Park Benched

British £10 banknote with a vibrant rainbow illustration superimposed across the center. The rainbow features six concentric arcs in red, orange, yellow, green, blue, and purple, partially obscuring the portrait of Queen Elizabeth II. The denomination “10” and the word “TEN” are visible. The image blends financial symbolism with LGBTQ+ pride colors, suggesting themes of diversity, value, and social commentary.

 

Set in Stanley Park, Liverpool, Park Benched is a piece of flash fiction from Alison Little that explores vulnerability, power, and identity through the silent witness of a park bench. The story centres on a university student who is confident in his sexuality as a gay man, openly expressing it through dress and symbols, yet quietly confused about what being gay is supposed to look like in practice. Caught between self-assurance and uncertainty, independence and inexperience, the narrative examines how moments of ambiguity can be exploited, and how the search for belonging can blur boundaries in public spaces.

Explicit content warning

Young man standing in an autumn park, wearing baggy jeans and a light blue button-up shirt with a dark hoodie knotted around his waist. His hair is dyed in streaks of pink and blue. Around his neck are clashing plastic bead necklaces in rainbow colors. He holds a folded £10 British banknote with a rainbow badge attached—identical to the one pinned to his shirt pocket. His expression is contemplative, and fallen leaves cover the path behind him.
The Rainbow Badge

I am fixed and well placed, overlooking the lake in Stanley Park.
A bench. Traditional. Sturdy. Purpose-built for rest.

I serve the north Liverpool district of Anfield. To my front, the Kop rises behind the red steel ribs of Liverpool Football Club. To my back, Goodison Park squats in blue defiance, still present although abandoned for Hill Dickenson Stadium. I sit between them—divider, mediator, neutral ground. A resting point. Not rotting. Not forgotten. Not in need of paint.

He arrives again.

The young one. Too eager when he sits, like someone trying to look casual while hoping to be noticed. I’ve held his weight several times this year. Not local. Baggy jeans, a cotton shirt trying to be smarter than it is. A hoody knotted round his waist. Plastic necklaces in clashing colours strangling his neck. Hair dyed in optimistic streaks—pink bleeding into blue. On his shirt pocket, a rainbow badge, pinned carefully. Declarative. Protective.

A student, I think. Day off from lectures. Soft cheekbones. The look of anticipation always gives him away.

Then the other arrives.

Older. Familiar. A regular measured in years rather than weeks. His clothes are variations of black, faded into themselves. A wiry beard, grey and untended. All year, even in summer he wears a dark jacket—dusty, lived-in. A wool hat presses down on his thinning frame. His eye twitches beneath it, as it always does.

They talk quietly. Always quietly.

Five minutes, maybe less, and they rise together. Leave my slats. Drift toward the bushes near the left-hand gate, where the park thins out and pretends not to see.

They return after a quarter of an hour.

They sit closer this time.

More murmuring. The young one’s face is flushed now—open, unguarded. I know what comes next. I always do.

The older man squeezes his knee. Once. Twice. Then—neat as a trick—he slides a rolled ten-pound note into the pocket beside the rainbow badge. Fingers linger. A brief rub of the shoulder. Goodbye.

The older man leaves first, trousers dragging slightly as he sludges away, swallowed by the path.

The young one stays.

He looks down. Confused. Vulnerable. As if something has happened but he doesn’t yet have the language for it. He doesn’t seem to understand why the money is there, only that it is.

Eventually he stands.

As he walks away, I hope—selfishly—that I never see him again. That he learns there are other ways to sit. Other places to rest.

I remain.

Waiting.

Portrait of an older man with a wiry grey beard and weathered face, wearing a faded black jacket and a wool hat pressed down over his thinning frame. His left eye twitches slightly beneath the hat. He stands against a muted, overcast background, looking directly at the camera with a quiet, familiar expression. To the right, a circular rainbow badge with seven horizontal stripes—red, orange, yellow, green, blue, indigo, and violet—is superimposed over a ten-pound British banknote featuring Queen Elizabeth II’s portrait.
A Regular

 

If this piece resonated, you may find the following resources useful.

Further Reading & Resources

The Velvet Rage by Alan Downs
A groundbreaking and empowering book examines the impact of growing up and surviving as a gay man in a society still learning to accept all identities.

Book cover of “The Velvet Rage: Overcoming the Pain of Growing Up Gay in a Straight Man’s World” by Alan Downs, PhD. Features black-and-white photo of three boys in formal wear, with one wearing a bright pink tie. Pink banner highlights title and subtitle in bold white and black text. Includes Observer quote and “Completely Revised and Updated – Second Edition” label. A powerful guide to emotional healing and identity for gay men.
The Velvet Rage
Overcoming the Pain of Growing Up Gay in a Straight Man’s World

Giovanni’s Room by James Baldwin
A literary classic examining desire, vulnerability, and self-understanding.

Book cover of “Giovanni’s Room” by James Baldwin. Minimalist design with a white background and stylized branch illustration in earthy brown and black tones. Title in bold black text and author’s name in light blue. Penguin Modern Classics edition of Baldwin’s introspective novel on love, identity, and alienation.
Giovanni’s Room

On Earth We’re Briefly Gorgeous by Ocean Vuong
A novel that speaks to softness, power, and coming of age.

Book cover of “On Earth We’re Briefly Gorgeous” by Ocean Vuong. Deep blue background with white star-like dots and a cluster of autumn leaves in orange and red. Title and author’s name in elegant white text, with a quote from Max Porter: “A masterpiece.” A Sunday Times Bestseller exploring identity, love, and memory through poetic prose.
On Earth We’re Briefly Gorgeous

Creative Writing & Journaling

Writing & Reflection

Creative Writing Journal is a great place to start putting pen to paper for your own writing.

Book cover of “Creative Writing Journal” by Julian Flanders. Features bold, colorful typography with a stylized pen integrated into the title. Decorative left-side pattern and scattered letters evoke creativity and expression. Subtitle reads “Become the writer you want to be”—a motivational tool for aspiring writers and journaling enthusiasts.
Creative Writing Journal

Want to read more flash fiction, The Best Short Stories 2025 is an engrossing read.

Book cover of “The Best Short Stories 2025,” edited by Edward P. Jones. Features a bold pattern of orange and teal wave-like shapes. Title and editor’s name in black text. Includes quote from The Atlantic Monthly praising the O. Henry Prize as the nation’s most prestigious short fiction award. Celebrated literary collection showcasing award-winning contemporary stories.
The Best Short Stories 2025

For those looking to take their writing to the next level, Reed offer a fantastic Creative writing course, study online and at your own pace.

Promotional image for the Creative Writing Course (Level 4 Diploma) from the College of Media and Publishing. Shows a person working on a laptop outdoors at a wooden table surrounded by autumn leaves. Coffee cup, camera, notebook, and pen suggest a writing or photography session. Logos for Trustpilot (5-star rating), Quality Licence Scheme, and European Association for Distance Learning highlight credibility and accreditation. Ideal for aspiring writers seeking flexible, online learning.
Creative Writing Course

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One response to “Park Benched”

  1. Well written. You have created a picture of a world unknown by so many, a side of life that can be shocking. We all now get to choose how it effects us. 🙏🙏

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