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Ashes of the Best Friend

Maya had known Sasha since the third grade. That was how Maya always began when she told the story of their friendship — since the third grade — as if the number itself conferred authority, as if fifteen years of shared history required no further introduction.

Sasha had been the one to speak to her first. Maya had just moved schools and was sitting in the corridor eating her sandwich alone, and Sasha had appeared beside her and said: I like your shoes. Then she had sat down. That was all. It had felt at the time like grace.

Maya had spent the next fifteen years trying to be worthy of it.


The first sign — if Maya was honest, it had not been the first — was the job at Hartfield Communications.

Maya had applied in March. She had mentioned it to Sasha over the phone because she mentioned everything to Sasha, because that was how their friendship worked: the running voice note at 11 p.m., the breakfast calls where neither of them had quite woken up, the shorthand that had accumulated over a decade and a half into a private language that took only three words to say complicated things.

She did not hear back from Hartfield for six weeks. When she finally called HR to follow up, the coordinator told her, with polite efficiency, that the position had been filled and that Maya's application had been reviewed but her references had not quite met the brief.

Maya had listed three referees. She had asked all three beforehand, as she always did. All three had said yes, of course, happy to, without hesitation.

It did not occur to her to ask what the references had said. People you trusted did not require auditing.


The boyfriend was different. The boyfriend she had been going to marry.

His name was Tom and they had been together for two years when he ended it in a caf— over coffee that neither of them touched, in the particular careful way of someone who has been working up to something for longer than they've admitted. He said that he thought they wanted different things. He said that he had been hearing things that made him uncertain. He said those things carefully, without specifics, which she had understood at the time as consideration.

She had been devastated, the way you are when the floor shifts without warning. She had called Sasha from the car and Sasha had driven straight over, with wine and without being asked, and had sat with her until two in the morning being steady and generous and exactly the right kind of present.

Maya had loved her for it.

Later — much later; two years later, in a conversation she had not sought out — she heard from a mutual acquaintance what Tom had been told. Over three separate lunches, across the months before he ended it: that Maya had a history. That she'd been unfaithful in a previous relationship. That she had difficulty with intimacy and tended to pull away once things got serious. None of it true. All of it delivered with the particular weight of a concerned friend being reluctant and careful, making it clear this was hard to say.

Tom had repeated it to the mutual acquaintance almost verbatim. He had clearly believed it. He had been very grateful, he'd said, that someone had told him before things went further.


When Maya understood what she was looking at, she did not call anyone. She sat very still for a long time with her tea cooling in front of her, going back through the years the way you go back through a manuscript when you find an error early: methodically, without hurry, looking now for all the places the text had been altered.

There were more than she expected.

The friendship group that had gradually, almost imperceptibly, shifted its centre of gravity away from Maya. She had assumed this was the natural drift of adult life, that she had perhaps become quieter, that people had their own complications. She thought now of how Sasha had always been the one to organise, to host, to suggest. How she had been the connector, the one who held the threads. How Maya had always been grateful that Sasha included her.

The flat that Maya had been going to rent, three years ago, the one with the good light and the reasonable commute and the terrace she had already furnished in her mind. The landlord had rented it to someone else two days after Maya had said she was interested. He had seemed surprised, when Maya followed up, that Maya had not called to confirm — he had understood, he said, that she'd changed her mind. Someone had called on her behalf, he thought. A flatmate? A friend?

The gallery opening where Maya had submitted photographs for consideration. The curator had emailed to say she'd received a note that Maya was withdrawing her submission due to personal circumstances. Maya had sent no such note.

She sat at the table and she listed these things, one by one, in the small careful handwriting she used when she was trying to be precise. The list was longer than seemed possible.


The strange thing — the thing she would try to explain later and find she could not explain adequately — was that alongside the cold and growing understanding, she felt something like grief. Not anger, or not only anger. Grief.

Because she had known Sasha since the third grade. Because she had believed, with the unexamined certainty of long habit, that this person loved her. Because the friendship had been real: it had contained real warmth, real generosity, real shared history. The woman who had sat with her until two in the morning when Tom ended it had genuinely been there. The comfort had been genuine.

And also Sasha had been the reason Tom ended it. Both of these things were true.

Maya had no good framework for a person who could do both simultaneously, without apparent contradiction. She understood — intellectually, from the reading she began doing that week — that this was not rare. That some people required, as a condition of closeness, that those they loved remain somewhat smaller. Not out of malice, or not out of malice alone. Out of something more complicated than malice. Out of a need that had no good name.

Understanding this did not help very much.


She did not confront Sasha. She considered it and decided against it, methodically, the way she had decided other things that week. She thought about what a confrontation would produce: denial, first, then perhaps tearful partial admission, then a reframing in which Sasha was the one who was hurt. She had watched Sasha in difficult conversations before. She knew the shape of how she moved through them.

She simply withdrew. Slowly at first, and then completely.

She did not explain. There was a cruelty in this that she acknowledged to herself. She thought the cruelty was probably necessary. She thought if she gave Sasha a surface to argue against, the argument would last years.

It lasted years anyway. The messages, at first daily, then weekly, then in long gaps followed by bursts — I don't understand what I've done, and then I know you're angry but can we talk, and then much later, once, I think about you all the time. Maya read them and did not reply.

She moved to a different city in the autumn. She had a job she had applied for herself, references she had confirmed herself, a flat she had chosen herself, a life she was building in the small careful way of a person who has learned not to outsource the weight-bearing structures.

It was good work. It was slow work. Some mornings she still woke up and reached, for just a moment, for the reflex of calling someone who was no longer there.

She was learning, slowly, to let the reaching land somewhere else.

?     ?     ?

Court of Shadows

This Story Is a Companion's Backstory

In the browser RPG Avalon, Maya Calloway is a Companion you can recruit in the Court of Shadows — the Realm of betrayal and quiet manipulation. Her loyalty, once earned, is absolute. Her trust, once broken, cannot be repaired.

Explore the Game World →

Reader Questions

Frequently Asked

What is “Ashes of the Best Friend” about?

The story follows Maya, who discovers that her closest friend since childhood has been quietly sabotaging her life for fifteen years — undermining job applications, poisoning her relationship with a man she planned to marry, intercepting a flat she wanted to rent, and withdrawing gallery submissions on her behalf. The wound is compounded by the fact that the friendship itself was genuinely warm and sustaining, which makes the betrayal almost impossible to hold as a single coherent thing.

Why is betrayal by a best friend more devastating than betrayal by a stranger?

Betrayal by a best friend weaponises trust itself. The closer the relationship, the more access the betrayer has to private vulnerabilities, ambitions, and the infrastructure of your daily life. In Maya’s case, Sasha knew her referees, her romantic partner, her plans — and used that knowledge with surgical patience over years. A stranger could not have operated at this depth or with this invisibility.

Can a friendship be genuine even while one person is also causing harm?

This is the most psychologically complex question the story raises, and it refuses to give a comfortable answer. Maya concludes that the warmth was real, the generosity was real, and the sabotage was also real — all simultaneously. Psychologists describe this coexistence as a feature of covert relational aggression, where genuine affection and competitive hostility are not mutually exclusive but can operate in parallel within the same relationship.

What psychological dynamic drives someone to undermine the person they are closest to?

The story refers, obliquely, to people who require as a condition of closeness that those they love remain somewhat smaller. This is not simply jealousy and not simply malice — it is a more structural need, often unconscious, to maintain a particular relational arrangement in which the self is defined partly by being larger than those it loves. Understanding this pattern does not, as Maya notes, help very much.

Why does Maya decide not to confront Sasha directly?

Maya reasons through what a confrontation would produce: denial, then tearful partial admission, then a reframing in which Sasha was the one who was hurt. She has watched Sasha in difficult conversations before and knows the shape of how she moves through them. Her silent withdrawal is a deliberate choice — one that carries its own cruelty, which she acknowledges — based on the calculation that giving Sasha a surface to argue against would extend the conflict for years.

What does the story suggest about how we audit the friendships we most take for granted?

Maya’s process of going back through the years “the way you go back through a manuscript when you find an error early” — methodically, without hurry — captures something important: the people we trust most tend to be the ones we audit least. Betrayal at this level is partly enabled by the very confidence that makes a close friendship possible. The intimacy creates the blind spot.

Is “Ashes of the Best Friend” part of a series or connected to other Portal Avalon stories?

The story stands alone but belongs to Portal Avalon’s Betrayal & Secrets category, which includes several interconnected explorations of trust and its violation. “The Informant” examines a friendship of thirty years in which one party was filing state reports on the other. “The Alibi” follows a woman who discovers that the loyalty she extended fifteen years ago covered something she was never told about.

Who wrote this story and what else has S. Mercer written for Portal Avalon?

The story is by S. Mercer, a Portal Avalon contributor whose work focuses on the slow mechanisms of relational betrayal and the psychological aftermath of discovering long-term deception by trusted people. Portal Avalon publishes new dark fiction regularly; subscribing to the newsletter is the best way to follow new work as it appears.

What does the ending suggest about how one recovers from long-term betrayal by a close friend?

The ending is deliberately quiet and incremental: Maya moves to a new city, builds a life with self-confirmed references and self-chosen structures, and learns slowly to redirect the reflex of reaching for someone who is no longer there. Recovery is presented not as a resolution but as an ongoing rebuilding — practical as much as emotional — removing weight-bearing structures the betrayer had occupied and replacing them with ones that hold.

Is Portal Avalon a good place for readers who enjoy dark psychological fiction for adults?

Portal Avalon is a curated platform for dark adult fiction with a literary approach — betrayal narratives, psychological complexity, desire and its consequences, and mystical horror. All content is written for readers 18 and over and treated with seriousness rather than sensationalism. Stories are free to read; the newsletter delivers new work and editors’ picks directly to subscribers.

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