Craft Note · Opening The narrator establishes his unreliability in the first breath: he cannot tell you his age, because he stopped counting. What follows is a memoir by someone who has deliberately untethered from time. This is both a character choice and a formal warning: the story you are about to read has been filtered through memory, shaped by perspective, and offered without receipts. Trust it the way you trust a legend. I was a boy when I left home. I couldn't tell you how old I was; the passage of days and years stopped being counted on the day I began my journey. I would like to say that my travels made me a man, but that would be neither lie nor truth. A man may grow old and grow up, but the boy he once was, is never truly gone. I confess, I have thought myself a man on many occasions, and have felt like one on many others. Yet in the times when I found myself alone and in the dark, staring up at the stars but only seeing the black, I have always been just a boy who ran away from home.

Craft Note · Preemptive Modesty The story will say this three times, with increasing weight. Each denial contains its own contradiction: a man who has seen miracles, survived earthquakes, walked deserts, and met a hundred extraordinary people, telling us he is unremarkable. The repetition is not false modesty. It is the story's thesis: ordinariness is the prerequisite for witnessing the extraordinary. You have to be nobody to see everybody clearly. While it is true that I have seen miracles and nightmares, sometimes in the same instant, and it is true that I have been both a hero and a villain, please do not think I was the deciding factor. When I speak of my travels, I tell tales of the extraordinary – the rest would bore you to an early grave. In truth, the life of a wanderer like me is just like the life of those who stay in their homes: a seemingly endless series of similar days and nights broken up by moments of something different. Time has a way of making us less than we are, and more than we could ever be, but only when we aren't paying attention to ourselves.

I see no point in starting at the beginning. My reasons for leaving will never matter. What matters are the reasons I have for never going back. Therefore, let us just accept two facts, and then move on. Firstly, I left home one day and decided to walk, on foot, wherever my feet would take me. Secondly, nothing I have ever seen or done, regardless of how beautiful or bizarre, has had any lasting impact on the world at large. I have never been, nor will I ever be, important. Good. Now we can get to the good bits.

I On Learning to be Afraid

The first thing I learned after I left home was how to be afraid. When I set off I thought I was afraid of insignificance, but it was not fear, just arrogance. I was seeking out my destiny and was therefore not afraid of hardship or suffering. Faith has that power. I survived for years, unafraid of what may come my way, simply because I had faith that it would be part of my story one day. I was right, to an extent. Hardship is an inevitable part of our story, regardless of what form it takes.

"There is no way out of this. This is all there is. The dawn will not come."

It took me years to be afraid, and years to be brave again.

I met a man in a city of rubble and dust; a soldier who had lost his gun. He carried his jacket over his shoulder at all times. It was like a burden he had never wished to carry. Other than that, he was as ordinary as the rest of the city's terrified folk. They lived in the shadows, doing only what was necessary, making excuses not to get too attached to their neighbours. The
Character · Encountered The Gunless Soldier One of several figures in the story given a title rather than a name — The Gunless Soldier, The Broken Lady of the Night, the little girl with her papa. The naming convention is the chronicle's own: these are figures from a legend, typed by their defining quality rather than identified by personal detail. A soldier without a gun has lost the thing that defined his function. He carries his jacket — his former identity — as a burden. Then one morning he leaves it behind and takes flight. The story gives him no more words than this. ate like me; as if every meal would be his last. We spoke very little and listened even less, each of us absorbed in our own little plans for the path ahead. It suited us fine. We walked from that city to another just like it, filled with the same kinds of people.

One morning, we prayed in the custom of those around us. I kissed the ground and heard him leave. His jacket, his burden, had been cast off and to the side. He had taken flight.

Craft Note · The Earthquake The earthquake arrives in one sentence between a man leaving and a man waking. The compression is not carelessness — it mirrors the experience of surviving disaster: the event itself has no duration in memory, only the before and after. He kissed the ground in prayer; the ground then collapsed. The story does not underline this. It doesn't need to. At first there was pain, agony unlike anything I had ever felt before. I could not move. I could not see. I could not bring myself to speak. Pain became hope. I could still feel; I was still alive. It would only be a matter of time before I was found. This was only a part of my story. The warmth of the day became the cold of night. Nobody came.

The darkness beneath that roof was absolute. I clung to hope, held on to faith; there was nothing else. And then came a thought. A single, simple thought.

"There is no way out of this. This is all there is. The dawn will not come."

I was, finally, afraid.

I don't know how I managed to cry out, to scream with the fury of a terrified child, in spite of my desperation to simply continue breathing. But I did. I didn't stop screaming.

The rubble shifted and I was greeted by the cold blue that ushers in the dawn. It was only a crack.
Craft Note · The Rescuer The man who walked the earth to become a legend is saved by a small girl calling for her papa. The story does not make this ironic; it makes it true. She "embodies all the innocence and curiosity he had long since lost" — she is not just a rescuer but a mirror. He will never see her face again outside his dreams. She gets no name, no further story. She simply appears at the crack in the rubble, and is enough. The face disappeared and I heard the faint sound of a little girl calling out to her papa.

When I came to, I found myself in a sterile, white bed, no longer trapped in the
Detail · World-Grounding The Mosque The story has been deliberately placeless until this word. "We prayed in the custom of those around us" — he adapts his practice to wherever he is, a pilgrim without fixed faith. "No longer trapped in the mosque" is the first geographical anchor: this is not a fantasy world but a real one, with real cities of rubble and real places of worship that fall. The detail earns its specificity precisely because the story has withheld specifics until now. , but still unable to move. I would never see that little face again, outside my dreams. In time, I learned to walk again. Soon after, I ran from that city of rubble and dust, and never looked back.

II On Learning to Love

I had learned to be afraid, but I had yet to learn how to love. When wandering the wastes, it is natural to become lonely. Solitude was the single aspect of my travels that seldom changed. Yes, people joined me sometimes, and other times I joined others in their adventures, but my path was always a lonely one. I think I preferred it like that.

I passed through wild forests, traipsed along untamed coasts and hiked over mountain passes; many of them untouched by the hand of man. And yet, even in those places that had never been seen through human eyes before mine, I could feel the ever-present force of life. It made solitude bearable, at times even enjoyable.

That was until I walked through the desert.

Craft Note · Definition The narrator offers his own taxonomy: a desert is not a climate, it is an absence. The philosophical precision here — "merely an arid region of time and space" — is the story's most formally ambitious sentence. It redefines loneliness not as an emotional state but as an ontological condition: the absence of life itself, not just company. The challenge requirement "someone going mad" is being fulfilled here, quietly, through epistemology rather than theatrics. I journeyed through a desert, for three days and nights, finally understanding true loneliness, and it scared me half to death. I was surrounded by the echoes of life that never was, driven half mad by the thought that this was the ultimate end of humanity, considering the futility of life itself, when I came upon a hotel.

It looked more like a large shack, like it was both in defiance, and at the mercy of the winds that howled through the sands. It was not an oasis, and I soon discovered it was not a mirage. Inhabited by runaways, outcasts, and the dregs of humanity, the hotel was called
. They took me in, gave me food, water and a bed and refused to tell me how they had come to be there.

I met a woman who had lost her name.
Character · Encountered The Broken Lady of the Night The challenge requirement was "a broken but beautiful person." The story's answer is a woman who has lost her name, whose face is scarred and body disfigured, who was a sex worker in an unnamed city, who fought until she could no longer fight, then chose to run — not from death, but toward a new life. She is the most fully realised person in the chronicle. She is also the one who does the looking, the painting, the giving. Her gaze on the narrator produces the portrait. She is an artist before she is anything else the story might label her. Her face was scarred and her body disfigured, but she wore it without shame. She told me that she had chosen to run, but only once she could no longer fight. I confess that I still don't know what she meant, even though I could see that it was true.

Craft Note · The Gaze Reversed In most stories involving a "lady of the night," the male narrator is the one doing the looking. Here the dynamic is precisely reversed: she looks at him, she decides what she sees, she records it. He blushes — the discomfort of being truly seen. The portrait is not of her beauty but of his, as perceived by her. A woman who spent her professional life as an object of the male gaze turns it entirely around and, in doing so, teaches him what love is. She did not seek my validation, she did not seek my admiration and yet she was genuinely pleased that I liked her work, for no other reason than because it made me happy. She showed me how to love, and I loved her for it. This woman, who had lived a life where her perceived value was mere currency, who had chosen to fight and lost, who had run away, not for fear of death, but in the hope of a new life, became the most beautiful person I would ever meet.

I could have stayed in that hotel and lived out my days among the lost and broken ragdolls that the world had tossed aside, but it was not to be. I was spirited away one night, loaded onto an aeroplane as I slept. The next light I saw was the light of a new sky. I miss them, the ragdolls of The Lantern, and I miss her, the Broken Lady of the Night.

III On Learning to Listen

Craft Note · The Original Sin He left home to become the subject of a legend. The story he is telling us now is the legend — but it turns out to be almost entirely about other people. The original motive (become extraordinary, be remembered) is quietly dismantled by every episode: the Gunless Soldier's freedom, the little girl's face, the Broken Lady's portrait. The journey that was supposed to make him the hero made him, instead, a witness. The story argues this is the better outcome. The hardest lesson I had to learn, the one that took me the longest, was to listen. When I took it upon myself to walk the Earth, I was determined to have a story to tell. I was convinced that when my journey came to an end, I would be able to enchant and enthral people with all that I had done. That was why I left — to become a legend, to be the Man Who Walked the Earth. I discovered, after trying to tell my story countless times, that my part in my adventures was, in the end, the dullest and most boring. I would inevitably bore any audience with my ego, because I have always been utterly unremarkable.

The stories that mattered, the stories that thrilled and fascinated children and adults alike, were never my stories, but the stories of the people I had met, and the places I had been. It was only when I learned to listen to the world around me that I finally ended up having something to say. Eventually, I discovered that the world is bursting with stories that are begging to be told, to be heard. That is why I never returned home.

Stories He Could Tell · But Will Not · Here

Craft Note · The Catalogue The catalogue is a formal literary device — Homer uses it for ships; Milton for fallen angels; here, it lists stories the narrator knows and will not tell. Each entry is compressed to a single sentence, which makes each one feel like the premise of an entire story. The miner who was both claustrophobic and terrified of the dark is, in nine words, a complete tragic character. The story's generosity is in the withholding: these are gifts to readers' imaginations, not the narrator's to keep. The street-side preacher who lugged around a sack of sand, just so that he could tell those who jeered where to put their heads. The village where no one could live beyond the age of eighteen. The boy who spent his days looking for lost dogs to take back to their homes. The old man who had been searching his whole life for a girl he had once seen at a café. The miner who was both claustrophobic and terrified of the dark. The singer who was executed in front of twelve thousand people because she had dared to question her government in public. I am not extraordinary.

I have seen miracles and nightmares, sometimes in the same instant. I have been both a hero and a villain, but only in the smallest and most insignificant ways. Of all the bizarre and beautiful experiences that have shaped my life, please do not think I was the deciding factor.

I have long since stopped walking. My soles have grown old and tired. As I look back on all that I have seen, all I remember are the faces that told the stories. In the end, our names will be lost to the sands, and so will our stories.
Craft Note · Scale The story's largest vista, placed just before its smallest statement. He moves from cosmic scale — all of humanity fading — to the most personal claim possible: "I was here." The contraction is the point. Against the certainty of universal forgetting, one sentence of personal witness. Not achievement, not legacy, not even a name. Just presence. The modesty of the three words is what makes them land. I am okay with that. But before I go, before I fade into the endless darkness of time, I wish to say just one thing.

I was here.
Challenge C017 — Requirements

Tell Me a Story About: A lonely traveller. | Genre: Tragedy | Style: 1st Person Narrative (Past Tense) | It Must Have: 1) Something that couldn't possibly exist. 2) A broken but beautiful person. 3) Someone going mad. | Someone must say: "I have been both a hero and a villain"

Author's note: I actually don't know what to say about this one. It was fun to write though. JL

## The Waypoints

The world the traveller moves through — its people, its impossible places, and its internal logic

The story is careful to remain almost placeless — cities of rubble and dust, wild forests, untamed coasts, mountain passes, a desert. Only one specific detail anchors it to the real world: the word "mosque," which tells us this is a world with Islam, with the Middle East or North Africa or Central Asia present somewhere on the traveller's route. There are aeroplanes. There are governments that execute singers. There are cities of glass and light.

This is our world, deliberately defamiliarised by the traveller's refusal to name things. The effect is neither fantasy nor realism but something between: a mythologised real world, seen through the eyes of someone who has been walking so long that specific geography has dissolved into archetypal landscape.

The challenge required "something that couldn't possibly exist." The Lantern — a hotel in the middle of a genuine desert, inhabited by runaways, outcasts, and the dregs of humanity, whose residents refuse to explain how they came to be there — is the story's answer. It is not an oasis and not a mirage. It simply exists, improbably, in defiance of the logic that says a desert has nothing and no one.

What makes The Lantern "impossible" is not magical but social: this collection of the world's discarded people, living together in the place least hospitable to life, sustaining each other. The Broken Lady paints. Someone tends the bar. They feed strangers who arrive half-mad from three days in the desert. The impossibility is human: that people this broken managed to build something this whole. The story presents this without irony.

The traveller gives everyone he meets a title rather than a name: The Gunless Soldier, The Broken Lady of the Night. The little girl who saves him has no title and no name — she is described purely through what she embodies ("all the innocence and curiosity I had long since lost") and what she does (calls for her papa). The catalogue at the end lists figures purely by their defining paradox: the miner afraid of the dark, the old man searching for a café girl.

This naming convention is how legends work. Folk tales and myths title their characters by essential quality — the Brave Little Tailor, the Sleeping Beauty — because they are types as much as individuals. The traveller has been walking so long, and has met so many people, that he processes them this way: not as full biographies but as concentrated human essences. The Broken Lady of the Night is not diminished by the title; she is, the story insists, the most beautiful person he ever met. The title is the tribute, not the reduction.

The story organises itself around three explicit lessons: fear, love, and listening. Each is announced at the start of its section and illustrated by an episode. Fear is learned in the earthquake and the rubble. Love is learned in The Lantern from the Broken Lady. Listening is the final lesson — the hardest — and it is the one that transforms him from a wanderer seeking a legend into a witness who has something worth saying.

The structure earns itself because the three lessons are sequential and causal. You cannot love properly if you are not afraid — fear establishes that you have something to lose. You cannot listen properly if you have not loved — love requires attending to someone other than yourself. And the whole edifice builds toward the final gesture: three words that could only be spoken by someone who had learned all three. "I was here" is not a claim to importance. It is presence, witnessed and reported. It requires fear (vulnerability), love (care for what was witnessed), and listening (the world filling you with other people's stories rather than your own).

## The Craft

Genre tradition, the legend form, and what first-person narration costs this particular speaker

The story sits in a tradition of philosophical travel narratives that use a journey as a frame for epistemological discovery — the traveller learns, through movement and encounter, something essential about being human. The lineage runs from the Odyssey through Chaucer's Canterbury pilgrims, Voltaire's Candide, and Stevenson's Travels with a Donkey, into the 20th century with Chatwin's In Patagonia and Matthiessen's The Snow Leopard.

What distinguishes this tradition from simple adventure writing is the inward turn: the landscape is also a psychological map, and what the traveller finds outside is inseparable from what they find inside. The story is explicit about this — fear, love, and listening are not things encountered on the road; they are things the road teaches the self. The challenge genre ("tragedy") is honoured obliquely: the tragedy is not catastrophe but the near-miss of a life almost consumed by ego, rescued by the willingness to be ordinary.

The narrator tells us, repeatedly, that he is not extraordinary, that the stories worth telling are not his. He is the first-person narrator of a story that argues first-person narration is the wrong mode. The form undermines the thesis: we hear everything through his voice, his selection, his framing. The Broken Lady of the Night exists in this story because he chose to include her. The Gunless Soldier is present because he found him interesting. For all his protestations of ordinariness, every word of this chronicle is an act of his will.

The story knows this. The final line — "I was here" — is a first-person claim, not a self-effacement. It does not say "they were here" or "we were here." It says I. The narrator who spent three sections disclaiming his own importance ends by asserting his presence as the one thing worth recording. The first person was the right choice all along; the lesson of the chronicle was learning to use it honestly rather than grandiosity.

"There is no way out of this. This is all there is. The dawn will not come." The line appears twice in the Fear section — first as a definition of what fear is ("that small, creeping, crippling thought that takes hold"), then again when the narrator finally feels it for himself, trapped under the rubble.

The repetition is a formal device: the definition is given in the abstract, then enacted in the specific. The second occurrence hits harder because we already know the words — we have been told what they mean before we feel them arrive. This is how a refrain works in music, and it is how it works here: the emotional weight accumulates with the repetition. When the line comes back in the rubble, it carries everything that was established the first time.

The story has been building to three words for its entire length. Everything else — the cities, the soldier, the earthquake, the desert, the hotel, the portrait, the catalogue — is preamble. The final line is structurally similar to the opening of the Fear section: a simple declarative sentence that carries enormous compressed weight.

"I was here" is in past tense — the tense of the whole chronicle, the tense of memory, the tense of something already complete. It does not say "I am here" (the present, the assertion of current importance) or "I will have been here" (the reach toward legacy). It says: this happened. I was present. That is the whole claim. Against the scale of universal forgetting that the preceding paragraph just described — all of humanity's memories eventually fading — three past-tense words are the most honest possible response. Not defiance. Not despair. Just the record.

## Further Reading

The tradition of the philosophical journey, the legend form, and comparable texts

### The Philosophical Journey Tradition

Candide — Voltaire (1759) The satirical archetype: a naïve traveller sees the world's horrors and learns, slowly, a modest wisdom. In Patagonia — Bruce Chatwin (1977) Travel as fragment and legend; Chatwin's style of mythologising the real world through movement. The Snow Leopard — Peter Matthiessen (1978) A journey into the Himalayas as inward pilgrimage; the landscape as teacher.

### Witness and the Final Line

I Know Why the Caged Bird Sings — Maya Angelou (1969) Autobiography as the insistence on one's own presence against forces that would deny it. The Alchemist — Paulo Coelho (1988) The most widely read modern version of the journey-as-self-discovery; a direct popular cousin.

### The Legend Form

The Odyssey — Homer (c. 8th century BC) The foundational journey narrative; the traveller who meets a world of extraordinary figures on his way home. One Thousand and One Nights (c. 9th century) The catalogue of untold stories as a genre in itself; stories nested inside stories, each one a life.

### The Author's Work

I Was Here — original post The original publication at Renegade Storyteller, with comments. I Was Here — read aloud (YouTube) The author's reading; the first-person voice in audio changes the chronicle's intimacy considerably.
The Lantern

### The Impossible Hotel

The Lantern is the story's answer to the challenge requirement: "something that couldn't possibly exist." It is a hotel in a genuine desert — not an arid region, but a place where the narrator has established that life itself is absent. By his own taxonomy, a hotel with inhabitants cannot exist in a desert. And yet it does.

### What It Is

The Lantern is inhabited by runaways, outcasts, and the dregs of humanity — people the world has discarded, who have come to the place least hospitable to life and made a home there. Its residents refuse to explain how they arrived. There is no supply chain, no infrastructure, no logical reason for its existence. The story is content with this mystery. The Lantern does not need to explain itself.

### What It Means

In the symbolic economy of the story, The Lantern is what happens when the unwanted people find each other at the end of the world. It is named for light in darkness — a lantern is what you carry when there is no other source of illumination. The Broken Lady paints there. Someone tends the bar. They take in strangers who arrive half-mad from the desert. The impossible thing is not the building; it is the community. That people this damaged managed to build something this sustaining is, the story suggests, the actual miracle.

### The Ragdolls

He calls them "the lost and broken ragdolls that the world had tossed aside" — a phrase that is tender without being patronising. Ragdolls are made to be held, then discarded. The world tossed these people aside. The Lantern picked them up. The narrator, who was taken away in the night and never returned, misses them specifically and by name. They are, of all the places he visited, the one community he would have chosen to stay in.