Tag Archives: Writing

The Year I Loved Him and Said Nothing


Harry Oldham is writing a novel based on his criminal and sordid past. To do so, he has returned to live at Park Hill, where he grew up, and the place that he once left behind. That was then and this is now, in which the old world collides with the new. (Parts 1 to 18 are available to read in the menu)

Perfectly Hard and Glamorous – Part 19

April 1984
When you look back over a life, there’s always a year that stands out. My annus mirabilis was 1984. Not that anything exceptional happened. But things were happy, and I was rolling in money.

It was also the year I turned eighteen.

Now I’m about to turn sixty, and it feels like a distant memory. Almost a life that belonged to someone else.

I remember one April night. The days were getting longer, and when darkness fell the sky above Park Hill was clear and moonlit, the air sharp with a chill. I leaned on the balcony rail and told myself something I had started to believe.

I was a male prostitute.

That didn’t bother me.

I thought about all the names people might have used to describe me. Queer. Faggot. Bender. Nancy boy. Shirt-lifter.

None of them applied.

Because I wasn’t any of those things.

I was straight.

Anyone could see it. I was a good-looking lad who could get any girl he wanted. That was obvious to everyone.

Especially Andy and Jack.

That year I’d become a bit of an enigma to them. I still hung around with them like I always had, but they didn’t know what I was really doing. None of us had jobs—we were living on the dole. Wasters, really. Nothing to do and nowhere to go. Boredom got us into trouble more often than not.

Our parents hated it.

But I didn’t care.

I didn’t need a job.

I always had money.

More than enough.

Andy and Jack couldn’t work it out. They didn’t understand how I could afford to go out most nights. What annoyed them even more was that I never invited them along.

We’d grown up together. We knew everything about each other.

Or at least they thought we did.

Andy took it the worst.

One night he punched me in the face. We were walking down the street when he suddenly turned and landed one on my chin. I charged at him and shoved him over a wall before Jack managed to drag us apart.

Later Andy said he didn’t know why he’d done it.

But I knew.

He could feel there was something about me he didn’t understand anymore.

Something I wasn’t telling him.

And there was Paolo.

I’d kept him away from Andy and Jack for a reason. If they ever met him, it would be game over.

Paolo was my work partner.

And because I kept telling myself I was straight, I hadn’t admitted something else.

He’d also become the person I cared about most.

Things had changed the year before. One side had been taken out… and those of us left were requisitioned by the survivors. Frank Smith had it all planned. Stage one complete. Now on to stage two of his masterplan.

The new world he dragged us into was worse than anything before.

But it paid.

Men didn’t just watch anymore—they wanted us. Big houses. Fancy mansions. Weekends filled with food, drink and sex.

A lot of sex.

And money.

So much bloody money we didn’t know what to do with it.

Sometimes it felt like we’d already sold everything there was to sell. Our innocence. Our dignity. Our bodies.

But every now and then we escaped from it.

One night Paolo curled up beside me in the back of a big Ford Granada and asked if he could stay at my place. His black curly hair brushed against my cheek, and I realised I liked it.

My parents were away visiting relatives in Skegness, and my younger brother Adam was off somewhere up north on a school trip.

There was no reason to say no.

Besides, I wanted him safe.

Photograph: David Sillitoe/Flickr

We got dropped off on Duke Street and walked in silence to my parents’ flat. Paolo had his coat wrapped tightly around him and a scarf pulled up around his neck so that he looked like one of those preppy American boys from the films.

I didn’t know much about the place where Paolo lived.

But when I opened the door to ours it smelt of burgers, chips and stale cigarettes.

I suddenly felt ashamed.

Paolo grabbed my hand like a frightened kid and let me pull him inside.

The flat was silent.

What we were doing felt wrong—but exciting at the same time. The same thrill I used to feel when the Geisha Boys broke into someone else’s place.

Except this time it was my home.

Paolo stayed close while I switched on the lights, hoping nothing embarrassing would reveal itself.

We were both bruised and exhausted. He asked if he could have a bath.

“I need to wash them off,” he said quietly.

The dirty old men.

I nodded.

He went into the bathroom and turned the hot tap full on. It ran loudly for a while before suddenly stopping.

“Harry?”

His voice echoed down the hall.

“Where are you? Come here.”

The door was unlocked. Paolo was sitting in the bath hugging his knees.

“Are you going to join me?”

I shook my head.

“Harry… I’d really like you to get in with me.”

So I undressed and climbed in.

It felt strange. We both knew every inch of each other’s bodies, but sitting there face to face suddenly felt awkward. I stretched my legs either side of him and he rested his elbow on my knee.

“The first time we met,” he said, “you hit me.”

I remembered.

“I didn’t know you, did I?”

“Would you ever hit me again?”

“No,” I said. “And now I’d hit anyone who hit you.”

Paolo smiled at that.

“I love you, Harry.”

I grimaced.

That was what Geisha Boys were supposed to do.

We slept together in my single bed that night. Nothing happened. He held me all night and I kept my arm around him. When he finally fell asleep, I rested my chin on his thick curly hair.

For a moment I felt something close to peace.

It didn’t last long.

The next day Andy called me a faggot.

He’d seen Paolo go into my flat.

“Who the fuck was that you took home?”

This time I hit him first.

I punched him so hard his nose burst and blood ran down his chin.

“You’re a cunt, Andy. That was my cousin.”

He didn’t believe a word of it.

“You’ve gone fucking weird,” he said.

Later Jack rang.

“Harry, you’ve busted Andy’s nose.”

“He called me a faggot,” I said. “And I ain’t no faggot, am I?”

“Nah,” Jack said. “I told him that. But he’s still pissed off with you.”

I couldn’t tell Jack the truth.

Mostly because I didn’t know it myself.

I wanted to say something else.

Do you remember Mr Johnson who taught us English? Let me tell you something, Jack. Last week he fucked me up the arse. Yeah. Our school teacher rammed me from behind.

But I ain’t no faggot.

But I couldn’t say that.

Could I?

I also remembered something else.

Years earlier we’d all been drunk at a party and ended up piled together on a sofa. We were messing around, laughing.

Then Andy and Jack kissed each other.

Properly.

Tongues and all.

That pissed me off. I stormed out and walked the streets for an hour because I was jealous.

But that didn’t mean anything.

Did it?


“A penny for your thoughts, love.”

I was sitting in June’s kitchen stirring a mug of tea far too many times.

“I’m a bit confused, June.”

“Is it Frank?” she asked.

“He’s the least of my problems.”

She smiled.

“So that means you’re thinking about Paolo.”

I gave her a look.

“Paolo’s a jewel,” she said. “And you, Harry, are a rough diamond. But when you put the two together something beautiful happens.”

“I ain’t queer, June.”

She didn’t argue.

“But you care about him,” she said gently. “And there’s a fine line between caring for someone and loving them.”

“It’s all a mess.”

“Is it?” she said softly. “I don’t see why.”

She leaned forward slightly.

“Paolo is a wonderful person. And I think—for the first time in your life—you’ve met someone who adores you exactly as you are.”

I looked down at my tea.

“Accept that,” she said. “Give him the chance.”

“And what happens then?”

June sighed.

“Harry… I don’t like what Frank’s doing to you both. I’ve told him so. But despite all that…”

She paused.

“I think something unexpected has happened.”

“What?”

“You’ve fallen in love with him.”

I laughed at that.

But June didn’t.

Frumpy old June—with a voice like an angel—had just told me the truth.

And I still wasn’t ready to hear it.

A Kind of Fear. A Small Retreat


The thought had never even occurred to me. I genuinely just assumed he wasn’t interested. That was the simple explanation. I made a move, Oscar politely declined, and I retreated into my own embarrassment like a responsible adult.

But Alfie wouldn’t let it go.

“There’s a lot of energy around you,” he said. “It makes people feel exposed. They don’t always know how to handle it.”

I laughed it off at first. It sounded dramatic. But later I started replaying things.

I had been too focused on not humiliating myself to notice the details. The pause before he answered. The way he clenched his fists. The fact that he held eye contact just a second too long before looking away.

Alfie had noticed.

“There was interest,” he said carefully. “But when he realised it might actually become something real, he pulled back. Did you see him blush?”

I hadn’t. I’d been too busy overthinking my own tone of voice.

“He wasn’t rejecting you,” Alfie continued. “He was protecting himself.”

I don’t know. Maybe that’s giving him too much credit. Maybe it’s just a way of coping. But when I think about it now — the way he looked at me before he looked away — it didn’t feel cold. It felt cautious.

“He finds you intimidating,” Alfie added. “Magnetic. But intimidating.”

That word stuck.

Maybe he’s not distant. Maybe he’s careful.

And maybe — just maybe — the story isn’t over.

The Apprehension is for the Possibility

Apprehension – Charlie Marseille (2026)

I have a feeling that something bad might happen. It makes me nervous. Like when you want to have a shit but you’re worried because the drains keep backing up.

The Boy Danced Naked Under the Apple Tree

Naked – Charlie Marseille (2026)

The apples were nearly ripe. Red where the sun had kissed them too hard, green in the hollows of shade. Some were freckled, some split open already, pale flesh browning, bees drunk on the sugar. The smell hung low and thick. 

He didn’t decide to dance. It happened the way shivering happens. One bare foot scraped the ground, testing it. His shoulders rolled, stiff and then looser, like he was shrugging off something heavy. His arms lifted, awkward, elbows bent too sharply, wrists slack. He laughed under his breath at how stupid he must look, alone in a field with no one to see.

That was part of it. The not-being-seen.

But the boy danced naked under the apple tree.

The Weight of Wonder

When You Look at Boys – Charlie Marseille (2026)

When you look at boys, do you really look – do you look in detail? People see Bradley and assume that beauty must imply intelligence. It doesn’t. The truth is, he’s a bit of a himbo. There’s a Yorkshire saying for people like that: “thick as pig shit.” And Bradley, I suppose, fits it perfectly. He smiles – handsome, devilish – with a guileless sense of wonder. But how long can I keep swallowing my frustration? Physical attraction fades quickly, and I realise the only role he can play is arm candy: a beautiful body, empty-headed, ornamental.

My Head is Full of Random Shit

*****

“Video Angelus internehilium et imortalis Even as we speak our hearts entwine. Senex et angelus video venestus caelum. Equiden lavare in meus vita empeteus Ah eeh ah eeh ah.”

*****

The boy who likes the excitement of fear.

“I worry about being thrown off the carousel in later life.” 

A skinny body and dirty pants.

*****

“He’s got it. Yeah, baby, he’s got it. I’m your Penis, I’m your fire. At your desire. Well, I’m your Penis, I’m your fire. At your desire.”

*****

Be careful who you choose because it can go wrong.

Is it that Bailey is still a virgin?

A shelter on a beach full of books.

A lake in an abandoned quarry.

Is it love that never quite reaches an orgasm?

A boy who turns up late is always popular.

Pasticcio.

The Organ of Lorenzini.

Last night I dreamt I was eighteen again

The Boys- Charlie Marseille (2026)

Hormonal Surge: Increased testosterone, fuelling restlessness and the need to discharge energy, sometimes through risky or boisterous play, mock fighting, and testing boundaries.

I wake and can hear music playing in the other room. It is an eighties song – Calling All the Heroes – and it is perfect. My first waking moments are defined by a song made before I was born. It will become a favourite. Whenever I hear it, I will recall the dream.

I’m eighteen. Like I always am. There are twenty boys of a similar age. We don’t know each other, but we have bonded; something connects us, though I don’t know what it is. And now we are friends. Brothers who drink too much, laugh, and joke. We move from bar to bar until the group becomes fragmented, but still we keep bumping into one another — in different bars, on street corners, in dark streets – and each time we greet each other with high fives. I keep losing my coat that contains my mobile phone, but somebody in the group always finds it and saves it for me.”

What am I dreaming about?

Eighteen. Delayed or suspended adolescence. The moment just before categorisation -before ‘out’ or ‘not out’, before relationships are legible, before desire is policed or explained. A moment of pure potential, when attraction, friendship, and self-recognition have not yet been sorted into boxes. A group of boys I don’t know, where intimacy doesn’t have to announce itself as erotic to be real. Touch exists: high fives, a coded language, bodies moving together through night-time space, alcohol loosening edges, and the bond is felt rather than named.

These boys don’t posture. They don’t test me. They don’t ask who I was. They simply accept me. A world that perhaps never fully existed, but felt briefly possible.

The group breaks apart, but there is no need to cling because the bond reasserts itself naturally. “I still know you. You still know me.” I repeatedly lose my coat and my phone – yet I am never punished. I am held by others even when I am careless, distracted, or drifting. I don’t have to hold myself together perfectly. I’m not abandoned for losing my way. A fantasy of uncomplicated male belonging – one where youth, desire, friendship, and identity coexist without fracture or explanation.

The next part of the dream is important.

“There are ten of us staying in a hotel room. It is the only one available. We snack on almonds and slices of apple covered in salted caramel and maple sugar. Two double beds and a single mattress on the floor. When it comes to sleep, we must find space in one of the beds. I choose a double bed where four of us will squeeze together. I’m thrilled that the most handsome boy will sleep next to me. But at the last moment, he is taken. Another boy wants him to share the mattress on the floor, and I am devastated. The dream is never consummated.”

The hotel room matters. It is temporary, improvised, and not designed for this many bodies. I share a bed with four boys. The choice is telling. I don’t choose privacy, pairing, or exclusivity. I choose crowded intimacy – warmth, bodies, breath, limbs overlapping. Proximity without the exposure of being singled out. I am about to be close to the handsome boy without declaring him an object of desire, but he isn’t a person yet – he is a figure onto which desire might safely attach itself. 

The handsome boy doesn’t reject me; he is summoned – pulled away by another boy. Desire is displaced, not denied. My devastation isn’t only about losing him. It is about losing the fantasy of being quietly chosen within the group. But the group has ruptured because somebody else’s desire has rearranged the night. My loss is intimate, quiet, internal – no one else even notices it happening – and so I do not follow. I do not compete. I do not protest. I absorb the loss silently. 

I woke up.

That Moment: Orpheus Is Waiting For Me



A razzle. A night on the town. Blurred lines. Anyone with a penis qualifies. Charlie says “You’re drunk!” I tell him that I’m tortured but coping nicely. “A walk in the fog is all that it needs to calm me.” But Charlie issues a warning. “Beware of Orpheus because he might seduce you on a back lane.” I am intrigued and walk into the fog calling for Orpheus.

Short Story: What the Crowd Cannot Have


The first time Brodie and Archie met was not under the best of circumstances.

It was a Friday afternoon beneath the Miller Theatre on West 51st Street. Brodie – hi-viz vest zipped to the throat – stood amid abandoned scaffolding, photographing stress fractures in the concrete. The air was dense with dust, old and mineral, as though the building itself were exhaling.

A figure emerged at the far end of the tunnel and walked towards him.

Brodie lowered the camera. He waited until the young man was close enough to see properly, then snapped, “What are you doing here? This is a restricted area. Turn around and go back the way you came.”

“I’m sorry,” the young man said. He spoke with an English accent, careful, almost courteous. “I didn’t realise. What was this tunnel used for?”

“The other side of that wall is backstage,” Brodie replied. “Probably for actors crossing beneath the stage. But there’s no time for questions. It’s unsafe down here. The roof could come down at any moment.”

It was an exaggeration. But saying it gave him a small, illicit thrill – authority borrowed from the place.

The young man hesitated. He had floppy brown hair, eyes dark and inquisitive despite the rebuke. “What are you doing?”

“I’m inspecting the structure,” Brodie said. “Everything looks glitzy up there. Down here it’s rot and age.” He paused. “You still haven’t explained why you’re trespassing.”

“I was just exploring.”

“Explore somewhere else.”

The young man’s shoulders dropped. As he turned, he fumbled the folder under his arm; papers spilled across the dusty floor.

“Shit – sorry. My script.”

Something softened in Brodie then, too late to retract the sharpness he’d already spent.


The second time they met was in the staffroom.

Brodie was entering notes on his laptop when the door burst open and a tide of people flooded in, loud with laughter, trailing the smell of coffee and citrus wipes. Lunch packs appeared: protein bars, yogurt, hummus, cut vegetables. Actors, Brodie thought, irritated beyond reason.

Michael wanted renovation proposals by Monday. Concentration felt impossible.

Then he saw him – the boy from the tunnel – laughing with the others, sleeves pushed up, script tucked under his arm as if it were a talisman.

Of course.

On their way out, the young man stopped at Brodie’s table. “I’m Archie,” he said, holding out his hand. His eyes lingered, dark and unguarded. “I think we got off on the wrong foot.”

Brodie hesitated, then took it. The contact was brief, oddly charged. “I’m Brodie. Forget about it. Just – stay out of the tunnel.”

Archie smiled, chastened and amused all at once.


After that, Brodie thought about him more than he liked to admit.

He knew he could be abrupt, inflated by his own sense of usefulness. Actors irritated him on principle. But Archie – English, polite, quietly intense – had unsettled him.

Late one night, Brodie searched the Playbill bios. Archie was a rising star: television work, the National Theatre, lead roles in the West End, now a Broadway debut.

Impressive.

What Brodie didn’t know was that Archie had been searching too. He’d asked about the surveys, about the renovation. He found the company. He found Brodie’s photograph.

Hazel eyes. Skin warm-toned, as if lit from inside. A face shaped by movement rather than posing.

Tasty, Archie thought, surprised by his own boldness.


Two years later.

Archie slipped out of the Walter Kerr Theatre the moment the curtain fell on Chatterton. No shower. No linger. Wool coat, beanie, scarf pulled high. He moved fast, before the autograph hunters gathered.

Outside, Broadway surged and glittered – yellow cabs, steam vents, neon, voices colliding. It still thrilled him. It always did. A world away from Buckinghamshire.

At the apartment, Brodie checked the clock: 10:30. Any minute now.

The flowers were arranged just so. Archie liked flowers. Brodie liked that Archie liked them.

When the door opened, relief moved through him like a current.

Tea was requested. Always tea. Archie shed the night – coat, scarf, public self – and collapsed onto the sofa. He spoke about the show, about the line he’d missed. Brodie stroked his hair, grounding him.

Later, Fleet Foxes floated from the bathroom. Steam curled beneath the door.

Brodie knew the routine by heart. He would collect the clothes, note the forgotten boxers, breathe in the faint, intimate salt of them – something human beneath the polish. It embarrassed him how much that scent moved him.

Archie emerged clean and fragrant: Le Labo, Dior and mint. Blue silk pyjamas. He smiled like someone stepping into safety.

They ate together. They watched television under the blanket Archie’s grandmother had made. Archie pressed close, smaller than he seemed onstage, all softness and thoughtfulness and unspoken worry.

Sometimes Brodie felt the weight of what he was not allowed to be – unseen, untagged, absent from photographs. Invisible by design. But here, in this private room, their bodies fit without explanation. The most erotic moments were those that could not be shared publicly.

Brodie was Archie’s shelter. Archie was Brodie’s undoing.

Brodie had watched hundreds of videos of Archie on YouTube, moments in which he appeared entirely at ease – charming interviewers, holding eye contact, listening with an attentiveness that felt generous rather than rehearsed. 

His answers were always articulate, delivered with that unmistakable smile. But Brodie could see what others missed. 

The exposure beneath the polish. The small betrayals of nerves: the way Archie’s smile lingered a fraction too long; the absent-minded stroking of his own arm as he spoke; the slow, circular massaging of each finger; the hand lifting to his hair, not to adjust it, but to reassure himself it was still there. 

These gestures were invisible to the audience, but to Brodie they were intimate, almost confessional – proof that the confidence was something Archie stepped into, not something he owned.

Thomas Chatterton had been an ideal role for Archie. The eighteenth-century poet – celebrated as the marvellous boy for his precocious brilliance and dead at seventeen – had been reimagined as the subject of a hugely successful Broadway musical. 

In his twenties, Archie might once have been considered too old for the part, but his fine, boyish beauty dissolved any such doubt. Night after night, he stepped into Chatterton with such ease that the distinction between role and actor began to blur. 

To the audience, he seemed timeless, suspended in youth and promise. To Brodie, there was something quietly unsettling in this devotion – the way Archie gave himself over to a boy who never lived long enough to be disappointed by what came after.

When the movie ended, the future rose between them.

“Would you come to London?” Archie asked quietly.

Brodie had been waiting for this. “Yes. If you ask me to.”

Archie’s eyes filled. “You’ll have to share me.”

Brodie pulled him closer. “I already do.”

The Patron Saint of Foolhardy Teenage Boys


A solitary figure stands above Kinder Scout. He cannot be seen, yet he watches from afar. The darkness thickens over the peaks, and a westerly wind rises as if summoned from nothing, but neither deters him. This is not a place for the unprepared. The temperature will fall; the warmth of the day will slip away, unnoticed, into the stone.

As the figure observes the six boys pitching their tents, a quiet certainty settles within him: he is powerless. He cannot call out. He cannot warn them. Leaning on his stick, he endures the bitter air and waits, bound to witness how they will meet the night. Their laughter will thin, their bravado ebb, as loneliness takes hold. Escape will become a wish rather than a choice, and sleep the only surrender, each of them willing the morning to arrive.

When he is certain the boys have fallen into a restless, unhappy slumber, the figure moves. He steps softly across rock and scrub, listening, careful not to betray his presence. Only when he is satisfied that he will not frighten them does he pause to peer into each tent. There he sees them cocooned within their sleeping bags, clinging to one another, sharing the fragile warmth of slender, adolescent bodies against the cold.

At last, he chooses a broad, ancient rock and settles there, a silent sentinel. He remains, guarding their sleep, until the first pale glow of the new day begins to rise in the east.