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Gaslight

The first time it happened, Petra was almost certain she had simply misremembered.

She had told Marcus about the conversation with her mother on the Tuesday — she was confident it was the Tuesday, because she had been at home that day, and she was only at home on Tuesdays now that the office had moved. She remembered telling him while he was at his desk, remembered the specific quality of his attention, which was the kind that was present in body and absent in everything else. She remembered that he had said he understood.

Three weeks later, in the middle of an argument about something else entirely, he mentioned that she had never told him. She said she had. He said she hadn't, and he said it not with anger but with a kind of patient sorrow, as if this was a pattern he had noticed before and had not wished to name.

"You do this," he said. "You think you've told me things. Then you get upset when I don't respond in a way that would only make sense if I actually knew."

She spent three days wondering if he was right.


The second time was easier for him because she had already doubted herself once. A dinner reservation she was certain she had made. A message she was sure she had sent. A plan she knew had been agreed. Each time he was gentle, each time he was regretful, and each time — she noticed this only later — the misremembering reflected poorly on her in a specific way. She was disorganised. She was forgetful. She was, more than once, "not quite present lately."

She began to compensate. She started keeping notes — not because she was a notes person, but because she needed the external record to anchor her against the drift she was starting to feel in her own memory. She wrote down conversations. She photographed text messages before discussions she thought might become contested. She did this secretly, because telling Marcus would have produced the look — the quiet, studied concern — that she had come to dread more than the arguments.

The notes helped. But they also created a new problem: she could not explain to herself why she felt she needed them. A person who keeps secret records of their own conversations to defend against their partner is a person who has already, somewhere beneath the level of conscious assessment, accepted that the ground beneath them cannot be trusted.


She had a friend, Dora, who was direct in a way most people found uncomfortable and Petra had always found essential. She called Dora on a Sunday in October, ostensibly to arrange lunch, and found herself talking for an hour and twenty minutes about the notes and what they contained and why she had felt the need to compile them.

Dora listened without interrupting, which was unusual enough that Petra noticed it.

"Read me one," Dora said, when she had finished.

Petra read the entry from the Tuesday in July. The dinner reservation. The message. The conversation about her mother. She read them in sequence, with the dates and the context she had recorded at the time.

"He says he doesn't remember any of these," Petra said. "Or that they didn't happen the way I've written them. And I know what I've written is accurate. I wrote it at the time. But when he says it, I still start to wonder."

"That's what he's making you do," Dora said.

"He's not doing it on purpose," Petra said, and then stopped.

"Why did you say that?" Dora asked.

Petra thought about it. She had said it automatically. As a reflex. She could not, when she examined it, identify the evidence for the claim. She could only identify that she had been saying it — to Dora, to herself, to the version of herself that woke at three in the morning and tried to determine whether she was losing her mind — for as long as the pattern had been going on.


She moved out in November. The process of moving was the strangest part: the way the accumulated small certainties she had ceded came back to her almost immediately, like circulation returning to a limb. Within a week she felt, for the first time in longer than she could accurately date, like the authoritative source of her own experience.

She kept the notes. She did not need them anymore — she kept them as a kind of document, the way some people keep letters from a period of their life they do not want to forget but do not want to repeat. They were the record of a reality that had been systematically contested, and of the work she had done, almost entirely alone, to keep some version of it intact.

Two months later she received a message from a woman she did not know, who had found her name through a mutual contact and who wanted to ask her, very carefully and with evident embarrassment, whether she had ever found that her memory became unreliable when she was with Marcus — because it had happened to her too, or it had seemed to, and she had spent the last six months trying to determine whether it was her or him.

Petra replied immediately. She said: it was him. She said: I kept notes. She said: I will send you everything.

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Labyrinth of Minds

Play This Story in Avalon →

In the browser RPG Avalon, the Labyrinth of Minds contains a zone where your own memories become unreliable. An adversary named the Rewriter shifts what you have seen and recorded. Players must maintain their own evidence log to distinguish truth from the Labyrinth's revisions.

Enter the Labyrinth →

Reader Questions

Frequently Asked

What is gaslighting and how did the term originate?

Gaslighting is a form of psychological manipulation in which an abuser causes their victim to doubt their own memory, perception, and sanity. The term comes from Patrick Hamilton’s 1938 play Gas Light and its 1944 film adaptation, in which a husband secretly dims the gaslights of their home and then denies it, leading his wife to believe she is losing her mind. The term has since entered clinical and everyday language as a description of systematic reality-distortion in abusive relationships.

How does the story depict gaslighting without showing overt aggression?

R. Carver’s “Gaslight” is precise about the mechanism of non-violent manipulation: Marcus always responds with patient sorrow rather than anger, which makes his behaviour harder to identify and resist. The story shows how gentleness can be weaponised — each contradiction is delivered with regret, framing Petra as the problem rather than the target. The abuse is most visible not in any single incident but in the accumulating pattern and in what the pattern produces in Petra’s behaviour.

Why does Petra keep secret notes of her own conversations?

Petra begins documenting conversations and photographing messages because she recognises, below conscious awareness, that she can no longer trust the shared record of events between herself and Marcus. The act of keeping secret notes is a survival mechanism — an attempt to anchor her identity in external evidence when her internal certainty has been eroded. The story observes that this act reveals she has already, somewhere beneath conscious assessment, accepted that the ground beneath her cannot be trusted.

What role does Dora play in the story?

Dora functions as an outside witness and catalyst — the first person to hear Petra’s account and name what is happening without euphemism. Her question “Why did you say that?” when Petra automatically defends Marcus forces Petra to examine an assumption she had absorbed without choosing it. In real cases of coercive control, the intervention of a trusted outside voice who simply asks the right question is often the turning point.

What are the signs of coercive control in a relationship?

Coercive control describes a pattern of behaviour used to dominate, isolate, and manipulate a partner — including monitoring, isolation from support networks, financial control, and the systematic undermining of self-confidence and self-trust. Gaslighting is one component of coercive control. Key signs include feeling confused about your own recollections, changing your behaviour to avoid a partner’s disappointment, and keeping records of your own actions as protection. In many jurisdictions, coercive control is now a criminal offence.

How does the ending of “Gaslight” suggest the story continues beyond Petra?

The final scene — in which a woman Petra does not know contacts her to ask whether she too found her memory unreliable with Marcus — reveals that Petra is not the first victim and implies a pattern that predates their relationship. The ending reframes Petra’s recovery as something she owes forward as well as backward, transforming her notes from a private survival document into potential evidence for others. The final line — “I will send you everything” — is the story’s moral resolution.

What makes psychological fiction distinct from thriller or crime fiction?

Psychological fiction prioritises the interior experience of its characters over external plot mechanics, using narrative form itself to create the sensation of unreliable perception. In gaslighting stories, the reader often experiences the same uncertainty as the protagonist — unsure, for a time, whose account to trust. This subjectivity is the genre’s primary tool, and it asks readers to examine how they evaluate competing versions of events in their own lives.

Who writes for Portal Avalon and how are authors selected?

Portal Avalon publishes fiction by writers working in dark literary fiction, psychological horror, and related genres. Authors use initials rather than full names in keeping with the site’s approach to atmospheric anonymity. The platform selects work on the basis of prose quality, thematic rigour, and the capacity to use genre conventions in service of genuine psychological insight rather than formula.

What other stories on Portal Avalon deal with dark psychology themes?

The Dark Psychology category on Portal Avalon includes “The Quiet Restructuring,” which traces the incremental erosion of a person’s identity through a controlling relationship, and “The Perfect Victim,” which examines workplace manipulation. The category focuses on the mechanics of psychological harm — how it is applied, how it is absorbed, and how, eventually, it is recognised and resisted.

Can fiction like “Gaslight” help readers recognise manipulation in real life?

Literary fiction about psychological manipulation can serve a diagnostic function, giving readers a framework and vocabulary for experiences they may be having or may have had. Seeing a manipulative pattern rendered in narrative — with its internal logic made visible from the outside — can make it easier to identify the same pattern when it is happening to you from the inside. This is not the story’s primary purpose, but it is a consistent secondary effect of precision in this kind of fiction.

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