Siôn Ruston has fled to Rosewick Bay to recover from a breakdown which led him to attempt suicide. He needs the peace and tranquility of this lovely North Yorkshire seaside village to recover, but instead he is awoken by the ghost that walks across his bedroom at dawn. Seeking answers, Siôn finds Mattie, the ghost's descendant, working in the local museum (not to mention his other jobs in the local pub, at the ice cream stand, and on the local lifeboat crew).
Mattie is everything Siôn isn’t—young, bold, and confident—but as they work together to discover the secret history of Rosewick Bay, Siôn falls for him anyway. But the ghosts which stalk the village are far from friendly, and soon Siôn and Mattie realise that not just their chance of love but their very lives are at stake.
I had never read this author before this past summer and Spindrift is my fourth in about 3 months time, can I just say that Amy Rae Durreson knows how to tell a ghost story. Spindrift, like the others, is so much more than just a ghost story, it's a love story with wonderful characters and incredible detail to atmosphere, combined they create an incredible tale I just couldn't put down until I reached the last page. Mix in secrets, a past mystery, and a ghost or two and what you have is a read that leaves you mesmerized and a little creeped out, okay a lot creeped out at times but completely hooked. A definite must for paranormal lovers.
RATING:
Chapter 1
SIÔN DREAMED he went back to the bridge again, stepping out along the pedestrian walkway with his camera banging against his chest where it hung uselessly. The fog was just as deep as it had been on that day in March, wrapping around him like a bag around his head. It muffled his steps and made even the occasional rumble of passing cars sound far, far away. The fog closed behind him, hiding the north bank and the river below. As he walked he became convinced that he would never reach the far end, that he would walk forever through this damp gray shadow of a world.
Gradually, just like the first time, his steps slowed until he simply stood where he was. A bleak, quiet conviction settled over him.
He was completely alone in the world.
It seemed inconceivable that there even was a world out there beyond the fog, and he knew there was no one there who would miss him if he stayed here forever. He had no family, no friends, no lover, only a few colleagues he never socialized with. He didn’t even have a cat.
So why keep walking? Why not just stay here in the fog?
But he knew that the fog would lift and the world would still be there, and it would still be empty for him.
Even as he thought it, fear was clenching around his heart. Something was wrong.
Something was wrong with him.
And a shadowy figure came walking out of the mist toward him, stopping a foot away. Siôn recognized him at once—knew the expensive camera hanging around his neck, the soft old university hoodie with the St John’s College logo faded on the breast, the jeans that had never sat comfortably over his narrow hips and too long legs, the flop of pale hair. He was looking at himself, but it was a version of himself that had no face.
Looking at that dark emptiness, feeling that thin, screaming fear in his heart, Siôn suddenly understood. It wasn’t the world that was empty. It was him. He was the problem.
It seemed only logical to turn to the water. The stone handrail was elbow height, easy enough to climb, and he knew the river below was deep and fast enough to suck him down. Carefully, he took off his camera, handing it to his shadow self, and made for the edge.
Out in the gray, a gull cried, and then another and another, squabbling with sudden energy.
Their noise pulled Siôn away from the bridge, and he came out of the dream with a sudden gulp of relief. The cold fear released him so fast that he choked on his own indrawn breath and began to cough painfully, his lungs hurting.
By the time he could breathe again, he was fully awake and knew where he was—not on that cold bridge, but tucked under the sloping ceiling of Spindrift Cottage. The first light of the summer dawn was spilling softly through the dormer window and the lace curtains, creating thin patterns of light on the polished wooden floor and tufted rag rug in front of the unused hearth. Those seagulls were still squabbling outside his window, and he could just hear the sea breathing softly against the harbor bar.
He was alive. He was sane again. He was safe.
He was still alone.
But that was one of the thoughts he had learned to guard against, so he took another steadying breath, pushed himself up against the pile of lace-trimmed pillows, and went through his mantra again.
Alive. Sane. Safe. It had been three months since the bridge, and—with the help of a change of scene, mandatory therapy, and plenty of pills—he knew everything he had seen and felt up there had been false. He no longer believed that death was the only logical conclusion.
Tempting sometimes, but not logical.
Another breath, and this time he said the three words aloud to remind himself more firmly. “Alive. Sane. Safe.”
It helped to be here, in a sunlit room in this quiet house. Siôn had been reading before he went to sleep, Gavin Francis’s travelogue True North, and he reached out for his e-reader to keep going. There was nothing like the fascinating yet distant details of life in a cold climate to soothe his restless mind.
But as he turned, he heard a soft noise from his bedroom door. Then he saw the man standing there.
He was an ordinary-looking young man, of average height and squarely built, not much more than twenty. His dark hair was cropped close to his skull, and his face was ruddy and weathered. He had a slightly pointed face, not unhandsome, but not remarkable either, his expression solemn, although there was something around his eyes that suggested he could laugh. He wore a heavy navy blue jersey, cable-knit in complex patterns that drew Siôn’s eye, and faintly oily looking.
He had a thin little mustache and a gray leather flat cap, both of the sort Siôn associated with period films and a particular subset of urban hipster, and they seemed out of place in this little coastal retreat.
The initial surprise was giving way to indignation. Siôn had let the cottage for the next three months, and the agency had promised him that he would be left alone to enjoy it. They had also mentioned that the owner’s grandson would be staying in the basement flat once his university term was over, and “if you need owt and can’t get us on t’ phone, young Mattie will take a gander for thee.”
Siôn had managed to hide his instinctive grimace at both the idea and the exaggerated-cod Yorkshireism being thrown in his tourist face, but at least he now had a clue who this intruder was and how he had managed to get in. Bloody students.
Irritated, he snapped out, “What the devil do you think you’re doing?”
The man turned his head toward Siôn. His eyes were very wide and a little unfocused, as if they were seeing things Siôn could not, and suddenly the room felt icy, all the soft heat of early June seeping away like a retreating tide. The hairs on his arms stood on end, and his back cramped.
“Sarah,” the man said, and his voice was as cracked and distant as an old record, fading more with every syllable. “…Sorry… d—ned… shua….”
And he came forward across the room, bringing with him a stink of salt and rotten seaweed and something worse, something old and deep and dead.
Siôn couldn’t move.
Frozen in place, naked under the duvet, he watched this man—this dead thing—come gliding closer and closer to him, and he couldn’t move, couldn’t breathe, couldn’t even flinch.
The ghost passed across the room, his blank eyes unblinking, brushed past the bed, and walked toward the wide, low window where the dawn light was blazing in, thin and white and dazzling. He stepped into it and was gone, leaving behind only a lingering smell of death.
And then Siôn could breathe again, though part of him didn’t want to. The thing he had feared since he woke up in hospital had finally come to pass.
He had lost his mind again.
HE DIDN’T go back to sleep, though it was a long time before he could talk himself out of the bed. It was only when his alarm went off that he forced himself up. Routine was important, and he followed his with a dim, cold sense of detachment.
He ate his breakfast standing at the sink, forcing cornflakes into his mouth as he stared out of the window, for once not registering the soft loveliness of the morning light over the rooftops and harbor below. He washed up his bowl, put it carefully in the rack to dry, showered, and tried to shave.
His hand was shaking so much he put the razor down before he hurt himself.
It was only then that he realized he was tensed for that feeling—the bridge feeling—to come back, for that certainty to steal over him and make him believe it was time to die. If his brain was starting to break apart, to show him ghosts, that was the inevitable next step, wasn’t it? He was hallucinating again, this time without the excuse of months of insomnia. If his eyes had failed him, how long would it be before his logic turned on him too? He was used to analyzing risk, to recognizing situations that could not be overcome, and he wondered, a little frantically, what it would be this time—a bridge or the sea or, oh God, the cliffs?
What had possessed him to come and recuperate in a place with cliffs?
Had he been self-sabotaging even then?
It was the worst thought yet—that all these months of dealing with the shock and fear of what he had done, of recognizing that he wasn’t okay, whatever logic told him, and slowly picking up the pieces… they had all been for nothing if the dark, cold place inside him was still building traps.
“Routine,” he said to his reflection, which was hollow cheeked and wan, but at least still possessed a face. “Get back to routine.”
Routine meant dressing in light summer clothes and then shrugging on his windbreaker, because it might be June, but it was still Yorkshire. It meant gathering up his art supplies, checking that his phone was charged—for all the good that would do him when he couldn’t get a signal at the bottom of the village—and making sure he had some cash to buy lunch in the pub.
Staring at the emergency numbers pinned to the kitchen notice board wasn’t part of his usual routine, but it took an effort to drag himself away. Should he be calling someone? What would he say? Hi, I’m not suicidal and am frankly embarrassed that I ever was. I feel fine, except for the fact that I just saw a dead man walk across my bedroom.
What could they say to that? Nothing much, beyond suggesting it had been a bad dream and he should come in for a checkup, which would mean either a whole day driving or hours on buses and trains followed by twiddling his thumbs in the too solemn quiet of the waiting room, then having to find a hotel, and then losing another day traveling back. No. Let them spend their time on people who really were at breaking point. He would monitor himself as closely as he could and call if he started feeling genuinely bad.
Newly resolute, Siôn picked up his bag and strode out the door of the cottage and down the narrow steps into the sloping street.
Spindrift Cottage stood on the corner of a lane in the village of Rosewick Bay. The road curved down around the house to drop toward the tiny harbor below. Siôn had to enter the house by climbing a steep flight of steps to the kitchen door. The front windows of his living room looked over the rooftops and tiny patio gardens of the houses on the street below, while the back ones overlooked a small patio of his own and the foundations of the houses on the next street up. Below his part of the house was a tiny single-floor flat that backed into the cliff side on two faces, had a door opening onto the street at the front, and a window that was above head height on the sloping road that turned around the corner of the house. The whole village was a precarious tumble of red-tiled rooftops and terraced houses crammed into every foothold.
It had been an artists’ paradise since Edwardian times, and Siôn had chosen to retreat here for that reason. He had been here a fortnight already and was still not tired of trying to capture the higgledy lines of the houses, the water below, the gulls soaring overhead, and the light over the North Sea.
Today he walked briskly down through the village, heading for the harbor bar. It was early enough that the air was still cool, though in a way that promised heat later. The light was as thin and bright as sugar glaze, and he quickened his stride, no longer alarmed by the startling steepness of the lanes and the narrow ginnels that wound between the houses.
The harbor was pressed between two high cliffs, both of which were the haunts of seabirds who screeched and yammered as he walked below them and headed out across the breakwater that stretched from the foot of Minehouse Nab, the northern cliff. From the breakwater he could position his easel so he could look back at the village, and he took his time selecting a good spot.
But today, miserably, the art would not come. Every thin line he sketched seemed skewed, and when he gave up on guidelines and tried to splash watercolor straight onto the page, everything came out misshapen or saccharine.
He had never lost his art before—and he knew that, not the pills and therapy, was the main reason he had recovered as well as he had. He had heard so many horror stories about creativity and antidepressants. He had always been able to paint, although the mood and nature of his paintings had changed, the grays and stark lines of his urban landscapes giving way to a more dreamy, romantic palette. So he had come here to paint, and nothing else. Sometimes, still, he woke in the night with his heart pounding at the thought of going back to the silence and loneliness of London. Here, though, in this little bubble of light and sea and watercolor, he was safe.
But today, his muse failed him.
Perhaps it was the worry. Perhaps it was the way the keening gulls sounded so eerie today, or the way the sigh of the sea on the other side of the breakwater kept making the hairs rise on the back of his neck. Perhaps it was the memory of the hallucination’s eyes focusing on something other than Siôn, something only it could see.
“It was a dream,” he said firmly out loud. That was the only logical explanation. He had woken from a nightmare, and his still-dreaming brain had constructed something out of shadows and reflections.
He had never before had a nightmare that smelled like anything, let alone rot and water.
Just thinking of it brought the memory of the scent back so strongly that he was sure it was rising out of the big boulders of the modern breakwater behind him.
It was the harbor and the tide, he told himself. He had been living in the city so long he just didn’t know how to cope with natural smells any longer.
But the tide was high, and the stink was getting stronger and stronger.
Behind him there was a faint scrabbling noise, as if the rocks were shifting—or something was crawling across them.
Siôn shot to his feet, knocking his easel over, and spun, throwing his hands out defensively.
There was nothing there—only the open sea and the long stretch of the coast, the far cliffs still soft with morning mist.
All the same, since his paper was ruined and he was clearly getting nothing done here, he gathered his stuff and headed along the breakwater to get his feet back on solid ground.
He wandered the village for a while, trying to find a perspective that appealed to him, but nothing worked and the first coachload of day-tripping retirees had arrived. Giving up, he took his easel back to the cottage and contemplated just staying there, taking advantage of the light in the attic studio to improve some earlier pieces.
But isolating himself in this frame of mind was a bad idea, so he dragged himself out again, tucking his sketchbook under his arm as a defense against the world. He wasn’t required to talk to anyone directly, but he could eavesdrop a bit and sketch a few poses, and so feel a little more connected to the rest of the world. His first instinct might always be to isolate himself, but he had been forced to learn better, however much he resented having to step out into the world.
Halfway down the hill, he passed the open doors of the Rosewick Bay Heritage Center and paused. He hadn’t been in there yet, and perhaps this was the day. He could find out a little more about the history of the place and soak up some inspiration. If he was very lucky, they might even have some information about the Rosewick Group, that little offshoot of the Yorkshire impressionists who had settled in the village in the 1890s and early years of the twentieth century. One of the first pieces he had bought when he was finally earning enough to invest in real art had been Elinor Castle’s Rosewick Cobles, showing fisherwomen helping to pull a boat ashore. The painting had brought him here when he’d had to choose a place to recuperate. He had liked the idea of following in the footsteps of an artist he admired, and although her studio, now a lucrative little holiday cottage, had been let all summer, his inquiring phone call to the letting agent had brought him to Spindrift Cottage, which had been a family home until last year and had only just become available.
There was no guarantee the little museum would have anything about Castle and her circle, but they were the village’s only claim to fame, so there ought to be a postcard reproduction or two for sale at least. Castle herself was still moderately famous, and her pieces sold for more than a local museum could afford, but there might even be some works by, or information about, the lesser artists of the group. Siôn knew little about them, and perhaps today was the day to repair that gap in his knowledge.
Inside, the museum was bigger than it had looked from the outside. A glance along the main corridor revealed that a new frontage must have been built across the original terrace, because there was space for a whole row of Victorian-style shops done up in painstakingly authentic style. A spiral staircase led upstairs, with a sign taped to it that announced, “Fishing gallery, Art and Artists in Rosewick Bay, a Victorian Missionary in the South Seas, Childhood Past and Present.”
There was a wooden sign on the wall by the door that stated the entrance fees, as well as a counter, although it was unmanned. Someone had Blu-Tacked a bit of paper to it that read, in a scrawl of purple felt-tip, “Back in 5m! Please leave cash in honesty box!”
Siôn guessed that meant the wooden box with a slit in the top that was chained to the counter. He put his two pounds in, amused and oddly touched. London seemed very far away.
He wandered over to the first exhibit, a display of fishing lines carefully strung with hooks, and leaned in to read the typed explanation pinned to wall above. It was surrounded by framed photographs of fishermen and boats, old newspaper clippings, and a rather ferocious-looking fish mounted on a board with its teeth showing. Glancing around, Siôn realized that every wall was covered in the same way. At a guess, he would say that every single scrap of the village’s history was on display here.
It was charming, in a cluttered sort of way, and he moved on to study the contents of a reconstructed chemist’s shop, which seemed to feature the rescued contents of local medicine cabinets from Victorian times to the 1970s, all arranged so the brand names faced outward. There was even a door with an old-fashioned knocker. It was closed, and he wasn’t sure if it was just for effect or whether there was more to see inside the shop. Carefully, he reached out and pushed at it slightly, to see if it would open.
“Nowt but wall behind that one,” a warm, cheerful voice said behind him. “You have to go round to get to the history of the lifeboat.”
Irrationally embarrassed, Siôn stepped back. “I’m sorry.”
“You weren’t to know,” the kid behind him said. He had a nice voice, deep with a thick Yorkshire accent. He sounded friendly, young, confident—everything Siôn struggled with. “I keep telling Mrs. Peacock that we ought to put a sign up, but she won’t have it. Says it would spoil the authenticity.”
Siôn turned round, preparing a smile, and started to say, “I’d hate to see anyone try to force….”
Then the words dried up in his throat.
The young man leaning over the counter and grinning at him looked very, very familiar. In fact, Siôn had last seen him only a few hours ago, although he had been dressed very differently then.
This was the man who had walked across his room at dawn and vanished into a blur of light.
SIÔN DREAMED he went back to the bridge again, stepping out along the pedestrian walkway with his camera banging against his chest where it hung uselessly. The fog was just as deep as it had been on that day in March, wrapping around him like a bag around his head. It muffled his steps and made even the occasional rumble of passing cars sound far, far away. The fog closed behind him, hiding the north bank and the river below. As he walked he became convinced that he would never reach the far end, that he would walk forever through this damp gray shadow of a world.
Gradually, just like the first time, his steps slowed until he simply stood where he was. A bleak, quiet conviction settled over him.
He was completely alone in the world.
It seemed inconceivable that there even was a world out there beyond the fog, and he knew there was no one there who would miss him if he stayed here forever. He had no family, no friends, no lover, only a few colleagues he never socialized with. He didn’t even have a cat.
So why keep walking? Why not just stay here in the fog?
But he knew that the fog would lift and the world would still be there, and it would still be empty for him.
Even as he thought it, fear was clenching around his heart. Something was wrong.
Something was wrong with him.
And a shadowy figure came walking out of the mist toward him, stopping a foot away. Siôn recognized him at once—knew the expensive camera hanging around his neck, the soft old university hoodie with the St John’s College logo faded on the breast, the jeans that had never sat comfortably over his narrow hips and too long legs, the flop of pale hair. He was looking at himself, but it was a version of himself that had no face.
Looking at that dark emptiness, feeling that thin, screaming fear in his heart, Siôn suddenly understood. It wasn’t the world that was empty. It was him. He was the problem.
It seemed only logical to turn to the water. The stone handrail was elbow height, easy enough to climb, and he knew the river below was deep and fast enough to suck him down. Carefully, he took off his camera, handing it to his shadow self, and made for the edge.
Out in the gray, a gull cried, and then another and another, squabbling with sudden energy.
Their noise pulled Siôn away from the bridge, and he came out of the dream with a sudden gulp of relief. The cold fear released him so fast that he choked on his own indrawn breath and began to cough painfully, his lungs hurting.
By the time he could breathe again, he was fully awake and knew where he was—not on that cold bridge, but tucked under the sloping ceiling of Spindrift Cottage. The first light of the summer dawn was spilling softly through the dormer window and the lace curtains, creating thin patterns of light on the polished wooden floor and tufted rag rug in front of the unused hearth. Those seagulls were still squabbling outside his window, and he could just hear the sea breathing softly against the harbor bar.
He was alive. He was sane again. He was safe.
He was still alone.
But that was one of the thoughts he had learned to guard against, so he took another steadying breath, pushed himself up against the pile of lace-trimmed pillows, and went through his mantra again.
Alive. Sane. Safe. It had been three months since the bridge, and—with the help of a change of scene, mandatory therapy, and plenty of pills—he knew everything he had seen and felt up there had been false. He no longer believed that death was the only logical conclusion.
Tempting sometimes, but not logical.
Another breath, and this time he said the three words aloud to remind himself more firmly. “Alive. Sane. Safe.”
It helped to be here, in a sunlit room in this quiet house. Siôn had been reading before he went to sleep, Gavin Francis’s travelogue True North, and he reached out for his e-reader to keep going. There was nothing like the fascinating yet distant details of life in a cold climate to soothe his restless mind.
But as he turned, he heard a soft noise from his bedroom door. Then he saw the man standing there.
He was an ordinary-looking young man, of average height and squarely built, not much more than twenty. His dark hair was cropped close to his skull, and his face was ruddy and weathered. He had a slightly pointed face, not unhandsome, but not remarkable either, his expression solemn, although there was something around his eyes that suggested he could laugh. He wore a heavy navy blue jersey, cable-knit in complex patterns that drew Siôn’s eye, and faintly oily looking.
He had a thin little mustache and a gray leather flat cap, both of the sort Siôn associated with period films and a particular subset of urban hipster, and they seemed out of place in this little coastal retreat.
The initial surprise was giving way to indignation. Siôn had let the cottage for the next three months, and the agency had promised him that he would be left alone to enjoy it. They had also mentioned that the owner’s grandson would be staying in the basement flat once his university term was over, and “if you need owt and can’t get us on t’ phone, young Mattie will take a gander for thee.”
Siôn had managed to hide his instinctive grimace at both the idea and the exaggerated-cod Yorkshireism being thrown in his tourist face, but at least he now had a clue who this intruder was and how he had managed to get in. Bloody students.
Irritated, he snapped out, “What the devil do you think you’re doing?”
The man turned his head toward Siôn. His eyes were very wide and a little unfocused, as if they were seeing things Siôn could not, and suddenly the room felt icy, all the soft heat of early June seeping away like a retreating tide. The hairs on his arms stood on end, and his back cramped.
“Sarah,” the man said, and his voice was as cracked and distant as an old record, fading more with every syllable. “…Sorry… d—ned… shua….”
And he came forward across the room, bringing with him a stink of salt and rotten seaweed and something worse, something old and deep and dead.
Siôn couldn’t move.
Frozen in place, naked under the duvet, he watched this man—this dead thing—come gliding closer and closer to him, and he couldn’t move, couldn’t breathe, couldn’t even flinch.
The ghost passed across the room, his blank eyes unblinking, brushed past the bed, and walked toward the wide, low window where the dawn light was blazing in, thin and white and dazzling. He stepped into it and was gone, leaving behind only a lingering smell of death.
And then Siôn could breathe again, though part of him didn’t want to. The thing he had feared since he woke up in hospital had finally come to pass.
He had lost his mind again.
HE DIDN’T go back to sleep, though it was a long time before he could talk himself out of the bed. It was only when his alarm went off that he forced himself up. Routine was important, and he followed his with a dim, cold sense of detachment.
He ate his breakfast standing at the sink, forcing cornflakes into his mouth as he stared out of the window, for once not registering the soft loveliness of the morning light over the rooftops and harbor below. He washed up his bowl, put it carefully in the rack to dry, showered, and tried to shave.
His hand was shaking so much he put the razor down before he hurt himself.
It was only then that he realized he was tensed for that feeling—the bridge feeling—to come back, for that certainty to steal over him and make him believe it was time to die. If his brain was starting to break apart, to show him ghosts, that was the inevitable next step, wasn’t it? He was hallucinating again, this time without the excuse of months of insomnia. If his eyes had failed him, how long would it be before his logic turned on him too? He was used to analyzing risk, to recognizing situations that could not be overcome, and he wondered, a little frantically, what it would be this time—a bridge or the sea or, oh God, the cliffs?
What had possessed him to come and recuperate in a place with cliffs?
Had he been self-sabotaging even then?
It was the worst thought yet—that all these months of dealing with the shock and fear of what he had done, of recognizing that he wasn’t okay, whatever logic told him, and slowly picking up the pieces… they had all been for nothing if the dark, cold place inside him was still building traps.
“Routine,” he said to his reflection, which was hollow cheeked and wan, but at least still possessed a face. “Get back to routine.”
Routine meant dressing in light summer clothes and then shrugging on his windbreaker, because it might be June, but it was still Yorkshire. It meant gathering up his art supplies, checking that his phone was charged—for all the good that would do him when he couldn’t get a signal at the bottom of the village—and making sure he had some cash to buy lunch in the pub.
Staring at the emergency numbers pinned to the kitchen notice board wasn’t part of his usual routine, but it took an effort to drag himself away. Should he be calling someone? What would he say? Hi, I’m not suicidal and am frankly embarrassed that I ever was. I feel fine, except for the fact that I just saw a dead man walk across my bedroom.
What could they say to that? Nothing much, beyond suggesting it had been a bad dream and he should come in for a checkup, which would mean either a whole day driving or hours on buses and trains followed by twiddling his thumbs in the too solemn quiet of the waiting room, then having to find a hotel, and then losing another day traveling back. No. Let them spend their time on people who really were at breaking point. He would monitor himself as closely as he could and call if he started feeling genuinely bad.
Newly resolute, Siôn picked up his bag and strode out the door of the cottage and down the narrow steps into the sloping street.
Spindrift Cottage stood on the corner of a lane in the village of Rosewick Bay. The road curved down around the house to drop toward the tiny harbor below. Siôn had to enter the house by climbing a steep flight of steps to the kitchen door. The front windows of his living room looked over the rooftops and tiny patio gardens of the houses on the street below, while the back ones overlooked a small patio of his own and the foundations of the houses on the next street up. Below his part of the house was a tiny single-floor flat that backed into the cliff side on two faces, had a door opening onto the street at the front, and a window that was above head height on the sloping road that turned around the corner of the house. The whole village was a precarious tumble of red-tiled rooftops and terraced houses crammed into every foothold.
It had been an artists’ paradise since Edwardian times, and Siôn had chosen to retreat here for that reason. He had been here a fortnight already and was still not tired of trying to capture the higgledy lines of the houses, the water below, the gulls soaring overhead, and the light over the North Sea.
Today he walked briskly down through the village, heading for the harbor bar. It was early enough that the air was still cool, though in a way that promised heat later. The light was as thin and bright as sugar glaze, and he quickened his stride, no longer alarmed by the startling steepness of the lanes and the narrow ginnels that wound between the houses.
The harbor was pressed between two high cliffs, both of which were the haunts of seabirds who screeched and yammered as he walked below them and headed out across the breakwater that stretched from the foot of Minehouse Nab, the northern cliff. From the breakwater he could position his easel so he could look back at the village, and he took his time selecting a good spot.
But today, miserably, the art would not come. Every thin line he sketched seemed skewed, and when he gave up on guidelines and tried to splash watercolor straight onto the page, everything came out misshapen or saccharine.
He had never lost his art before—and he knew that, not the pills and therapy, was the main reason he had recovered as well as he had. He had heard so many horror stories about creativity and antidepressants. He had always been able to paint, although the mood and nature of his paintings had changed, the grays and stark lines of his urban landscapes giving way to a more dreamy, romantic palette. So he had come here to paint, and nothing else. Sometimes, still, he woke in the night with his heart pounding at the thought of going back to the silence and loneliness of London. Here, though, in this little bubble of light and sea and watercolor, he was safe.
But today, his muse failed him.
Perhaps it was the worry. Perhaps it was the way the keening gulls sounded so eerie today, or the way the sigh of the sea on the other side of the breakwater kept making the hairs rise on the back of his neck. Perhaps it was the memory of the hallucination’s eyes focusing on something other than Siôn, something only it could see.
“It was a dream,” he said firmly out loud. That was the only logical explanation. He had woken from a nightmare, and his still-dreaming brain had constructed something out of shadows and reflections.
He had never before had a nightmare that smelled like anything, let alone rot and water.
Just thinking of it brought the memory of the scent back so strongly that he was sure it was rising out of the big boulders of the modern breakwater behind him.
It was the harbor and the tide, he told himself. He had been living in the city so long he just didn’t know how to cope with natural smells any longer.
But the tide was high, and the stink was getting stronger and stronger.
Behind him there was a faint scrabbling noise, as if the rocks were shifting—or something was crawling across them.
Siôn shot to his feet, knocking his easel over, and spun, throwing his hands out defensively.
There was nothing there—only the open sea and the long stretch of the coast, the far cliffs still soft with morning mist.
All the same, since his paper was ruined and he was clearly getting nothing done here, he gathered his stuff and headed along the breakwater to get his feet back on solid ground.
He wandered the village for a while, trying to find a perspective that appealed to him, but nothing worked and the first coachload of day-tripping retirees had arrived. Giving up, he took his easel back to the cottage and contemplated just staying there, taking advantage of the light in the attic studio to improve some earlier pieces.
But isolating himself in this frame of mind was a bad idea, so he dragged himself out again, tucking his sketchbook under his arm as a defense against the world. He wasn’t required to talk to anyone directly, but he could eavesdrop a bit and sketch a few poses, and so feel a little more connected to the rest of the world. His first instinct might always be to isolate himself, but he had been forced to learn better, however much he resented having to step out into the world.
Halfway down the hill, he passed the open doors of the Rosewick Bay Heritage Center and paused. He hadn’t been in there yet, and perhaps this was the day. He could find out a little more about the history of the place and soak up some inspiration. If he was very lucky, they might even have some information about the Rosewick Group, that little offshoot of the Yorkshire impressionists who had settled in the village in the 1890s and early years of the twentieth century. One of the first pieces he had bought when he was finally earning enough to invest in real art had been Elinor Castle’s Rosewick Cobles, showing fisherwomen helping to pull a boat ashore. The painting had brought him here when he’d had to choose a place to recuperate. He had liked the idea of following in the footsteps of an artist he admired, and although her studio, now a lucrative little holiday cottage, had been let all summer, his inquiring phone call to the letting agent had brought him to Spindrift Cottage, which had been a family home until last year and had only just become available.
There was no guarantee the little museum would have anything about Castle and her circle, but they were the village’s only claim to fame, so there ought to be a postcard reproduction or two for sale at least. Castle herself was still moderately famous, and her pieces sold for more than a local museum could afford, but there might even be some works by, or information about, the lesser artists of the group. Siôn knew little about them, and perhaps today was the day to repair that gap in his knowledge.
Inside, the museum was bigger than it had looked from the outside. A glance along the main corridor revealed that a new frontage must have been built across the original terrace, because there was space for a whole row of Victorian-style shops done up in painstakingly authentic style. A spiral staircase led upstairs, with a sign taped to it that announced, “Fishing gallery, Art and Artists in Rosewick Bay, a Victorian Missionary in the South Seas, Childhood Past and Present.”
There was a wooden sign on the wall by the door that stated the entrance fees, as well as a counter, although it was unmanned. Someone had Blu-Tacked a bit of paper to it that read, in a scrawl of purple felt-tip, “Back in 5m! Please leave cash in honesty box!”
Siôn guessed that meant the wooden box with a slit in the top that was chained to the counter. He put his two pounds in, amused and oddly touched. London seemed very far away.
He wandered over to the first exhibit, a display of fishing lines carefully strung with hooks, and leaned in to read the typed explanation pinned to wall above. It was surrounded by framed photographs of fishermen and boats, old newspaper clippings, and a rather ferocious-looking fish mounted on a board with its teeth showing. Glancing around, Siôn realized that every wall was covered in the same way. At a guess, he would say that every single scrap of the village’s history was on display here.
It was charming, in a cluttered sort of way, and he moved on to study the contents of a reconstructed chemist’s shop, which seemed to feature the rescued contents of local medicine cabinets from Victorian times to the 1970s, all arranged so the brand names faced outward. There was even a door with an old-fashioned knocker. It was closed, and he wasn’t sure if it was just for effect or whether there was more to see inside the shop. Carefully, he reached out and pushed at it slightly, to see if it would open.
“Nowt but wall behind that one,” a warm, cheerful voice said behind him. “You have to go round to get to the history of the lifeboat.”
Irrationally embarrassed, Siôn stepped back. “I’m sorry.”
“You weren’t to know,” the kid behind him said. He had a nice voice, deep with a thick Yorkshire accent. He sounded friendly, young, confident—everything Siôn struggled with. “I keep telling Mrs. Peacock that we ought to put a sign up, but she won’t have it. Says it would spoil the authenticity.”
Siôn turned round, preparing a smile, and started to say, “I’d hate to see anyone try to force….”
Then the words dried up in his throat.
The young man leaning over the counter and grinning at him looked very, very familiar. In fact, Siôn had last seen him only a few hours ago, although he had been dressed very differently then.
This was the man who had walked across his room at dawn and vanished into a blur of light.
Amy Rae Durreson is a quiet Brit with a degree in early English literature, which she blames for her somewhat medieval approach to spelling, and at various times has been fluent in Latin, Old English, Ancient Greek, and Old Icelandic, though these days she mostly uses this knowledge to bore her students. Amy started her first novel a quarter of a century ago and has been scribbling away ever since. Despite these long years of experience, she has yet to master the arcane art of the semicolon. She was a winner in the 2017 Rainbow Awards.
B&N / SMASHWORDS / KOBO
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