gorse No. 3



By Darragh McCausland.

At eight forty-five in the evening, I stood at the hatch window of the medicine room, doling out little paper cups of pills to the loose queue of patients in the corridor. It was fifteen minutes from the end of my shift, my fourth twelve hour shift in a row. I was jacked tired. Of course, Gerry noticed.

‘No snoozing on the job Nurse Nally. What if the right pill goes to the wrong man and the wrong pill goes to the right man? What then?’



By David Hayden.

A journey of light ending and ending and everything feeding off this, in one way or another, but the light just arriving, warm and buttery, letting us see; shapes, shadows, colours and a cottage and a field and a cottage garden with cornflowers, eye blue, heartsease, winking violet, delphiniums, risen purple, primroses, tooth yellow, upgazing, sightless, calendula stars, thyme, tight green spicing curls, and daisies, scattered wings, open palms; over all, fattening bees swing boozily in the warm air. A man or a woman stands smiling once upon the day. All the motion of the living world above and the worm-turned earth below and the breath of life rushing from warm to cool, from damp to dry, adds up to a seeming stillness, a closeness to silence in which one may be wise, be idiot, be almost nothing. If not for the faint tapping, heard and then not heard, and then the man—it is a man—turns to the sound, which is where it is not, and turns again, to where it is not, and turns again; but the knocks have stopped.

ten thousand tiny spots


By Sheila Armstrong.

In the city, there are ten thousand thousand mouths. But a mouth is a terrible thing. A gash across the skin; a slit that has been widened and then healed so that two lumps of scar tissue trace the wound on either side. And inside, inside some instinct has caused lumps of calcium and carbon and bone to protrude out, sprouting in some awful facsimile of symmetry; each lump pointing upward, anchored with a cruel hook below the jaw, their surfaces blunted and ground down into flat planes that crush and grind.


By Ian Maleney.

 ‘I matured at twenty-four,’ says Morton Feldman, in a radio interview with Charles Shere, in California in 1967. He was forty-one at the time, almost half-way through his mature period, which ended with his death in 1987. It was shortly before he stopped working for his father. Feldman’s conversation with Shere is cyclical, but wide-ranging. There are many long pauses, and many half-jokes that aren’t really that funny. You can hear them lighting cigarettes in the studio, the curl of a match inches from the microphone. They’re spiralling around this idea, arguably the central assertion of Feldman’s career, that he doesn’t believe in Hegel, but in god. At first I wasn’t sure what that meant. I wasn’t sure that anyone he said it to knew either, but they went along with it anyway. So will I.