It was a curious occurrence. The street corner had not been empty, not in the truest visual sense. There lay the trappings of walls and shattered windows, boarded up doors, of a house too decrepit to be anything more specific than an abandoned building. There was a hollow behind the empty, broken eyes of the staring windows. No squatters had come to call the building upon the corner an impromptu home. No small traps, no scurrying of mice.
And then quite simply, one night, the house was there.
A simple affair, it smacked both of things modern and things archaic. One might have called the moldings about the windows, the curious chimney three stories upwards, Tudor revival. It was marked with an age of soot that did not belong to the WestEnd, though felt quite at home there. Some effort had been made to match the conglomeration of stonework that was the fa"ade to an older style, and it seemed as if the side of the building now exposed upon the corner had been more familiar with the press of another building against it. The two solitary windows stared outwards, quite blank and bricked over. To gather its angles into a succinct description: perhaps simple and austere. Perhaps neglected. There, too, was a rather simple sign hanging on a steel pole extended beyond a window, matched by another upon the door.
The Midnight Hatter 7 p.m. to 3 a.m. Mon " Sun
The lacquer suggested plastics within the paint. While the shop-cum-house seemed neglected, the night that it appeared upon the corner, a ghost did indeed spill out of the residence. He was a match for its austere nature, an echo of the Victorian era the residence was no doubt restored in mimicry of. Late Victorian. The Hatter had never been a patron of unnecessary decoration and overlarge furnishings. He brushed a white gloved hand over the dusting upon a dark sleeve and drew the trappings of the overcoat close (unnecessarily), before venturing out into the night of this foreign, new land.
And then quite simply, one night, the house was there.
A simple affair, it smacked both of things modern and things archaic. One might have called the moldings about the windows, the curious chimney three stories upwards, Tudor revival. It was marked with an age of soot that did not belong to the WestEnd, though felt quite at home there. Some effort had been made to match the conglomeration of stonework that was the fa"ade to an older style, and it seemed as if the side of the building now exposed upon the corner had been more familiar with the press of another building against it. The two solitary windows stared outwards, quite blank and bricked over. To gather its angles into a succinct description: perhaps simple and austere. Perhaps neglected. There, too, was a rather simple sign hanging on a steel pole extended beyond a window, matched by another upon the door.
The Midnight Hatter 7 p.m. to 3 a.m. Mon " Sun
The lacquer suggested plastics within the paint. While the shop-cum-house seemed neglected, the night that it appeared upon the corner, a ghost did indeed spill out of the residence. He was a match for its austere nature, an echo of the Victorian era the residence was no doubt restored in mimicry of. Late Victorian. The Hatter had never been a patron of unnecessary decoration and overlarge furnishings. He brushed a white gloved hand over the dusting upon a dark sleeve and drew the trappings of the overcoat close (unnecessarily), before venturing out into the night of this foreign, new land.