By The Lonely Crowd

So, Did This Really Happen to You? / Catherine McNamara

Truth and Fiction in Story-Telling When I was a young, confused graphic design student, in the long-ago days of collage and drawing boards, I remember train rides across Sydney to art college. I remember the obsessions of a late, damaged teenagehood involving the death of a child, years of classical piano, Tchaikovsky LPs, warped discotheques…

On Writing ‘The Words He Said’ / Elizabeth Baines

Elizabeth Baines reads an extract from her short story, ‘The Words He Said’, published in Issue Twelve. See the site tomorrow for Elizabeth’s short essay on the composition of the story. Listen to Elizabeth read an extract from the story here. ‘The Words He Said’ is a story about the years-long consequences of a single…

Winter Readings: ‘The Words He Said’ by Elizabeth Baines

Elizabeth Baines reads an extract from her short story, ‘The Words He Said’, published in Issue Twelve. See the site tomorrow for Elizabeth’s short essay on the composition of the story. The Lonely Crowd · Winter Readings ‘The Words He Said’ by Elizabeth Baines Image by Jo Mazelis.

Winter Readings: ‘Foot and Mouth’ by Laura Morris

Laura Morris reads an excerpt from ‘Foot and Mouth’, her short story in Issue Twelve of The Lonely Crowd.   The Lonely Crowd · Winter Readings: 'Foot and Mouth' by Laura Morris   Laura Morris’s fiction has been broadcast on BBC Radio 4 and featured in the Honno anthologies Safe World Gone and All Shall Be Well. She’s…

Winter Readings: ‘Grey Wizard’ Catherine Wilkinson

Our Guest Non-Fiction Editor Catherine Wilkinson reads her short story, ‘Grey Wizard’, originally published in Issue Ten. The Lonely Crowd · Winter Readings: ‘Grey Wizard’ by Catherine Wilkinson Catherine Wilkinson was first published in Issue 11 of this publication with her story GREY WIZARD. Introduced as ‘an exquisite painterly story concerning the death of a…

Writing ‘Plainsong’ / Mark Blayney

Mark Blayney discusses ‘Plainsong’, his new short story in Issue Twelve. My friend Dennis is obsessed with building a model of St Paul’s Cathedral out of matchsticks. This might seem a rather pointless endeavour, but think about your own obsessions, if you have any. I’ll wager they’re not too closely aligned to reason or logic.…

Writing ‘A Prolonged Kiss’ / Jonathan Gibbs

Jonathan Gibbs discusses his short story in Issue 12. You can listen to Jonathan read the opening of the story here. ‘A Prolonged Kiss’ is a story that was a long time coming. It grew out of an idea that I’d had many years ago, when, in my twenties, I was a theatre reviewer for…

Winter Readings: ‘A Prolonged Kiss’ by Jonathan Gibbs.

Jonathan Gibbs reads an extract from ‘A Prolonged Kiss’ in Issue Twelve of The Lonely Crowd.   The Lonely Crowd · ‘A Prolonged Kiss’ By Jonathan Gibbs Jonathan Gibbs is the author of ‘Randall’ (Galley Beggar Press) and ‘The Large Door’ (Boiler House). His short stories have been anthologised in Best British Short Stories 2014…

Responsive Literary Writing in Two Acts / Hisham Bustani

Hisham Bustani discusses the creative process behind his two poems in Issue Twelve of The Lonely Crowd.   Act I We met in front of the closed door of a martial arts training centre, in a drab building located in the heart of what was (at that time) a haven for well-off Iraqis who fled…

Winter Readings: ‘Badlands’ by Fergus Cronin

Fergus Cronin reads the opening of ‘Badlands’ from Issue Twelve. The Lonely Crowd · Winter Readings: ‘Badlands’ by Fergus Cronin Read Fergus Cronin on ‘Badlands’ here. Fergus Cronin  is a native of Dublin.  He has had a variety of occupations ranging from water engineering to theatre. In 2004 he moved to north Connemara in Galway. …

Writing ‘Goosey’ / Cath Barton

‘The past is a foreign country: they do things differently there’ is the oft-quoted opening line of L P Hartley’s novel The Go-Between. Before checking the quote I wrote it as ‘The past is another country’ and then found that I am far from being the first to make that mistake. Our memories are unreliable and apt to deceive us; indeed, they are remade every time we call them to mind, so multiplying the possibilities of distortion. In ‘Goosey’ I explore ways in which the past can hold us hostage and the means by which we can escape its tyranny. As befits the form of the short story, the dramas faced by my central character, Rodney, are small in scale, but none the less real or challenging: his mother has died and he has to sort through her affairs, including photographs of his life in the theatre, which evoke for him other loves and losses. ‘Goosey’ is the story of how he copes and finds ways to carry