The Shapeshifting Hawthorn Tree | Chris Wright

First published in Issue 06 of Parenthesis (May 2019)

The Hawthorn Tree stands sentinel at the edge of the field; its crooked shape inked against a grey sky. It is the cusp of May and the bloom has frosted the branches as if its own declaration of the end of winter is tinged with melancholy and regret. I kiss the cold skin of the urn before giving her up to the earth.

To the world this is just a Hawthorn Tree but not to me.

It is a tree of many names. Sceach Gheal. The Peasant Tree. The Quick. The Commoner of the Wood. It has held its watch for hundreds of years, most of them marking nothing but itself. When my Grandfather’s ancestors made their way here from neighbouring shores it was given a purpose. It was to mark the boundary of Campbell land.

Three centuries later its services were required once again, to the delight of my Grandfather and dismay of my Grandmother, when it was used to mark the boundary of a new State. Grandfather was happy that his land had become the last bastion, the remnant of a receding Empire. Grandmother was distraught that it had to be that tree that wrenched worlds in two.

Locals suggested the margin run a metre below the most southern protruding root as no Irishman would put a boundary through the middle of a hawthorn tree, but the line came down with the stroke of a pen.

That tree didn’t belong to any of them, she would say. It was neither British nor Irish. She clung to the tales her own Grandmother told her; tales honed on cold and rocky land, in hunger and in pain. The Hawthorn tree belonged to the true natives; the Sidhe. It guarded the entrance to the Faerie realm and as such could never be touched for fear of incurring their wrath. Even in the coldest of winters when fire could be the barrier between life and death, none must be cut from the tree. Only windblown wood could be foraged and burned.

year on the eve of St Brigid’s Day we would cut strips of coloured cloth and take them out to the tree and tie them to the branches for Brigid to bless as she roamed. Grandfather would remain in his chair, unconcerned with Brigid, a topped off whiskey beside him, glasses resting on his ruffled forehead, eyes on the news with gasps and tuts and shakes of the head.

He often remained at a distance from such things, but I saw the want in his eye. It was her thing and she had the rights to it but he yearned for the connection she felt yet it remained unreachable. He had lost the ways of his forbearers and wouldn’t slight them by partaking in the ways of his new home. He had become a child of nowhere, unaccepted in his native land as well as the home his ancestors chose.

He passed that insecurity on to my father who referred to ‘that auld tree in the back field’, expressed as fact with empty words. When he’d had a drink he spoke differently, offering a story with a misty eye and his mother’s half smile; the same look that warmed her face as she wistfully decanted centuries old folklore to young ears in front of a peat stacked fire.

It was all things to him; a fort, a father, a friend. Its arms were strong when they held him yet they were weak the day they tried and failed to catch him, his head bumping on brittle, winter branches, elbow fractured on frozen ground. A few days of recovery and he was back on the tree, swinging and climbing and hanging the way a wee boy does, screaming, Are ye watching me, Ma? Ma?

Grandfather had looked upon that tree with reverence. It was a soldier at his post, a defender of his realm, the friend he lost in France. He was always safe in the sight of it, comforted by the knowledge that it would protect him.

He had overestimated its ability the night they came, for the tree had never seen the small, shiny lumps in their hands, nor cold eyes and thin lips, blazed through cotton.

A dozen snaps of metal and smoke and the peppery tang of sulphur in the air. Grandfather slumped over root, red leeching into the ground, the tree nourished, strengthened by his sacrifice.

After he died, my Grandmother told me, to allay my fears, that my Grandfather was a part of the tree. He watched over us in a way the old tree never could. I would sit out there for hours telling him about school and my parents and how my little brother was the bane of my life.

Years passed and all changed. The tree became less and less like the fading memories of my Grandfather and more like my Grandmother. I considered that maybe he had been turning into the tree for years and that night was his time to be given up to the earth. Soon it would be her turn as the cracks and ripples on the tree mirrored the wrinkles on her face, the knots of the branches just like her knuckles, swollen with fluid and time.

Yet there was hope when the soft bloom lit up the branches like her bright soul eased the years.

She held on to see me become the Mother before she became the tree.

When I talked to my own Mother about scattering my Grandmother’s ashes at the auld Hawthorn Tree she stared at me, brow furrowed and eyebrow raised. She knew nothing of its many lives. To her it was just a tree.

Now I stand on its roots, looking out to see what they all see. Dusty remains skitter at my feet in the warm, spring breeze.

I do not look at the tree for all I will see is me.


Chris Wright is from Bangor, Northern Ireland. His short fiction has featured in The Honest Ulsterman, The Cormorant, Parentheses International Literary Arts Journal, Brave Voices Magazine, The Bangor Literary Journal, and more. Recently, his work has been long-listed for Reflex Fiction’s International Flash Fiction Competition and has been performed at the Abbey Lane Theatre, the Tread Softly Festival in Sligo, the St Patrick’s Festival in Armagh, and on National Radio. This year Chris has also been selected to attend the Stinging Fly Summer School in Dublin and has been awarded the John Hewitt International Bursary.’

You can find him on Twitter at @_ChrisWrites

Count Your Breaths | Chris Wright

Fine dreams of sweets and the soft lilt of her fading lullaby are torn at the fabric; broken by a terrible wail, like a bird calling out a predator until I have no choice but to rise and gasp and plunge through the surface of a stormy sea. When the distressed caw doesn’t become another and the sound stretches into the distance I know what is coming.

The patter of quick feet, the swoop of the bedroom door, Grandmother’s warm hand resting on mine, just for a second, in a moment of pure peace.

We take off down the stairs, out into the biting November cold, towards the shelter at the end of the street.

“Count your paces,” she shouts and we try to beat our score from the night before and, despite knowing that another fleet of German bombers sweep in from the South East, I am safe as long as she’s at my back, tracing the steps of my small feet with her own.

The dust that clings to the city weighs her breaths and slows her steps, gifting me more time lingering in dreams. Slower and slower it takes until full minutes pass for her to shuffle to my room, calling out my name in increasingly strained tones, chased by rack and cough.

I guide her down the stairs and through the front door, the pinching air stealing her stride. I pull and tug with all my little muscles can muster. “Count your breaths”, I shout like she is in control.

She falls by the side of the road, slumping down the neighbour’s wall, looking up at me with a rueful smile. I count to three and count no more.


Chris Wright is from Northern Ireland. His work has featured in several publications such as The Bangor Literary Journal, The Belfast Telegraph, Panic Dots, Broadsheet.ie and Unsigned. Chris is a Politics Graduate from Queens University, Belfast and is currently working on his second novel.

You can find him on Twitter at @_ChrisWrites