Intro from the Editor

Welcome to the first edition of Urban Scrawl!

I hope the format feels like a stroll through a city, with subjects and images recurring, complementing and clashing.

As I made my own way through the submissions, several themes arose. Many pieces reflect the relentless frenetic nature of city life; some question a place’s authenticity; others depict its decline; unexpectedly to me, a few describe the urban in religious terms.

Overall, I came away with a sense of the fragility of beauty in urban landscapes, which at first glance may seem as solid as steel or as old as stone, and how fine the line is from uglier forces.

I hope the featured pieces move you too.

Thank you to all the contributors for trusting me with their wonderful words and images for this first issue.

Their artist bios are at the end of this webpage - I heartily encourage you to check them out.

Keep an eye on our Instagram page too: @urbanscrawlmag

Happy strolling,

Annie Acre x

Type in the Wild

by Bec Morris

A Bold New World

by Matt Tyler

I didn’t want to worship your god.  You say you don’t have a god?  Sure you do.  He may not exist, he may be just a figment of yours and everyone else’s imagination, but he’s there.  Stuck in the space between things.  Holding everything together.  He’s the city god.  And every city has one. 

Everywhere I’ve ever worked, people get up when they have to, not when they want to.  They go to the places they have to go to, not where they want to go.  And they stay there.  Eight, nine, ten hours every day, all to pay for the house they leave vacant all day. 

Every city god is slightly different, but they’re all very similar.  Just like siblings.  One’s nose may twist a little differently than the other’s but all the same features are basically there.   

Surely his sabbath begins on a Friday evening.  People rush out of work to brightly lit buildings where they drink mind numbing concoctions and try to focus on the god.  He lives in another dimension, you see.  Or rather, if he existed he would live in another dimension.  But of course he doesn’t exist.  People just drink to access the space he would inhabit if he did.   

Well I wasn’t interested in him.  I didn’t want to worship at the same alter as everyone else.  I’m not one of the sheep, one of his flock.  That’s why I sold everything I had and travelled to Liverpool to a place called Bold Street.  You see, I didn’t want to be boring.  I wanted to stand out, be something else.  Bold Street was the answer.  You see Bold Street isn’t just another street in a major conurbation in the North West of England.  No, Bold Street is Britain’s most famous time machine. 

Yes, you heard correctly.  “Time Machine”.  A place where the space time continuum doesn’t seem to work properly.  I know you’re probably laughing, which is understandable.  But have you actually researched the place?  Do you know the stories? 

In 1996 an off duty police officer went to a bookshop on Bold Street.  He was almost hit by a 1960s style van before he finally got there.  Except when he entered it, it wasn’t a bookshop.  It sold ladies’ clothing.  After a few moments it changed back into a bookshop.  But it was an experience that would change his life forever. 

Another time, another policeman was chasing a suspect down Bold Street.  The felon ran into an alley and vanished.  Yep, just plain vanished.  Except he hadn’t vanished.  He found himself in the 1960s.  Bewildered, he walked for a short while before finding himself back in his own time.   

I hate the time I was born into.  Now don’t get me wrong, I don’t particularly care for the 1960s either.  I don’t have the same level of nostalgia for the decade of the Beatles, free love and Star Trek.  No, what I want to be is remarkable.  Someone different.  Someone amazing.  Because if there’s one thing the city gods tell us it’s that we’re drones.  Cogs in a massive machine whose only let up is worshipping them in bars of Friday nights or Saturday afternoons.   Would it be too much to ask for me to be worshipped?  Or marvelled at at the very least? 

So I came to Bold Street.  I got to know it quite well.  The shops, the cafes, and the offices above them.  The smartly dressed man whose daily order of service involved buying a latte from a bakery and a copy of the Daily Telegraph from the newsagent next door.  The Big Issue vendor who was blanked more than acknowledged, truly considered a sinner or a heretic by the city god.  And the bar girl who always arrived at work at 6.13 pm, a raincoat hiding her vestments of office beneath.  Devout worshippers.  Even though they never knew it and would never have admitted it in a million years.  I walked the street day after day, night after night.  The sky was usually grey and more often than not I would get sprinkled by rain.  I suppose that was the city god’s equivalent of a baptism.   

But I was not of the faith.  To me it was only water.  Churned through a never ending cycle, just like the people in the city.   

Time passed.  I had to keep reading more and more accounts of the strange happenings on Bold Street.  The “time slips” as they were known.  It wasn’t the only natural time machine of course.  There was the Moberly-Jourdain Incident of 1911 and the Goddard Incident of 1935.  But Bold Street was the most famous one.  So why was nothing happening to me? 

A watched kettle never boils, I suppose.  And if these incidents were so common here that they were actually to be expected, man’s understanding of the physical world and the space time continuum would be very different.  But I waited all the same. 

I built a new routine.  Each morning I ate in the same cafe, walked the same route up and down the street.  I knew all the shops, every window that may hold something of interest to me.  Faces became more and more familiar and eventually certain people started to nod to me when they saw me.  And then I realised: I was now following the city god too. 

What a terrible revelation.  I wanted, needed to be different.  Yet I was just the same as everybody else.  Following a pattern, doing the same things over and over again, honouring a non existent deity.  And for what? 

But one day it happened.  I was all ready to give up and go home, but the sky got suddenly darker.  Not naturally darker or gradually darker, but light gave way to obsidian in an instant.  I looked up at the sky.  A green pixelated wave shot through the stratosphere.  I looked in front of me and where an off license should have stood there was a shining glass building whose windows were so opaque no objects were discernible inside.   

Then I heard a voice behind me.  Female and not with a local accent.  “What do you think you’re doing?  You need to get to the shelter!”  I turned to find a woman perhaps in her early thirties wearing an entirely black suit.  I began to talk but she cut me off. 

“Oh, no, you’re one of them aren’t you?” 

I stuttered a response.  “I was just…” 

“Yeah, waiting for a time slip.  When are you from?  The 1990s?  Early 2000s?” 

I could only offer a confused expression.  She went on, seeming angry for a reason I couldn’t discern.  “You’ve slipped forward, not back”.  I was about to stifle a response when she looked up.  Another green line scoured the sky.  She grabbed my arm.  “We need to get to a shelter.  Come on!”  Together we ran the length of what had once been Bold Street.  “But won’t I go back?  To my own time?!” 

“Hardly anyone goes back”, she snapped. 

“But I thought…” 

“You people, you hear stories of time slips.  But how many more stories do you hear of people going missing?” 

“But not from Bold Street”. 

“Tell me, when people go missing, do you often hear where they go missing from?” 

Like a dark shroud the truth started to dawn on me.  My new companion pointed to a hole in the ground.  “Down there!” 

She crouched on the floor and started to climb down a set of metal rungs.  I could only do likewise.  Overhead I heard an inhuman screeching.  “Listen”, I said, “maybe I could try to help”. 

Her voice echoed below me.  “Really?  So do you have a Skylex implant?  Can you use Slipstream Infinity?  Gold Imperial?” 

We reached the bottom of the rungs and found ourselves in a dimly lit corridor.  “I don’t even know what those are”. 

“Exactly.  You’re what we call a technorphan.  You’re as helpless in our world as a newborn baby is in yours.  And about as much use.  We’ll try to look after you but…”.  Another screeching sound echoed from above.  She sadly shook her head as she moved me to follow her along the passage.  What had I done? 

I had no idea when I was but it was obviously a time of war.  And in times of war, I realised, city gods die, and the gods of war like Mars, Ares and Tiw are reborn.  I resented the world I was born into but found myself in a place where I didn’t and could never fit in like a jigsaw piece from a different set.  I’d exchanged a god I didn’t care for for an entirely different pantheon.  A pantheon that judged me and found me wanting. 

Angels in McDonald’s, and the glorious end of my voluptuous pillow

by Michael John Hulley II

 

Shit-stained streets 

litter-cluttered-canvas 

death smelling drains 

 

A potent high-pitched egregious electrical hum 

a simulacrum for sweet silence 

the nocturnes of night 

of nature 

 

A drunken ballet occurs 

it could be Romeo and Juliet 

as there are lovers 

Montagues and Capulets shouting monosyllables and profanities 

bellies are bared 

and old tombstone teeth are flashed 

there is much gold 

but I do not see it shining 

 

No Highwaymen tonight 

no one to threaten to part me from my doner burger 

or scarf 

no ronins in track-suited armour 

hyped on amphetamines 

and being hard-done-to delusions 

no bin dippers 

skippers 

trying to sail away from their hunger 

digging deep into refuse 

and hoping to find dreams 

 

Massacred sandwiches cover my path 

tuna and cucumber genocide 

mayonnaise tears 

they didn’t even bother to hide the corpses 

 

As Helios rises 

into Horus’s realm 

I saunter passed limbless crippled trees 

 

The market ground is heaving 

a seraphic butcher forces his meat upon a hungry host 

a multitude of demonic youths sporting pound-shop-halos                       

remind us that the end is

nigh 

angelic street drinkers spitting their versions of

Ciceronian dialogues wait in Baudelairean stupor 

                             for said end to come 

 

Harbingers of death stroll slowly not smoking their lit

cigarettes in a sub-conscious attempt to exterminate the

somnambulist swarm 

 

Vapers fill the town with mist in the hopes of masking

the misery 

 

You can find a sham smile or three in Iceland but most of

the rest is frozen 

 

Angels in McDonald’s hand out brief respite to our deep

dark hunger 

young lovers dine 

and prams-a-plenty 

a palatable feast for eight pounds twenty 

 

Warrington Street wind tunnel 

our hadron collidor 

where nothing matters 

more than anti-matter 

 

Our mountain-top tram stop 

- gale force winds and sub-zero temperatures surpassed only by the death-zone that is Oldham Bus Station 

 

Unpleasant buildings impose upon the grey-golden nuances of the streets 

no landscape is innocent 

does this make Ashton guilty? 

 

I stare at the great bright blue 

searching for cosmic guidance 

finding solace in Phillip Glass, Rameau, and Beak 

waiting patiently for the glorious end, and my voluptuous pillow 

LOOSE CUT

by Tom Priestley
 

I live for the brief encounters, flashes, stories from the horses mouth 

Sparks of hedonism that divide my heart and mind from north to south 

Innocent glances of possible romance that quickly become fantasy 

I live for quick departures and easy exits so I’m hounded by nobody 

Thriving on nervous tension wired and wound about ready to snap 

Displays of antagonism and ruthless outbursts from the spasmodic and tapped 

The artistic loonies and drunken divas never fail to abuse 

I live for the possibilities of the impossible leaving me unable to choose 

In full gear movement riding on the wind never knowing where I’ll end up 

I live to be worn by a 1000 city miles on the road of the loose cut  

City Lights

by John Clifford

She was my home

by Shak

  

I had a roof once, a cathedral of ordinary

days, where my love’s voice turned brick into

breath.  

  

Now I seek sofas, rafts drifting on stranger’s seas,

another man's normal cradling the wreckage of my

sleep.  

  

Defeated in the aftermath, my

walls crumbled, and the

ordinary is yet to return.  

Saints

by Kev the Poet

Pugnacious place, with

managers as saints

painted onto any

wall that’s not student

flats. I’m in a room

by an airport, named

after another saint.

I’m coming here, to

watch you disconnect

from the universe

one cell at a time.

You still know me (just)

but The Liver Birds

are stretching stone wings.

You’re falling into the

sea (and I could never

swim). I prepare every

time as the last time. I

wish you could just drift.

‘I’ll name something after

you’, I promise as I

smooth

the

duvet straight

Psychogeography

by Kev the Poet

All burgers are smashed

All launderettes don’t need cash.

Every wall’s a platitude

‘kindness first’ ‘live love laugh’.

I see a city holding on

bastion invincibility

Shankly Napoleonic

and every shop I knew is gone

replaced by boho chippies.

Head to the coast. Safer there.

The beach might be full of rubble

but it’s safer, one phone bar.

The milk of humankind

is creamier, salt air

not salted caramel.

The soul of a place (if

it exists) is not in

how to spend your money

but in how you treat the

poor, the lost, the driftwood

that had a choice between

here or America and

said, part Welsh, part spitfire

‘Nah, sack it. I’m home here’

Sundee

by Kev the Poet

Sundee morning in Liverpool.

It’s Hungover hens and sloshed stags.

Gerls discuss conquest over coffee

gerls hold their shopping bags

and buskers put classic songs to sword.

The Belfast bride, phones her fiancé

whilst holding a blow up doll of him.

The bloke, on the phone swearing down

to his Mrs, ‘four pints, Jagerbomb’.

The braless Scouse girl, last night’s brown dress

strutting with chest out, purple shoes

stopping cars, as she crosses The Strand.

And it would be hard to dismiss

these absolute scenes, hilarious

(as they are) as I picture

the old photography gallery

where I see three new exhibitions

(two of which I like, one not keen).

But it’s always part of me.

And I’ll come back someday, Sundee

Bricks and Steel

by Bec Morris

Max and Dan and Rab in Knottingley

by Keith Fenton

 

There was a time Rab'd have caned them, 

not himself, maybe 

 

I'll pop one, then the other, 

that'll fucking learn 'em but what 

happens in this world if I hurt 'em? 
 
(This: I'm a target, I'm in a motor 

getting filled with 

bladed steel, and my mate feels 

no better than before.

 

The door opens now and Max 

and Dan are there again, 

what the fuck? 

 

Because we are all this pastoral fucking symphony, 

the second movement is where we see past the wall 

built around us, where the good shit ain't moonlight 

over a river, ain't the LA County Bridge-To-Nowhere 

trail where Rab burned up his boyhood days, 

but moonshine under a tin lid. 

 

He punched a cougar on that trail once, slugged 

its bewildered throat as it jumped 

from scrub in the wilderness.     It jogged on. 

 

Now Max and Dan scramble him on bikes, 

he jogs on along Aire Road, leaning into the wind 

with his balance-hand in his half-bottle pocket, 

 

                            Sporting Life dropping from the other, 

soaking up a puddle, going good to soft to heavy. 

 

                           Fuck off! Rab shouts, 

but it only spurs them on and they're 

seagulls now, divebombing for chips - 

he spins, lashing out with spent strength. 

                             Scrambles through the boot-cracked door. 
 
Cool steel smirks land on me, and appeals to mercy look 

a non-starter, but I say my piece. He's sad, is Rab, lads. 

He's at the bottom, the drink's got him and he can't fight back 
 
Max chews his thumb, 

Dan studies the puddle. 

 
A fortnight on, they kick through 

the unanswered door, 

raise the alarm. 

In GM

by Kai Luckham

Between two stations

There lies a pub in which you

Watch the trains go by

Carrs Pasties; Bank Top

Northern monkey – just a taste

And it’s on the train

Whippy’s Pies; Trackside

Deeply Vale; Chadwick’s Puddings

Not just the market

Here train and tram meet

Flying Horse; Cemetery;

Pictish Ales……. Town Hall

Fox and Pine….. next door…

Ashton Arms. Just a short walk

From Central Tram Stop

Scene: recent uproar…..

25p more? The beer

now two seven five

Magnet. Crown. Red Bull

Sun and Castle. Runaway.

Close by viaduct

Walking down the Highway

by Michael John Hulley II

City of Love

by Dawn Kirby

The City Centre is a lonely heart 

when all the shops are shut 

Doorways stink of urinating twats 

Someone’s sleeping under cardboard 

 

And the winning scratch card 

just got bought- by the Lord Mayor! 

Fly Posters boast the same old Gigs 

on boarded-up demolition sites 

you can hear the ghosts of  

Debenhams, Top shop and Comet  

rattling their rusty retail chains 

The heart of the High Street is knifed  

with Council cuts, bleeding out in vain-  

waiting for a lover to find the defibrillator 

Shoe Zone (Stretford Mall)

by Andy N

 

Shoe Zone’s still open— just. 

 

My mother told me she heard  

a woman asking the lad behind the till 

if they’re moving to the new build 

when the old mall gets demolished.  

 

He says, “Not heard anything.”  

And keeps packing boxes away. 

 

Doesn’t look up, 

and moves the bucket again 

towards the back of the till. 

when it starts leaking again.  

The White House

by Andy N

The last time I went in there was the December before lockdown with my ex-lodger, John. He had moved out a few months before my partner and later my wife, Amanda, moved in with him without telling me, and tried to skim off from paying his last month’s rent, only for me to threaten to send in Bailiffs to where he worked for the money, and we had arranged to meet there to pay it all off.  

The pub was old-fashioned, really old-fashioned, with décor which would have looked okay, I guess, in the 1970s, maybe even the 1980s, but by the end of 2019 was more than old-fashioned and likely choked the life out of the place, even more than when the landlord requested everybody turn their mobiles off and didn’t have any music on when they walked in. 

No food. 

No Christmas decorations.  

Nothing, just the drink.  

John wouldn’t enter originally and just looked at me when he arrived, as if to say why was I in there, and then stood at the side of the pub, terrified, with the three or four regulars just staring at him until I came to him, before asking me outside “why there, for god’s sake, why that pub?”. 

Truth be told, I could have easily dragged him into the Stable Gates just up the road, which was bristling with a modern-looking building designed for families or even the Gothic-looking Red Lion on the corner of Stockport Road and watched the City match, which was due to start half an hour or so after, but I chose to go in here for a quick Diet Coke on the way home after work.  

It was a bad choice as the lights were that dim, it looked like the full pub was the one haunting its customers rather than a customer or ex-punter, and nobody was talking.  

He didn’t say anything else, and after he finished shaking, he just dropped off the money owed with me, and the pair of us left like the place was waiting to be forgotten as soon as we left in the mists of time.  

Neither of us spoke again.  

A month later, lockdown hit.  

We never spoke again, and he was dead in three years.  

Amanda moved in with literally days just before lockdown by chance.  

The pub closed.  

I believe it reopened briefly in 2021 before choking back into memory.  

It’s still there, all boarded up but intact. The signage hinting at its reopening, but the windows are clouded, almost suggesting that the signage is telling a huge lie.  

Sometimes I walk past and glance in.  

Nothing has moved.  

Even the dust seems settled into memory—staring back, reminding me how some places never move on, even when we do. 

Winter Trees in Hillsborough Park

by Christine Welburn

No Remorse

by Tom Priestley

The insistent blare of the alarm dragged Jim from sleep, a jarring reminder of the grim routine that awaited him. His flat, a cramped and overpriced hovel, offered little solace. A matchbox kitchen-living room combo, a temperamental shower, and a landlord poised to hike the rent all for the privilege of living in this depressing space. He lit a cigarette, ignoring the “no smoking” clause in his lease, the frost clinging to the windowpane a stark reminder of the cold he was too apathetic to face. A quick glance at his phone confirmed his suspicions. Sharon had vanished again. Her disappearances were a recurring theme, sometimes lasting weeks, other times punctuated by radio silence and the gnawing suspicion that she was with someone else. “Society lady et al,” he muttered, the phrase dripping with sarcasm.  

He poured himself a bowl of generic cereal, a pale imitation of a real breakfast, and choked it down with a mug of instant coffee. Each drag of his cigarette was a small act of rebellion, the smoke mingling with the stale air of the flat. He stubbed it out in the murky water of the clogged sink, a mental note to buy drain cleaner joining the growing list of things he needed to do. The shower, predictably, remained stubbornly unresponsive. No breakfast, no shower, no Sharon. Just another Monday. “Get yourself some dishwasher tabs,” he muttered, a useless reminder as he ate his meagre breakfast and downed his coffee.  

The bathroom confirmed the inevitable; the shower was still on strike. No decent breakfast, no shower, and no Sharon. “Fuck,” he breathed. He splashed some water on his face from the tap, not even bothering to check the temperature. It would have to do. Everything in his life was a compromise, a makeshift solution to a problem he couldn’t fix. He dried his face, lit another cigarette, and decided there was no point in lingering. He unplugged everything in the flat, a symbolic severing of ties, and headed down the stairs and out into the biting cold.  

The moment his foot hit the pavement, he was on his back, the victim of a patch of black ice lurking just outside his door. It felt like a personal insult, a deliberate attempt to sabotage his already miserable day. “Shit! What else?” he thought, the voice in his head a harsh drill sergeant. “Get up!” it barked, and Jim, ever obedient to the internal critic, did as he was told. He surveyed the treacherous path ahead, a miniature ice rink masquerading as a sidewalk. It seemed passable, if he was careful. He started to trudge, each step tentative, the dark thought flicking through his mind: maybe if I break my neck, all my problems with be solved.   

Finding a momentary patch of clear pavement, Jim risked a glance at his phone. Still nothing from Sharon. Next time she messages, I won’t reply, he thought, a flicker of defiance in his otherwise bleak outlook. Then, the sinking realisation: he needed cash. This neighbourhood wasn’t known for its friendly ATMs. He approached the nearest one cautiously, peering over his shoulder. A woman was already there, seemingly armed with an arsenal of cards, each transaction agonisingly slow. “Fuck sake,” Jim muttered. He considered the ATM up the street, but remembered its recent encounter with a vandal’s fist. Out of commission. Finally, the woman finished her financial manoeuvers and scurried off. Jim quickly inserted his card, only to be met with a mechanical groan and a sudden, ominous shutdown. “No, no, no, fucking no!” he roared, pounding the keypad in frustration. “Fuck!” The machine was dead, his card entombed within its unyielding plastic jaws. No cash.  

The walk to work loomed, a 40-minute trudge made even more unbearable by his empty pockets. And then, the dreaded phone call to the bank, the endless hold music, the patronising tone of the operator, the three-day wait for a new card, which, knowing his luck, would probably get lost in the mail. Instead of wallowing in self-pity, Jim started walking. He’d be late for work, but frankly, he couldn’t care less. Let them give him a telling-off. His day was already a write-off. The thought of ringing his mum for a loan gnawed at him. Not exactly the pinnacle of independence for a 37-year-old, but desperation trumped pride. He’d also neglected his monthly grocery shopping, relying on haphazard purchases after work. Now, with no cash and a three-day wait for his card, he was facing the very real prospect of running out of food. “Fucking idiot,” he berated himself.  

He needed to shake off the morning’s misfortunes and steel himself for work. But before he could gather his thoughts, a pack of obnoxious schoolchildren descended upon him, chanting “Nonce” and hurling an empty bottle of pop. Don’t retaliate, he told himself, knowing it wasn’t worth the hassle. He walked past them, head down, trying to ignore their taunts. Finally, he reached his workplace, a monument to soul-crushing monotony where he’d spend the next twelve hours chained to a desk, fielding customer complaints.  

“You are late” Agnes at the front desk droned. Jim sighed.  

“Don’t start,” he replied, in no mood for confrontation. He just wanted a moment of peace after his disastrous morning. He made a quick cup of tea and settled at his desk, but his respite was short-lived. Poppy, his newly assigned team leader and self-proclaimed “mental health advisor” appeared.  

“Good morning, Jim! How are we this morning” she chirped.  

“Not particularly good,” he mumbled.  

“That’s great! How are we coping mentally?” she continued, oblivious to his sarcasm.  

“I think I’m on the verge of killing myself,” he deadpanned.  

“As long as it doesn’t affect your work,” she replied, completely missing the point.  

“Yeah,” he said, defeated. It was pointless. She never listened.  

“Just wanted to let you know we’re having to cut shifts in the coming weeks. It will be updated on your rota. We can’t afford to pay these as holidays, so you’ll no doubt be skint for a while. Is that okay?” Poppy asked, not waiting for an answer, and flitted off to deliver the same cheerful news to the other, more vocal, staff members.  

No money, and now no shifts to earn any. Days like this made a man want to snap, to lash out. A flicker of anger ignited in Jim. He imagined storming into the office of the higher-ups, demanding holiday pay. But the flicker died as quickly as it came. He knew he wouldn’t. Instead, he went for a smoke, the nicotine a temporary anaesthetic for his pain. He checked his phone. Still no word from Sharon. She could be sweet when she wanted to, he thought, a sliver of hope clinging to the wreckage of his day. He could have used a dose of Sharon’s sweetness right now. He considered calling her, but the thought of having to ask his mum for even more money than he’d planned stopped him. His mum hadn’t answered anyway. Fuck. His patience was remarkable. Most people would have snapped by now. 

Instead, he went back to work. Six o’clock arrived faster than he expected. He grabbed his coat and headed home, head down, hands in his pockets. All he wanted was to get back to his flat, to sleep, maybe find something to eat – surely there was something in the fridge or cupboards. As he crossed the street, nearing the corner, a strung-out junkie stumbled towards him, deliberately bumping into him, throwing him off balance.  

“Watch it!” Jim exclaimed. The junkie grabbed him, a glint of metal flashing in his hand. A knife pressed against Jim’s throat.  

“Gimme your money!” the junkie hissed.  

“I haven’t got any money,” Jim replied weakly, the fear coiling in his stomach. It was hard to tell who was more panicked.  

“Gimme your phone then!” the junkie snarled.  

“I don’t have one,” Jim said.  

“Bullshit!” the junkie spat, raising the knife, ready to strike. But something snapped in Jim. He grabbed the junkie’s wrists, a surge of adrenaline coursing through him. In a swift movement, he twisted the junkie’s hands, the knife now pointing towards its owner. Sure as you are born, he lifted the junkie’s arms, manoeuvering the knife with practised ease. The blade plunged backward, piercing the junkie’s throat and erupting through his chin. A spurt of blood arced out, coating Jim’s face and clothes. The junkie gurgled, his eyes wide with shock and terror, before collapsing to the pavement in a convulsive heap.  

Jim stood there, covered in blood, his breath coming in ragged gasps. He noticed people across the street staring, pointing. Someone at the bus stop was frantically on their phone, yelling into the receiver. “Help! Help! Someone’s been stabbed!” Some onlookers might have collapsed in shock. Others might have fled in terror. Jim did neither. He simply stood there, indifferent to the carnage he had wrought.  

And then, he began to laugh. It started as a small, almost childlike giggle, a nervous release of pent-up tension. But it quickly escalated into something darker, a hysterical burst of pure, unadulterated joy. He threw his head back and laughed, the sound echoing through the cold night air, until the police arrived, sirens wailing.  

I turned 34 and started watching Countryfile

by Annie Acre

 

On the seventh or so episode, 

I noticed the presenters are always in black bogs 

or skeletal woods, 

not luscious gardens. 

I like that about it! 

It reminds me of my job: 

developing property for a Greater Manchester Council 

could be glamorous –  

glass-grade offices and brand-spank bridges glint on the horizon  

(the regen team call early ideas “twinkles”, which I think is lovely) 

but I prefer getting into the weeds of housing estates. 

I feel like I’m really loving the city 

when I get cameras put down its drains 

or walk with dogeared plans along flytipped footpaths. 

I guess I can only love something grittily, 

even a landscape. 

Maybe there’s grit in love itself – at least, in mine. 

As if to prove my point, 

a pair of pigeons have just landed,  

miraculously, on my shed. 

Their necks glow purple,  

like tropical fish scales or puddles of petrol. 

I look it up and, apparently,  

it’s the feather structure refracting light. 

My Gran used to call them flying rats. But I say: 

To see a World in a pigeon’s sun 

and a Heaven in a lawnmower.  

Hold Infinity in a pile foundation 

and Eternity in a Council twinkle-tower.  

Pylons

by Darren Lea-Grime

Artist Bios:

Bec Morris

Bec Morris is a designer based in Manchester.

About “Type in the Wild”: Wherever I go, I like to capture bits of typography I come across in the streets — hand-painted signs, worn shopfronts, lettering that’s easy to miss if you’re not looking. For me, these snapshots are both inspiration for the fonts, logos and designs I create, and a way of appreciating the beauty of type out in the wild.

About “Bricks and Steel”: On a visit to Sheffield, I found myself drawn to the beauty of its industrial streets — brick buildings, weathered signs, and details that felt untouched. Captured in black and white, this series is about noticing the character and atmosphere of a city built on industry, colliding with today's culture.

Michael John Hulley II

Michael John Hulley II is a poet, writer and artist. His work has been published in myriad publications.  He is probably most well known for his collaboration with the music producer, Resinate, and for his collaborations with other visual and sound artists. He is currently editing his first novel, as well as writing poetry, essays, and short stories. Some examples of his work can be found on his Substack: Walking down the Highway. Michael likes to walk. 

Tom Priestley

Tom Priestley was born in Leeds in 1988. Tom began writing poetry and fiction from the age of 19. Inspired by Hunter S. Thompson, Charles Bukowksi, Jack Kerouac and John Cooper Clarke. At the behest of a friend began performing his poetry at open mic nights around Leeds. From there he has supported many bands on the Leeds music scene, self-published nearly 13 collections of poetry, organised events around Yorkshire, hosts his own poetry hour Urban Gristle with an online radio podcast through Cloth Cat Broadcasts, has released 2 albums, “Levels of Insanity” and “Shades of Chaos”, with Martin Trippett, and been the drummer for the best band in Leeds, The Beer Snobs. 

John Clifford

John Clifford is an artist based in Manchester. He is a co-host of the Salford based poetry and storytellers night Verbose and his first collection Tell Us What We Are was published in 2023. He thanks Urban Scrawl for the inclusion of City Lights, his first featured photographs. Instagram @jayceepoetry

About “City Lights”:  In Invisible Cities Calvino tells us of a city “in which routes are drawn between points suspended in the void.” I'm caught by the sight of cities most during sunrises and sunsets, when the building lights form earthbound constellations and the skylines we labour through become one enamelled frame for something bigger.

Shak

Shakquille is a spoken word artist and co-author of the audiobook ‘Which Way the Words Grow’. A powerful live performer, workshop facilitator, and project leader, he has worked with organisations including: Apples and Snakes, We Don’t Settle, I Am Loud, Sofar Sounds and many more. https://linktr.ee/shaks.sw 

About “She was my home”: As a housing officer, I have noted how a relationship breakdown is often a key component to people becoming homeless.

Kev the Poet

Kev The Poet was born in Liverpool, but is now resident in Mid-Devon. He began writing poetry in 1991, after finally getting it and a response to unrequited love. He began again in 2022, as a response to the preventable rise of fascism. His work has been published in the American poetry magazine Shine, he has been broadcast on BBC Devon and also contributes a weekly poem to Shaun Keavney’s show on Community Garden Radio. He gigs across the country - You can find him on Insta @thekevthepoet.

Keith Fenton

Keith Fenton is a Leeds-based performance poet, event host, broadcaster and one half of the Poets Talking Bollocks podcast. Chiefly writing about borders, migration, trespass, mental health and structural inequality, he can often be found on a road somewhere between events across the North.

Andy N

Andy N’s poetry collections include ‘Changing Carriages at Birmingham New Street’ and ‘From the Diabetic Ward’ and is the co-host of Chorlton’s Spoken Word night ‘Speak Easy’. His music / band credits include Ocean in a Bottle, Polly Ocean and Ward and his Podcast credits include Spoken Label, the Writing Way and Not the TV Guide. His novels include ‘Birth’ and ‘Death’ and he has just bought out his debut short story collection as A.E. Nicholson as “ Threads and other stories of Isolation”. https://linktr.ee/andynartist

Annie Acre

Annie Acre, the editor of Urban Scrawl, is a placemaker/poet & strange storyteller whose work has appeared in Ink Sweat & Tears and Worktown Words as well as various spoken word events around Manchester. She hopes you like what she’s doing with the place x @annies.acre anniesacre.co.uk