The Dove

A white dove shakes with fear; in six months the ancient olive grove has changed. No longer a place of tranquillity, providing shade from the burning sun for the flock of sheep and their Palestinian shepherd. Now, there is no shepherd, the sheep lie amidst the gnarled trunks of the cremated trees. The trees are dead. The sheep are dead.

What’s happened? The bird wonders, as it stares at the dense swarms of flies exploring the carcasses. Startled by a sudden noise, the dove flaps its wings to escape the surrounding horror. 
A viper slides across the razed grasses. Don’t go, it hisses. Are you a peace dove?
I am.
What do you want? the snake asks.
An olive branch.
You’ll need more than that with Netanyahu.
Did Netanyahu kill the sheep and burn the trees?
No, settlers did this.
Why?
To steal the land from the Palestinian farmers; Netanyahu likes that.
Surely killing the sheep and destroying the olive grove is stupid?
They are stupid. Sometimes it seems as if it’s more important to own barren land rather than allowing the Palestinians to keep what’s theirs.
How do you know? You’re just a snake, the dove says. 
I’m not just a snake. I’m a Palestinian viper! The Israeli government made me and my kind, the official snake of Israel, naming us the Palestinian viper to show their deep hatred of Palestinians. 
I don’t understand.
The snake hisses. Vipers are deadly poisonous. Palestinians are deadly poisonous. So? 
The dove nods, Palestinians and vipers are both poisonous and would be better dead. 
Got it in one. 
Have you been to the war? the Dove asks.
No. Too far for me. Anyway, I’d get killed and made into shoes.
I must see what’s being done.
Please come back and tell me.

The Dove hides amidst the rubble that was a home in the city of Rafah in Gaza. 

An old woman, entirely dressed in black, nurses a dead child as she sits amidst the domestic detritus created by the bombs. She weeps as she talks to the emaciated corpse in her lap. 

The Dove moves nearer to hear what she’s saying. 
Oh, my daughter’s daughter. Netanyahu and his kind are racists; we’re subhuman, and beneath contempt. At least you’ve escaped their racism. I was a teacher. I taught history. I told my students about Guernica in Spain in 1937 where Franco and his fascists murdered the innocents. I showed them Picasso’s painting. In 2024 Netanyahu and his army have murdered thousands, including using snipers to kill our children; no children means no future. 

The whine of a falling bomb is followed by a vast explosion near where they sit. 

Who will remember Gaza? Who will be our Picasso and paint our Shoah? Who will scream genocide? the woman shouts. 

Another bomb explodes. A blast of concrete shrapnel and glass lacerates the head and shoulders of the woman who falls dead.

The viper waits in vain for the dove to return.


I hope you enjoyed this story. Please feel free to pass it on to others who may be interested. You can read my previous 500 word stories on my website www.philcoskerwriter.com under ‘Writing’.>>>More

© Phil Cosker 2024
Phil Cosker has asserted his right under the Copyright, Designs & Patents Act 1988 to be identified as the author of this work. All rights reserved; no part of this work may be reproduced or transmitted by any mean, electronic, mechanical, photocopying or otherwise without the prior permission of the author.

A Forfeit

It’s the cusp of Winter and Spring. Abundant silver birch saplings, their teenage siblings and maturing elders are not yet in leaf, their trunks glistening white in the afternoon sun. Loreta finds the trees beautiful and takes a photograph. She walks on through the wood and emerges onto Spalford high street and fixes a notice to a fence – ‘Woodland for Sale’. 

Settled in the empty bar of The Wig, the pub where she will spend the night, she downloads the photographs she’s just taken onto her iPad. She trembles with excitement as she enlarges the image again and again, sits back, and thunderstruck, thinks, What the hell is that? At the right of the frame there’s something, caught in a beam of sunlight amidst the trees. The creature is tall, has a huge horse like head, around which a ruff of white branches shimmers. Its single eye stares straight at her; she blanches.

An elderly man enters the bar where Loreta is the only customer. Welcome, young lady. I heard we had a rare visitor to this god-forsaken hole. I’m Grenville, 
Hi, I’m Loreta. Join me for a drink?
Thanks, I will. A half of bitter would be good.
Loreta returns to her table with two beers.
You live here, Grenville? 
One of the few left.
Can I show you something that’s bugging me?
Loreta shows him the photograph of the creature. What is that?
Folklore has it that he’s a male dryad that guards our wood. Some say he makes folk disappear. 
Bit far-fetched, don’t you think?
Maybe. Why did you put up that for sale notice? 
That was quick.
Word soon gets around. So why?
The regional plan has designated these woods as unmanaged, not qualifying as an amenity, not economically viable, and will be sold for housing to the highest bidder.
They’re not for sale.
It’s approved government policy. People need homes not woods.
And what of beauty?
We must forfeit things, even beauty, for the common good.
How magnanimous! Grenville stands. It’s time for me to go.
I’m sorry I’ve offended you. Maybe I’ll see you tomorrow.
Maybe. 

Later, in her bedroom, Loreta wraps up in a duvet against the cold and studies the photograph of the dryad. Finally, exhausted, she sleeps. 

Waking, in darkness, the room’s lights no longer work. Wind howls in the trees. Astonished, she smells rich loam. She sees the dryad has vanished from the photograph. She scrolls back and forth; it’s gone. 
A haunting laugh from the darkness frightens her. 
Who’s there? 
The creature lurches forward, its huge skeletal wooden body creaking. It’s one staring eye terrifies her. 
What are you? she whimpers.
I am the wood, and the wood is me. 

In the bright light of a new day, Grenville pats the trunk of a silver birch. You’re safe now, Loreta: a thing of beauty, and no more stress, ever.

Days later, Loreta is reported missing. The police find no evidence that Loreta had ever been in Spalford.  

Delayed Gratification 

It’s Christmas Eve and George, aged eighteen, uses the master key he’s ‘borrowed’ from his aunt and uncle’s desk to open the rear security door of their cinema – The Tower. Sighing with relief as he locks the door behind him, he hopes that Lauren will keep the promise she’d made when she first appeared the previous year.

When George was six, on Christmas Eve, his parents, Florrie and Reggie, entered the cinema and were never seen again. A murder investigation ensued but the mystery was never solved. After they vanished, George lived with his aunt and uncle who were bitter that George was dumped on them. They ensured he became enraged that his parents had abandoned him. He was told they were fanatical film fans and would have given anything to be part of Hollywood. His aunt gave him an autographed photograph from Lauren Bacall, that said, “If you can make it to Hollywood, I’m sure I can get you jobs as extras, with love and best wishes, Lauren.” 

Who’s Lauren Bacall, he asked Aunt Agnes.
Film star and distant cousin of your father.
Do you think she could help me find them?
Agnes laughed until she cried.

George was seventeen when he first stole the keys and tried to contact Lauren Bacall by begging for help in front of the screen for hours. Finally, she appeared, and he told his story. Tonight, he’s desperate she’ll keep her promise. 

The screen lightens, but no flickering light shines from the projection booth. His mouth dries as ghostly shades of grey and black loop and swirl on the screen. His heart pounds. A human shape evolves in the centre of the screen. Franz Waxman’s overture for “To Have and Have Not” begins.

Lauren, you’ve come back.
Said I would, George. 
Why did you promise to help me last year?
I felt guilty; if I hadn’t offered help, they might not have scrammed. And you were so full of hope. 
Hope is all I’ve got.
Hope is an incredible, wonderfully demented thing. Hope endures even when life is not what you expect it to be. 

The screen stretches, bulges, seems about to tear apart as unseen forces push against the barrier. The fabric distends. The disembodied heads and hands of his parents burst through.
At last! George shouts as he climbs up on the stage beneath the screen.
We’re not allowed to come all the way through. If we do, we’ll be punished and never be amidst the stars again. Can you forgive us? Florrie pleads.
We missed you, George, Reggie says.
Liar!   
Come with us, Florrie says. You’ll love Hollywood.
George grabs his parents’ hands and, terrified, they scream, as their son, using more strength than he knew he had, rips them through the screen onto the stage. 

Happy Christmas, Lauren says. I kept my promise.
Thank you. 
George gasps as his parents transmute into unravelling spools of 35mm film that burst into flames. He stamps them out; his revenge complete.


I hope you enjoyed this story. Please feel free to pass it on to others who may be interested. You can read my previous 500 word stories on my website www.philcoskerwriter.com under ‘Writing’.>>>More

© Phil Cosker 2024
Phil Cosker has asserted his right under the Copyright, Designs & Patents Act 1988 to be identified as the author of this work. All rights reserved; no part of this work may be reproduced or transmitted by any mean, electronic, mechanical, photocopying or otherwise without the prior permission of the author.

The Aviator

Manfred, known as Fred to his friends, hates shopping and supermarkets. Fred’s trolley is empty as a woman carrying an empty basket staggers towards him. Christ, you’re a cracker, he thinks. She wears a startling multi-coloured capacious check dress that looks as if it may fall off her at any moment. Her grey and white hair is a riot of unruliness like an electrocuted character in a comic. Her intelligent face beguiles him. 

She stops in front of him. Who you gawping at? she laughs. Before he can reply she continues, My husband says he wants a new woman, like a new carpet to walk on. I told him to fuck off, she shouts. 
Shoppers ‘tut’.
Fancy a coffee in the café? Fred asks.
You chatting me up?
Would you mind?
If he wants a new fucking woman, I can have a new fucking man.

Fred brings their coffees to a table for two.
I’m Fred, he says. Short for Manfred.
Manfred? You don’t look like no German.
My dad was obsessed by Manfred von Richthofen, a German fighter pilot in the first world war. He was the ace of aces, winning over eighty dog fights in the sky.
Pull the other one; dogs don’t fight in the sky.
It’s daft. What’s your name?
Amy. She was an aviator from HulI. I often has this flying dream. Can I tell it you?
Fred nods.
I’m a bird, alone in a cage, then I’m standing in a field of deep green ground ivy. I run. The going’s tough. My clawed feet keep catching in the ivy. I fall. I’m a bird, I shout. I should be flying not running. I can’t remember how to fly, but I know I can, cos I’m a bird. Under my dress, this dress, I’ve grown feathers. I run, frantically flapping my arms, my dress flapping, like one of them windsock things. My arms ain’t wings. I rest. I start again. I run, I stumble, trip; my dress blows up in the wind with me knickers all on show. I’m desperate to fly, Amy starts to weep. I want to fly before I die, she sobs. Can’t afford it.
Hold my hand, Fred says. It’s okay. Come with me, I have an idea.

It’s raining outside. Two male security guards, in hi-vis jackets, run across the car park shouting, Hoi! You can’t do that. We’ll call the police. Amy sits in a shopping trolley as Fred races around the car park. Amy screams, Wheeeee. The hi-vis jackets lose ground as Fred pushes Amy’s trolley out onto the exit road. Christ, one says, he’s bleeding fit for an old git. Off his trolley, the other laughs.

Amy shouts, I’m flying. 

As they reach the top of the hill Fred jumps in beside her. They rattle down the slope laughing, until the trolley hits a curb. They lie on a grass verge lost in hysterical laughter.
I think I’ve found me a new man, Amy says.


I hope you enjoyed this story. Please feel free to pass it on to others who may be interested. You can read my previous 500 word stories on my website www.philcoskerwriter.com under ‘Writing’.>>>More

© Phil Cosker 2023
Phil Cosker has asserted his right under the Copyright, Designs & Patents Act 1988 to be identified as the author of this work. All rights reserved; no part of this work may be reproduced or transmitted by any mean, electronic, mechanical, photocopying or otherwise without the prior permission of the author.

Meanwhile

The king is in his counting house counting out our money.

Meanwhile. 

A massive black dog, a Newfoundland, with a faded black inflated car inner-tube around his neck is on his way to the vet’s; he wails in terror as he’s dragged to his destiny. He senses that something bad is coming. His owners tell him that it won’t be as bad as he fears. Somehow, he can smell it on the wind, perhaps his suspicion is inbred, perhaps it’s instinct, but he knows his desecration awaits; he will no longer be a dog and he won’t even bark like a castrato. 

The king is in his counting house counting out our money.

Meanwhile. 

There’s a small boat, with many people crammed on board; too many to count. The boat wallows in the English Channel, near the French coast, waiting to leave for England. The passengers are all people of colour. Each asylum seeker has a faded black inflated car inner-tube around their neck. The boat looks unseaworthy. The men and women are silent; they sense that something bad is coming. A storm is forecast. The trafficker tells them that all will be well, and it will not be as bad as they fear. The people on the boat know the history of the long journey they have endured to reach this moment. If they survive the crossing and come ashore, they somehow know, perhaps through instinctive suspicion, or experience, that they will be abused and disappointed; the dead will be merely numbers, the survivors no longer people, but statistics. Of the asylum seekers only five are rescued; no one knows the number of those who drowned. The promise that inner tubes provide protection is a lie, as is the fantasy that England is a haven.

The king is in his counting house counting out our money.

Shakespeare has John of Gaunt refer to England as this “sceptred isle … This other Eden, demi-paradise”. Gaunt concludes, “That England, that was wont to conquer others, Hath made a shameful conquest of itself.” It’s a tragedy of self-destruction that England has brought upon itself; or many tragedies aggregated to destroy human rights. 

The king is in his counting house counting out our money.

Meanwhile. 

The river Wye is running with shit. Like many of England’s rivers, it’s overwhelmed by faeces, and the sea is no better. Citizens pay for access to water that comes from the sky. Perhaps private companies that have stolen, and ‘own’ the water, plan to do the same with the air and make people pay to breathe. This, of course, is ridiculous, but so is the privatisation of water. But England is a capitalist state; it can never be a green and pleasant land overwhelmed, as it is, with the stench of shit, profit, capitalism and greed. Capitalism converts everything into a commodity, including rain, but worse, people are wage slaves.

The king is in his counting house counting out our money.

Meanwhile, the world is burning.


I hope you enjoyed this story. Please feel free to pass it on to others who may be interested. You can read my previous 500 word stories on my website www.philcoskerwriter.com under ‘Writing’.>>>More

© Phil Cosker 2023
Phil Cosker has asserted his right under the Copyright, Designs & Patents Act 1988 to be identified as the author of this work. All rights reserved; no part of this work may be reproduced or transmitted by any mean, electronic, mechanical, photocopying or otherwise without the prior permission of the author.

‘Redemption Song’

Billy Spider is his nickname because his entire head is tattooed with the image of a vast spider gorging a mouse. In 1980 Billy is eighty-four years old and only knows his date of birth, 1896, because it’s tattooed on his penis. After employment with Al Capone, he worked as a hitman for the highest bidder and saved most of his earnings living in obscurity in Baja California. Now, as an old man, he’s tired and remembers his birthplace and longs for South Wales.

It’s an epiphany moment. He asks for it to be played again, buys the single as a votive object and blags a copy of the lyrics. 

He’s smuggled ashore from a tramp steamer in Cardiff docks. It cost his savings, but he needs to be incognito: he’s still a wanted man. Wearing a Trilby hat and Max Factor Pan Stick foundation and concealer, to hide the spider, he walks up through Tiger Bay without incident. In the Castle Arcade he stops outside Castle Records captivated by music coming through the shop’s external audio speaker. Inside the shop, he’s told it’s Bob Marley and the Wailers’ ‘Redemption Song’; one line stands out: “None but ourselves can free our minds”.

Finally at his birthplace, he’s surprised to see the roof of the tiny stone cottage in LLangenith is intact. Wind whistles through broken windowpanes, bringing the smell of the sea from beyond the dunes. Inside the only room he shouts, I’m back, I’m fucking Bleddyn Morgan! That’s fuckin’ me! The locked doors of memory open. Not Billy Spider no more. No furniture remains, except an old spotted mirror on the mantelpiece amidst the dust and mouse droppings. He places ‘Redemption Song’ next to the mirror, and watches himself repeating, None but ourselves can free our minds. On the floor, he rests his head on his old Gladstone bag and falls deeply asleep, home at last.

Gentle early morning light fills the room. He opens the front door. He remembers the joy, the silence, of snowflakes gently falling on his outstretched hands. But he’s suddenly horrified: his past, long buried to save his sanity, rushes back. He remembers a morning just like this, with her small cold hand clasped in his. Bleddyn weeps. It was her father I killed. She was an innocent child, too young to be a reliable witness, but I killed her anyway. I ran, but I never escaped; even disguised with ink I was still trapped inside my head. 

Stripped naked, he runs out into the falling snow. Blue with cold, on he goes through the dunes to the deserted beach. He stops, gathers wet sand in his hands and frantically rubs his face and head attempting to erase his spider. Blinded by the sand, he forces his way out through the pounding waves, ever deeper into the ice-cold sea. His heart misses a beat and misses again. He sinks. Overwhelmed with cold he opens his mouth and gurgles, I’m free. His lungs fill. 

(‘Billy Spider’ first appeared in the story of the same name, posted on 07.02.2021)


I hope you enjoyed this story. Please feel free to pass it on to others who may be interested. You can read my previous 500 word stories on my website www.philcoskerwriter.com under ‘Writing’.>>>More

© Phil Cosker 2023
Phil Cosker has asserted his right under the Copyright, Designs & Patents Act 1988 to be identified as the author of this work. All rights reserved; no part of this work may be reproduced or transmitted by any mean, electronic, mechanical, photocopying or otherwise without the prior permission of the author.

Wishes

An enormous bright orange carp languishes on an ornate leather chaise longue, its scales luminous under the glowing light, oddly pinkish green, of fluorescent Grolux tubes on the ceiling above the aquarium. Smoke gently seeps from the carp’s gills as it smokes a Black Russian Sobranie cigarette held in an ivory cigarette holder. There is no natural light. The tank is twenty feet long, ten feet high and two feet deep; its rear wall a painted diorama of Atlantis. A shoal of forty midnight-black mollys cruise between the elegant columns of a Greek temple. Sparkling bluish-green and carmine dotted lyretails flick through a clump of altermanthena. A small shoal of penguin fish hang tail down in the shade of a giant red plastic ludwigia, while another group scurry away. 

The carp’s face is bathed in a look of longing. Oh shit, it thinks, I shouldn’t have wished for this. I’m a fish out of water. I wish I was at home in water. 

Vivid red swordtails dance arabesques around the pinnacle of an Eifel Tower. A submerged water wheel slowly turns in the slipstreams of minute x-ray fish. A group of giant danios rest and scrutinise, pop-eyed, the charms of a large white, pink and green plasterwork mermaid. Harlequins rush across open space as lemon tetras dive past combomba. The only other sound in the room, other than the bubbling aeration of water pumps, is the sound of the carp puffing the last of its cigarette. 

The carp slaps its caudal fin up and down on the chaise longue, and calls, in a popping hollow sound as if it were still under water, Cigarette! Cigarette! Now!

Moments later, a skeleton dressed in blue silk pantaloons and a cerise spotted puffer jacket struggles through the ankle length sea green carpet toward the carp. You do know that smoking will kill you? the skeleton asks, And chain smoking will hasten your death.
Be a good minion and light me another ciggie, will you? the carp asks proffering its mouth to have the cigarette holder removed, emptied, refilled and lighted. Argh, my lady nicotine, the carp sadly sighs, oozing smoke. I wish I was dead.
I’ll be back in a minute, the skeleton says. I have a surprise for you. 

Standing in front of the aquarium, the skeleton clicks out the head of the humerus from the scapula and, gripping the shaft of the humerus, with his bony right hand, pounds the glass wall of the aquarium. For the first few milliseconds everything is in slow motion until the wall of glass explodes under the weight of the water. The torrent hits the carp on its chaise longue, and hurls them both across the room. Fish, in their, hundreds die. The carp lies dead, embedded with shards of glass amidst some thrashing brightly coloured fish. 

Beware of what you wish for, the skeleton says, pleased that two wishes have come true at once.


I hope you enjoyed this story. Please feel free to pass it on to others who may be interested. You can read my previous 500 word stories on my website www.philcoskerwriter.com under ‘Writing’.>>>More

© Phil Cosker 2023
Phil Cosker has asserted his right under the Copyright, Designs & Patents Act 1988 to be identified as the author of this work. All rights reserved; no part of this work may be reproduced or transmitted by any mean, electronic, mechanical, photocopying or otherwise without the prior permission of the author.

The Incredible Shrikes

It’s October 1952 and Hull Fair is encamped on wasteland adjoining Walton Street. P.C. Whitty is looking for the ‘The Incredible Shrikes’. At the far end of the encampment he sees two human size paintings of birds on the side of a caravan. A poster depicting the shrikes and their human trainers, in bird costumes, reads: ‘The Shrikes. They said we’d never train the infamous Butcher Birds. BUT WE HAVE!’

He knocks on the caravan’s door – there’s no reply. He shouts, Anyone home? 
A woman opens the door. Behind her, inside the caravan, many shrikes swirl. 
I’m sorry, Whitty says, I can’t think straight with all them birds swirling about.
The woman puts her fingers to her lips and blows a high-pitched whistle; the shrikes perch where they can.
Thanks, Mrs Shrike.
We’re not married. What do you want?
To speak with you both about the legality of your act.
Best come in. Ollie’s out. I’m his partner, Polly. Our act is legal. 
Whitty retches behind a handkerchief over his mouth and nose. 
Yeah, they do shit a lot. 
Could we please open a window? 
Cut to the chase, constable.
A concerned member of the public has made an official complaint. This asserts that
our fairground sideshow, featuring shrikes, is disturbing.
What’s disturbing about it? Great Grey Shrikes are predatory songbirds known as ‘Butcher birds’. They live here with us. 
Good god. Why?
It makes us think like shrikes, sort of method acting; we get inside their heads, and they get inside ours.
So, they’re not pets?
No, they’re nasty; you wouldn’t want one as a pet. We’ve trained them to perform in a purpose-built big mesh cage by doing tricks before catching mice and hanging ‘em on barbed wire.
Isn’t that cruel?
It’s natural for the birds.
I was thinking of the mice. I must speak to you both. When’ll he be back?
I never know. I think the cheating bastard’s got another bit on the side. I’ve had enough. He’s got it coming. 
What’s he got coming?
Hell hath no fury …. Try tomorrow about four; he’ll be costuming up then.

The next day Whitty arrives and finds the caravan’s door flapping in the wind. He goes in. There’s no sign of Polly, or the birds, but the stink of shit remains.

Outside, to the rear of the caravan, he sees someone dressed in a large grey and white bird costume. Mrs Strike, is that you? he calls. 
Laughing, she takes off her costume’s head and says, He’s gone. On the ground, dressed in an identical costume, lies an inert body. She pulls off its costume’s head, revealing bloodied barbed wire tightly bound around the man’s neck cutting through his jugular vein and carotid artery. Meet Ollie, she says. Two shrikes peck at Ollie’s wounds. 

Subsequently, Whitty frequently ‘sees’ shrikes feeding on Ollie’s neck. He hears shrikes and Polly shrieking and believes this to be laughter. He takes compulsory retirement due to a mental breakdown.


I hope you enjoyed this story. Please feel free to pass it on to others who may be interested. You can read my previous 500 word stories on my website www.philcoskerwriter.com under ‘Writing’.>>>More

© Phil Cosker 2023
Phil Cosker has asserted his right under the Copyright, Designs & Patents Act 1988 to be identified as the author of this work. All rights reserved; no part of this work may be reproduced or transmitted by any mean, electronic, mechanical, photocopying or otherwise without the prior permission of the author.

The Unicorn

In 1956 JR and George are ten years old and the best of friends; their ‘playground’ is Stapleford woods. It’s a bright sunny day, when, near an ancient oak, they discover some spots of a silver liquid shimmering and sparkling on the grass.
Is it paint? George asks.
Dunno. There’s no tin. Bad people dump tins of paint. 
What’s them? JR asks, pointing at tiny silver footprints amongst the silver spots.
George takes a closer look. Too small for a deer. Is it fairies? 
Fairies? JR asks. You don’t believe in fairies, do you?
Nar, that’s a girlie thing, but it’s a mystery. We could pretend we’re detectives and follow the trail of spots.
We don’t have to pretend, cos they’re real, JR says.
They follow the trail. 
You excited? JR asks.
Yeah. Wonder what we’ll find.
If it was a hurt animal, its blood it should be red not silver, JR observes.
If it’s bleeding, it could need help.
Do magical creatures bleed? What did Mr Southall say?
About what? George asks.
The Royal coat of arms has got a unicorn on it. He said it was mythical.
Teacher said they was as rare as hens’ teeth, George says. One of them girls said a unicorn has silver blood.
The trail leads them to a leafy glade. JR stares at the grass. Blood’s stopped, he announces. You search over in the bushes and I’ll go down to see if it’s at the bottom of the field.
George sets off as JR disappears into thick undergrowth. After a few minutes, he stops dead in his tracks. As he stares at an open tin of silver paint, he hears George shouting, Any luck?
JR hesitates. No, nothing here, he says and carefully buries the tin in undergrowth.
Back in the glade, George looks downhearted. 
Cheer up; it’s been an adventure, JR says. It’ll be shy, or hiding. We gotta promise each other to keep our Unicorn secret; we don’t want him frightened off. 
George uses his penknife he makes a tiny cut in their index fingers. 
They rub their bloodied fingers together and swear silence.

Many years later they return to the village to celebrate their seventieth birthdays and agree that they’ll return to the glade for the last time.

Did you ever think the Unicorn was here? JR asks as they stand in the leafy glade.
Did you? 
Not really. But I wanted to, JR says, wishing he could take back his lie.
The two men turn. In a bright pool of sunlight a unicorn whinnies and nods his horn. Get a photo, quick, JR says. 
Using his phone camera George videos the Unicorn.
Let’s see, JR asks.
George presses play. Both men look down at the screen.
George shouts in triumph, We got him! We got evidence.
They look up; the Unicorn has gone.
Looking back at the screen they watch the images of the Unicorn disappear.

I need to tell you something, George, JR sighs.


I hope you enjoyed this story. Please feel free to pass it on to others who may be interested. You can read my previous 500 word stories on my website www.philcoskerwriter.com under ‘Writing’.>>>More

© Phil Cosker 2023
Phil Cosker has asserted his right under the Copyright, Designs & Patents Act 1988 to be identified as the author of this work. All rights reserved; no part of this work may be reproduced or transmitted by any mean, electronic, mechanical, photocopying or otherwise without the prior permission of the author.

A Bowl of Olives

Arman, a Syrian refugee, spends his eightieth birthday in a tent in ‘The Jungle’, in Calais. He sits alone on a white plastic garden chair next to a suitcase wrapped in cellophane. It’s freezing cold, but his anger sustains him as he asks himself his perennial question, How could the enemy destroy acres and acres of olive groves in Idlib province, attacking our culture and pushing us into starvation? 

I should be pleased. I am pleased, but I’m too old to be a refugee, an asylum seeker, or a survivor. If the Russian air strikes had been successful, I would be dead, should be dead, buried in the rubble that was our family home. I can still taste the concrete dust in my mouth, feel it in my eyes that even my tears cannot wash away. What is the purpose of my survival? My olive trees are destroyed. Only my granddaughter, Saabirah, lives and she is with child. I have nothing but my love for her and the child to come. There was no one else alive to protect her. 

Does my hatred of Assam and Putin harm me more than them? I’m filled with sadness or, maybe, a sort of envy, that the West sees fit to fight Putin in the Ukraine but has done nothing to save Syria from the monsters of war, the barbarians, the murderers of children, the destroyers of the unborn, with their bombs, chemical weapons and terror. Envy? The thought disgusts me. 

Even as I sit here I can hear village women wailing above the freezing wind outside. Hear the children of neighbours calling out my grandson’s name, Kaashif. The frantic digging of shovels, voices from beyond the grave. They said it was a miracle that there wasn’t a mark on me; the mark is forever in my heart and for that there is no sticking plaster. They found Kaashif’s body; he was only thirteen, just becoming a man. All the time I was washing his dead body, I expected him to wake up and tell me it was all a game. It was no game. I came here to protect Saabirah and the baby. The traffickers took my money and here we are. 
You’ll be safe in England.
Is that you, Kaashif?
Yes, Grandpa. Do you remember when we picked olives and a man came and photographed us? I held the olives and leaves in a wooden bowl and you cupped my hands in your big hands. When the photographer showed us the picture on his camera, Mum was cross because our hands were so dirty. You laughed and asked how could they be clean; we are peasants. The photograph was beautiful.
Arman wipes tears from his eyes and gasps. On the upended suitcase there’s the same wooden bowl full of olives and leaves. He rubs his eyes. 
Happy birthday, Grandpa. 
Is it real?
It will always be real to you.
Where are you? Arman asks.
Unseen, but always near you. 


I hope you enjoyed this story. Please feel free to pass it on to others who may be interested. You can read my previous 500 word stories on my website www.philcoskerwriter.com under ‘Writing’.>>>More

© Phil Cosker 2022
Phil Cosker has asserted his right under the Copyright, Designs & Patents Act 1988 to be identified as the author of this work. All rights reserved; no part of this work may be reproduced or transmitted by any mean, electronic, mechanical, photocopying or otherwise without the prior permission of the author.