration, one that must be purged or punished but never cured. Or else poverty serves to entertain us on television. One could argue that these modes and attitudes are not confined to periods of ecomonic sluggishness: even the so-called boom times are rife with filth and degredation. That’s how money is made.
Social paranoia, corporate deceit, and institutionalised sexual corruption, combined with startling technological advances and new modes of communication, are providing fertile territories for a new generation of writers, especially short story writers. The best of this writing is usually oblique or ambiguous. Fiction will push towards more imaginative modes and forms, because reality itself is being fictionalised. Or debased. Or internalised. “Electronic aids,” said Ballard, “particularly domestic computers, will help the inner migration, the opting out of reality. Reality is no longer going to be the stuff out there, but the stuff inside your head. It’s going to be commercial and nasty at the same time.”
Tom Johnstone’s blog can be found here: https://tomjohnstone.wordpress.com
This is what Tom Johnstone had to say about ‘The Visitors’:
‘The scene in the pub [in SP Miskowski’s story ‘The Grey Men’] where Adam fails to get through to his brother makes a nice lead-in to ‘The Visitors’, with Stephen Hargadon returning to the man-in-a-pub monologue mode of his extraordinary Black Static (and published fiction) debut ‘World of Trevor’, though it’s an internal monologue interspersed with snatches of overheard conversation rather than a chatty raconteur’s narration. His narrator’s air of garrulousness masks a solitude as profound as Adam’s in ‘The Grey Men’, and echoes Miskowski’s story in his meditation on the social changes happening around him. The apparently random final scene of supernatural retribution from a source as unique as Hargadon’s voice mirrors the narrator’s troubled past and traumatic relationship with booze, culminating in a devastatingly apt last line.’
What they said about The Visitors
Praise for The Visitors
Subtle, well observed, beautifully nuanced – Nicholas Royle @nicholasroyle
Stephen Hargadon continues his impressive run in the pages of Black Static with The Visitors – a first-person narrative that flows along with stream-of-consciousness ease as our narrator relates to us the details of his personal history, and his days spent perched at the local bar drinking pints of IPA as the conversations of others chip in around him. The really impressive thing about Hargadon’s writing is his ability to put you, as the reader, right in the place where he wants you – as though sitting at the table with his narrator as the general bustle of life continues around your conversation, and he occasionally interjects about getting another drink just as soon as there’s a space at the bar or he’s finished talking about the current topic.
The more obviously fantastical elements of Hargadon’s previously published work in Black Static are toned down, here – though things do come to a close on a weirder note that happily flirts with the ghostly versus the unreliable narrator, making for a strangely satisfying finish that presents its final reveal like a punch line … A damned good read? You bet.
Gareth Jones at Dread Central
I could quote every sentence in this story as a particular gem … this is a Hargadon ‘perfect storm’ of a Friday evening in a British city pub … life itself seen through the half-cynical, half-spiritual prism of pubtalk … A genuine irresistible last one for the road.
D.F. Lewis at Rameau’s Nephew
… an enticing journey into the world of British pubs …
Mario Guslandi at Hellnotes.com
… a nice sting at the end.
Sam Tomaino at sfrevu.com




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