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The Naturalist on the Thames by C. J. Cornish

C >> C. J. Cornish >> The Naturalist on the Thames

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Produced by Eric Eldred, Robert Connal
and the Online Distributed Proofreading Team.




[Illustration: FOX FLUSHING PHEASANTS. _From a drawing by Lancelot
Speed._]


THE NATURALIST ON THE THAMES

BY

C.J. CORNISH, F.Z.S.






PREFACE

Having spent the greater part of my outdoor life in the Thames Valley, in
the enjoyment of the varied interests of its natural history and sport, I
have for many years hoped to publish the observations contained in the
following chapters. They have been written at different intervals of time,
but always with a view to publication in the form of a commentary on the
natural history and character of the valley as a whole, from the upper
waters to the mouth. For permission to use those which have been
previously printed I have to thank the editors and proprietors of the
_Spectator_, _Country Life_, and the _Badminton Magazine_.

C.J. CORNISH.

ORFORD HOUSE,
CHISWICK MALL.






CONTENTS


THE THAMES AT SINODUN HILL

THE FILLING OF THE THAMES

THE SHELLS OF THE THAMES

THE ANTIQUITY OF RIVER PLANTS

INSECTS OF THE THAMES

"THE CHAVENDER OR CHUB"

THE WORLD'S FIRST BUTTERFLIES

BUTTERFLY SLEEP

CRAYFISH AND TROUT

FOUNTAINS AND SPRINGS

BIRD MIGRATION DOWN THE THAMES

WITTENHAM WOOD

SPORT AT WITTENHAM

SPORT AT WITTENHAM (_continued_)

A FEBRUARY FOX HUNT

EWELME--A HISTORICAL RELIC

EEL-TRAPS

SHEEP, PLAIN AND COLOURED

SOME RESULTS OF WILD-BIRD PROTECTION

OSIERS AND WATER-CRESS

FOG AND DEW PONDS

POISONOUS PLANTS

ANCIENT THAMES MILLS

THE BIRDS THAT STAY

ANCIENT HEDGES

THE ENGLISH MOCKING BIRD

FLOWERS OF THE GRASS FIELDS

RIVERSIDE GARDENING

COTTAGES AND CAMPING OUT

NETTING STAGS IN RICHMOND PARK

RICHMOND OLD DEER PARK

FISH IN THE LONDON RIVER

CHISWICK EYOT

CHISWICK FISHERMEN

BIRDS ON THAMES RESERVOIRS

THE CARRION CROW

LONDON'S BURIED ELEPHANTS

SWANS, BLACK AND WHITE

CANVEY ISLAND

THE LONDON THAMES AS A WATERWAY

THE THAMES AS A NATIONAL TRUST






LIST OF ILLUSTRATIONS


A FOX FLUSHING PHEASANTS

WILD DUCK

A FULL THAMES

SHELLS OF THE THAMES

A FLOWERY BANK

BURR REED AND FLOWERING RUSH

A MONSTER CHUB

BUTTERFLIES AT REST

A TROUT

OTTERS

A WATERHEN ON HER NEST

A DABCHICK

A BADGER

FOX AND CUB

EWELME POOL

A NIGHTJAR AND YOUNG ONE

A REED-BUNTING

PEELING OSIERS

BOTLEY MILL

EEL BUCKS

ORCHIS

WATER VIOLET AND WILD IRIS

A NETTED STAG

BREAM AND ROACH

A GRAMPUS AT CHISWICK

SMELTS

THE LOBSTER SMACK INN, CANVEY ISLAND

THE STEPPING-STONES AT BENFLEET

HAULING THE NETS FOR WHITEBAIT

FISHING BOATS AT LEIGH






THE NATURALIST ON THE THAMES




THE THAMES AT SINODUN HILL


Fresh water is almost the oldest thing on earth. While the rocks have been
melted, the sea growing salter, and the birds and beasts perfecting
themselves or degenerating, the fresh water has been always the same,
without change or shadow of turning. So we find in it creatures which are
inconceivably old, still living, which, if they did not belong to other
worlds than ours, date from a time when the world was other than it is
now; and the fresh-water plants, equally prehistoric, on which these
creatures feed. Protected by this constant element the geographical range
of these animals and plants is as remarkable as their high antiquity.
There are in lake Tanganyika or the rivers of Japan exactly the same kinds
of shells as in the Thames, and the sedges and reeds of the Isis are found
from Cricklade to Kamschatka and beyond Bering Sea to the upper waters of
the Mackenzie and the Mississippi. The Thames, our longest fresh-water
river, and its containing valley form the largest natural feature in this
country. They are an organic whole, in which the river and its tributaries
support a vast and separate life of animals and plants, and modify that of
the hills and valleys by their course. Civil law has recognised the Thames
system as a separate area, and given to it a special government, that of
the Conservators, whose control now extends from the Nore to the remotest
springs in the hamlets in its watershed; and natural law did so long
before, when the valley became one of the migration routes of certain
southward-flying birds. Its course is of such remote antiquity that there
are those who hold that its bed may twice have been sunk beneath the sea,
and twice risen again above the face of the waters.[1] It has ever been a
masterful stream holding its own against the inner forces of the earth;
for where the chalk hills rose, silently, invisibly, in the long line from
the vale of White Horse to the Chilterns the river seems to have worn them
down as they rose at the crossing point at Pangbourne, and kept them
under, so that there was no barring of the Thames, and no subsequent
splitting of the barrier with gorges, cliffs, and falls. Its clear waters
pass from the oolite of the Cotswolds, by the blue lias and its fossils,
the sandstone rock at Clifton Hampden, the gravels of Wittenham, the great
chalk range of the downs, the greensand, the Reading Beds, to the
geological pie of the London Basin, and the beds of drifts and brick earth
in which lie bedded the frames and fragments of its prehistoric beasts. In
and beside its valley are great woods, parks, downs, springs, ancient
mills and fortresses, palaces and villages, and such homes of prehistoric
man as Sinodun Hill and the hut remains at Northfield. It has 151 miles of
fresh water and 77 of tideway, and is almost the only river in England in
which there are islands, the famous eyots, the lowest and largest of which
at Chiswick touches the London boundary.

After leaving Oxford the writer has lived for many years opposite this
typical and almost unspoilt reach of the London river, and for a
considerable time shot over the estate on the upper Thames of which
Sinodun Hill is the hub and centre. This fine outlier of the chalk, with
its twin mount Harp Hill, dominates not only the whole of the Thames
valley at its feet, but the two cross vales of the Thame and the Ock. On
the bank opposite the Thame joins the Isis, and from thence flows on the
THAMES. Weeks and months spent there at all seasons of the year gave even
better opportunities for becoming acquainted with the life of the Upper
Thames, than the London river did of learning what the tidal stream really
is and may become. Fish, fowl and foxes, rare Thames flowers and shy
Thames chub, butterflies, eel-traps, fountains and springs, river shells
and water insects, are all parts of the "natural commodities" of the
district. There is no better and more representative part of the river
than this. Close by is Nuneham, one of the finest of Thames-side parks,
and behind that the remains of wild Oxfordshire show in Thame Lane and
Clifton Heath. How many centuries look down from the stronghold on Sinodun
Hill, reckoning centuries by human occupation, no one knows or will know.
There stands the fortress of some forgotten race, and below it the double
rampart of a Roman camp, running from Thame to Isis. Beyond is Dorchester,
the abbey of the oldest see in Wessex, and the Abbey Mill. The feet of the
hills are clothed by Wittenham Wood, and above the wood stretches the
weir, and round to the west, on another great loop of the river, is Long
Wittenham and its lovely backwater. Even in winter, when the snow is
falling like bags of flour, and the river is chinking with ice, there is
plenty to see and learn, or in the floods, when the water roars through
the lifted hatches and the rush of the river throbs across the misty
flats, and the weeds and sedges smell rank as the stream stews them in its
mash-tub in the pool below the weir.

[1] Phillips, "Geology of Oxford and of the Valley of the Thames."




THE FILLING OF THE THAMES


In the late autumn of 1893, one of the driest years ever known, I went to
the weir pool above the wood, and found the shepherd fishing. The river
was lower than had ever been known or seen, and on the hills round the
"dowsers" had been called in with their divining rods to find the vanished
waters.

"Thee've got no water in 'ee, and if 'ee don't fill'ee avore New Year,
'ee'll be no more good for a stree-um"! Thus briefly, to Father Thames,
the shepherd of Sinodun Hill. He had pitched his float into the pool below
the weir--the pool which lies in the broad, flat fields, with scarce a
house in sight but the lockman's cottage--and for the first time on a
Saturday's fishing he saw his bait go clear to the bottom instead of being
lost to view instantly in the boiling water of the weir-pool. He could
even see the broken piles and masses of concrete which the river in its
days of strength had torn up and scattered on the bottom, and among them
the shoals of fat river fish eyeing his worm as critically as his master
would a sample of most inferior oats. Yet the pool was beautiful to look
upon. Where the water had sunk the rushes had grown taller than ever, and
covered the little sandbanks left by the ebbing river with a forest of
green and of red gold, where the frost had laid its finger on them. In the
back eddies and shallows the dying lily leaves covered the surface with
scales of red and copper, and all along the banks teazles and frogbits,
and brown and green reeds, and sedges of bronze and russet, made a screen,
through which the black and white moorhens popped in and out, while the
water-rats, now almost losing the aquatic habit, and becoming pedestrian,
sat peeling rushes with their teeth, and eyeing the shepherd on the weir.
Even the birds seemed to have voted that the river was never going to fill
again, for a colony of sandpipers, instead of continuing their migration
to the coast, had taken up their quarters on the little spits of mud and
shingle now fringing the weir-pool, and were flitting from point to point,
and making believe it was a bit of Pagham Harbour or Porchester Creek. On
every sunny morning monster spiders ran out from the holes and angles of
the weir-frame, and spun webs across and across the straddling iron legs
below the footbridge, right down to the lowered surface of the water,
which had so sunk that each spider had at least four feet more of web than
he could have reckoned upon before and waxed fat on the produce of the
added superficies of enmeshed and immolated flies. So things went on
almost till New Year's Eve. The flats of the Upper Thames, where the
floods get out up the ditches and tributaries, and the wild duck gather on
the shallow "splashes" and are stalked with the stalking-horse as of old,
were as dry as Richmond Park, and sounded hollow to the foot, instead of
wheezing like a sponge. The herons could not find a meal on a hundred
acres of meadow, which even a frog found too dry for him, and the little
brooks and land-springs which came down through them to the big river were
as low as in June, as clear as a Hampshire chalk stream, and as full of
the submerged life of plants. Instead of dying with the dying year at the
inrush of cold water brought by autumn rains, all the cresses, and
tresses, and stars, and tangles, and laced sprays of the miniature growth
of the springs and running brooks were as bright as malachite, though
embedded in a double line of dead white shivering sedge. And thus the
shortest day went by, and still the fields lay dry, and the river shrank,
and the fish were off the feed; and though murky vapours hung over the
river and the flats and shut out the sun, the long-expected rains fell not
until the last week's end of the year. Then at last signs and tokens began
by which the knowing ones prophesied that there was something the matter
with the weather. The sheep fed as if they were not to have another bite
for a week, and bleated without ceasing, strange birds flew across the sky
in hurrying flocks, and in all the country houses and farmers' halls the
old-fashioned barometers, with their dials almost as big as our eight-day
clocks and pointers as long as a knitting-needle, began to fall, or rather
to go backwards, further than was ever recorded. And whereas it is, and
always has been, a fact well known to the owners of these barometers that
if they are tapped violently in the centre of their mahogany stomachs the
needle will jerk a little in the direction of recovery, and is thereby
believed to exercise a controlling influence in the direction of better
weather, the more the barometers were tapped and thumped the more the
needle edged backwards, till in some cases it went down till it pointed to
the ivory star at the very bottom of the dial, and then struck work and
stuck there.

[Illustration: WILD DUCK. _From a photograph by Charles Reid._]

[Illustration: A FULL THAMES. _From a photograph by Taunt & Co._]

That night the storm began. To connoisseurs in weather in the
meteorological sense it was a joy and an ensample, for it was a perfect
cyclonic storm, exactly the right shape, with all its little dotted lines
of "isobars" running in ovals one inside another. From another point of
view it was the storm of an hour spread over two days, so that there was
plenty of time to see and remember the normal ways of cyclones, which may
be briefly described as first a flush of heat whether in summer or winter,
then a furious wind, then hurrying clouds and much rain, with changes of
wind, then more clouds and more rain, then a "clearing shower" with most
rain, then a furling and brailing-up of the rain clouds, splashes of blue
in the sky, with nets of scud crossing them, sudden gleams of sun, sudden
cold, and perhaps a hail shower, and then piercing cold and sunlight. All
which things happened, but took a long time about it. The storm began in
the night, and howled through the dark. The rain came with the morning;
but it was the "clearing shower," which lasted ten hours, which caused the
filling of the Thames. The wind still blew in furious gusts, but the rain
was almost too heavy to be moved. The sky was one dark, sombre cloud, and
from this the rain poured in slanting lines like pencils of water. But
across this blanket of cloud came darker, lower, and wetter clouds, even
more surcharged with water, from which the deluge poured till the earth
was white like glass with the spraying drops. Out in the fields it was
impossible to see through the rain; but as the end of the column of cloud
began to break and widen the water could be seen in the act of passing
from the land to the river. On the fallows and under the fences all the
surface earth was beaten down or swept away. All seeds which had sunk
naturally below the surface were laid bare. Hundreds of sprouting horse
chestnuts, of sprouting acorns beneath the trees, thousands of grains of
fallen wheat and barley, of beans, and other seeds of the farm were
uncovered as if by a spade.

Down every furrow, drain, watercourse, ditch, runnel, and watercut, the
turbid waters were hurrying, all with one common flow, all with increasing
speed, to the Thames. The sound of waters filled the air, dropping,
poppling, splashing, trickling, dripping from leaves to earth, falling
from bank to rills below, gurgling under gate-paths, lapping against the
tree-trunks and little ridge piles in the brooks, and at last sweeping
with a hushed content into the bosom of Thames. And the river himself was
good for something more than a "stree-um." He was bank-full and sweeping
on, taking to himself on this side and on that the tributes of his
children, from which the waters poured so fast that they came in almost
clear, and the mingled waters in the river were scarcely clouded in their
flow. The lock-men rose by night and looked at the climbing flood, and
wakened their wives and children, and raised in haste hatch after hatch of
the weirs, and threw open locks and gates. Windsor Weir broke, but the
wires flashed the news on, and the river's course was open, and after the
greatest rain-storm and the lowest barometer known for thirty years, the
Thames was not in flood, but only brimful; and once more a "river of
waters."




THE SHELLS OF THE THAMES


Of the thousands who boat on the Thames during the summer few know or
notice the beauty of the river shells. They are among the most delicate
objects of natural ornament and design in this country. Exquisite pattern,
graceful shapes, and in some cases lovely tints of colour adorn them.
Nature has for once relaxed in their favour her rigid rules, by which she
turns out things of this kind not only alike in shape, but with identical
colour and ornament. Among humming-birds, for instance, each bird is like
the other, literally to a feather. The lustre on each ruby throat or
amethyst wing shines in the same light with the same prismatic divisions.
But even in the London river, if you go and seek among the pebbles above
Hammersmith Bridge when the river is low, you may find a score of
_neretina_ shells not one of which is coloured like the rest or
ornamented with exactly the same pattern, yet each is fit to bejewel the
coronet of some Titania of the waters. A number of these tiny shells,
gathered from below the bridge, lie before the writer, set on black satin
to display the hues. They look at a little distance like a series of mixed
Venetian beads, but of more elegant form. From whichever side they are
seen, the curves are the perfection of flowing line. The colouring and
ornament of each is a marvel and delight. Some are black, with white spots
arranged in lines following the curves, and with the top of the blunt
spiral white. These "black-and-white marble" patterns are followed by a
whole series in which purple takes the place of black, and the spots are
modified into scales. Then comes a row of rose-coloured shells, some with
white lance-heads, or scales, others with alternate bands of white scales
and white dots. Some are polished, others dull, some rosy pink, others
almost crimson. Some are marked with cream and purple like the juice of
black currants with cream in it. In some the scale pattern changes to a
chequer, some are white with purple zig-zags. And lastly come a whole
series in pale olive, and olive and cream, in which the general colour is
that of a blackcap's egg, and the pattern made by alternate spots of olive
and bands of cream. If these little gems of beauty come out of the London
river, what may we not expect in the upper waters of the silver Thames?[1]
A search in the right places in its course will show. But these
_neretinae_ are everywhere up to the source of the river, for they
feed on all kinds of decaying substances. If the pearl is the result of a
disease or injury, the beauty of the _neretina_ is a product or
transformation from foul things to fair ones.

As the Thames is itself the product and union of all its vassal streams,
an "incarnation" of all the rest, so in its bed it holds all the shells
collected from all its tributaries. Different tribes of shells live in
different waters. Some love the "full-fed river winding slow," some the
swift and crystal chalk-stream. Some only flourish just over the spots
where the springs come bubbling up from the inner cisterns of earth, and
breathe, as it were, the freshness of these untainted waters; others love
the rich, fat mud, others the sides of wearings and piles, others the
river-jungles where the course is choked with weeds. But come what may, or
flourish where they please, the empty shells are in time rolled down from
trout-stream and chalk-stream, fountain and rill, mill-pool and ditch,
cress-bed and water-cut, from the springs of the Cotswolds, the Chilterns,
the downs, from the valleys of Berkshire, Buckinghamshire, Surrey,
Gloucester, Oxford, and Essex, into the Thames. Once there the river makes
shell collections on its own account, sorting them out from everything
else except a bed of fine sand and gravel, in which they lie like birds'
eggs in bran in a boy's cabinet, ready for who will to pick them up or
sift them out of it. These shell collections are made in the time of
winter floods, though how they are made or why the shells should all
remain together, while sticks, stones, and other rubbish are carried away,
it is impossible to say. They are laid on smooth points of land round
which the waters flow in shallow ripples. Across the river it is always
deep, swift, and dark, though the sandbanks come in places near the
surface, and in the shallows grow water-crowfoot, with waving green hair
under water, and white stems above it. The clean and shining sand shelves
down to the water's edge, and continues below the surface. Here are living
shells, or shells with living fish in them. In the bright water lie
hundreds of the shells of the fresh-water mussels, the bearers of pearls
sometimes, and always lined with that of which pearls are made, the
lustrous nacre. The mealy masses of dry sand beyond the river's lip are
stuffed with these mussel shells. They lie all ways up, endways, sideways,
on their faces, on their backs. The pearl lining shines through the sand,
and the mussels gleam like silver spoons under the water. They crack and
crunch beneath your feet as you step across to search the mass for the
smaller and rarer shells. Many of those in the water contain living
mussels, yellow-looking fat molluscs, greatly beloved of otters, who eat
them as sauce with the chub or bream they catch, and leave the broken
shells of the one by the half-picked bones of the other. There was a
popular song which had for chorus the question, "Did you ever see an
oyster walk upstairs?" These mussels _walk_, and are said to be
"tolerably active" by a great authority on their habits. They have one
foot, on which they travel in search of feeding ground, and leave a
visible track across the mud. There are three or four kinds, two of which
sometimes hold small pearls, while a third is the pearl-bearer proper.
_Unio pictorum_ is the scientific name of one, because the shells
were once the cups in which the old Dutch painters kept their colours, and
are still used to hold ground gold and silver for illuminating. The
pearl-bearing mussel is longer than the other kinds, flatter and darker,
and the lining of mother-of-pearl is equal to half the total thickness of
the shell.[2]

[Illustration: SHELLS OF THE THAMES. _From a photograph by E. Seeley_]

Though not so striking from their size and pearly lustre, there are many
shells on the Thames sandbanks not less interesting and in large numbers.
Among these are multitudes of tiny fresh-water cockle shells of all sizes,
from that of a grain of mustard seed to the size of a walnut, flat, curled
shells like small ammonites, fresh-water snail shells of all sizes, river
limpets, _neretinae_, and other and rounder bivalve shells allied to
the cockles. The so-called "snails" are really quite different from each
other, some, the _paludinas_, being large, thick-striped shells,
while the _limnaeas_ are thin, more delicately made, some with fine,
pointed spiral tops, and others in which the top seems to have been
absorbed in the lower stories. There are eight varieties of these
_limnaeas_ alone, and six more elegant shells of much the same
appearance, but of a different race.

The minute elegance of many of these shells is very striking. Tiny
_physas_ and _succineas_, no larger than shot, live among big
_paludinas_ as large as a garden snail, while all sizes of the larger
varieties are found, from microscopic atoms to the perfect adult. Being
water shells, and not such common objects as land shells, these have no
popular names. The river limpets are called _ancylus fluviatilis_.
Some are no larger than a yew berry, and are shaped like a Phrygian cap;
but they "stick" with proper limpet-like tenacity. On the stems of
water-lilies, on piles, on weeds and roots in any shallow streams, but
always on the under side of the leaves, are the limpets of the Thames. The
small ammonite-like shells are called _planorbis_, and like most of
the others, belong also to the upper tertiary fossils. They feed on the
decaying leaves of the iris and other water plants, and from the number of
divisions on the shell are believed to live for sometimes twenty years. Of
the many varieties, one, the largest, the horn-coloured _planorbis_,
emits a purple dye. Two centuries ago Lister made several experiments in
the hope that he might succeed in fixing this dye, as the Tyrians did that
of the murex, but in vain. There are eleven varieties of this creature
alone. It is easier to find the shells than to discover the living
creature in the river. For many the deep, full river is not a suitable
home; they only come there as the water does, from the tributary streams.
Far up in some rill in the chalk, from the bed of which the water bubbles
up and keeps the stones and gravel bright, whole beds of little
pea-cockles may be found, lying in masses side by side, like seeds sown in
the water-garden of a nymph.

[1] I have a series of _neretina_ shells from the Philippines, much
larger in size and brown in colour, in which many of the same kinds of
ornament occur.

[2] A fresh-water mussel shell from North America in my possession is
coloured green, and so marked and crimped as to resemble exactly a patch
of water-weed, such as grows on stones and piles.

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Call off the hounds: the Not the Booker prize vote stands

From Jim Thompson to Daphne du Maurier, the author and comedian singles out stories that live up to their genre and genuinely do give readers sleepless nights

As well as making becoming a household name for his work as a writer and actor in comedy shows such as The Fast Show, Charlie Higson has had a parallel and these days just as stellar career as a writer. After winning acclaim for early, blackly comic crime novels including his debut King of the Ants (1992) and Getting Rid of Mister Kitchen (1996), he moved on to writing for children in 2005 with the Young Bond series. These books have now sold more than 1m copies in the UK alone, and have been translated into 24 different languages.

The Enemy, published last year, marked a new departure for Higson into horror writing for teenagers, with a tale of teenagers defending themselves against a zombified adult world. The first in a series, it was this week shortlisted for the Booktrust teenage prize, with volume two, The Dead, due out next week.

Buy The Dead by Charlie Higson at the Guardian bookshop

"What constitutes a horror book? A black and red cover? A primary objective to scare the shit out of the reader? A plug from Stephen King on the back? Most of the books on my list would probably be categorised in other genres first, but then – is Alien a sci-fi film or a horror film, or both? Is Wuthering Heights a ghost story? Is Jane Eyre the mother of all psycho-in-the-attic stories? And Daphne du Maurier's Rebecca is in many ways a haunted house story. I might well have put it in here if I'd ever actually read it.

"You can have a lot of fun mixing genres up. Personally I'm not the world's biggest fan of pure horror novels – ghosts and demons and man-eating slugs leave me slightly unmoved. With no belief in the supernatural, supernatural stories usually have little effect on me. Of the big horror names only Stephen King, with his concentration on character, really works for me. I've enjoyed other horror writers but wouldn't put them in any top 10 lists. HP Lovecraft, for instance, is fun but his books aren't exactly scary. I'm not going to lose any sleep over the possibility of Cthulhu and the ancient gods crossing over into our domain.

"And there are other glaring omissions from my list. Why no Dracula or Frankenstein or Edgar Allan Poe I hear you cry. It's sacrilege to leave them out of a horror list, I know. But Poe only really wrote a couple of scary horror stories (The Tell Tale Heart is brilliant) and I find Dracula and Frankenstein rather heavy going and 19th century. Of course they're where it all began as far as the undead are concerned and must be read, I'm just not sure that they still have the power to frighten us. And, let's face it, that's what a horror book should do.

"I've always been interested in the mechanics of frightening people. I like the idea of disturbing my readers, giving them sleepless nights and stamping images in their imaginations that will stay there for a very long time. That way they will always remember your book, and after all, us novelists are like Dracula, all we want is immortality. The first two of my adult novels (King Of The Ants and Happy Now) could easily be categorised as horror books and my new series for younger readers, The Enemy, is most definitely horror as it concerns kids vs adult zombies, but it is also an action adventure series, which seems to be my default mode. I'm always open to suggestions, though, so if anyone wants to champion some pure horror books that I absolutely must read, then fire away. I'm all severed ears."

1. The Watcher by Charles Maclean (out of print but Amazon and Abebooks have copies)

An extraordinary book, unlike anything else I've ever read, which had a big effect on me when I first read it. The narrator, Martin Gregory, starts out by telling us that he was perfectly normal and happy and that there was no reason for the terrible thing he has done … The sense of impending horror is enormous, and the book, like the narrator, soon spirals into madness. We have to try and work out what is really going on as we see everything through Gregory's distorted perspective. One thing we can be sure of, though, is that everyone around him is in very great danger.

2. The Shining by Stephen King

You can't have a horror list without having Stephen King in there somewhere. It's the law. But the thing is, when he was at his peak his books were brilliant (he hasn't quite been able to sustain it – you can't help but start repeating yourself if you write as many books as he has). Engrossing, tragic and, yes, frightening, which you can't always say about horror books. He's a great writer and for me the greatest horror writer. If you've only seen the film of The Shining then read the book – it's better (first half of the film amazing, second a bit silly).

3. The Drive-In by Joe R Lansdale

The Drive In, by Texan titan Joe R Lansdale is a great, knowingly trashy nod to the 50s and 60s craze for teen drive-in schlock sci-fi/horror flicks. A bunch of kids at an all-night horror showing at their local drive-in get mysteriously trapped there by some malign force and begin to behave like ants under a glass. Surviving on junk food and fizzy drinks they go crazy and set up a savage and weird alterative society full of great characters like the Popcorn King. Book Two spins off into yet wilder shores.

4. I Am Legend by Richard Matheson

A hugely influential horror book, written in 1957. The last human survivor in a Californian suburb ventures forth every day with a supply of stakes to try and wipe out the vampires that have taken over. Matheson was great at mixing horror and science fiction, and rooting the fantastical in everyday reality. This book is a brilliant study in loneliness and obsession, and when the story twists towards the end Matheson very cleverly makes us question all that has gone before.

5. The Killer Inside Me by Jim Thompson

There has been a lot of fuss recently about the film of this book. But the book – which is every bit as extreme and upsetting as the film – has been around since as long ago as 1952. Amazing how you can get away with so much more in books without people really noticing. "Oh, it's a book, it must be good for you." Well, this book is certainly not good for you. I remember reading it and thinking – should I be reading this, should anyone read this? It is a horrific trip inside the mind of a cold-blooded psychopathic sadist, who is nevertheless good company and at times unnervingly funny. Not in a flip, post-Tarantino way; this is very disturbing and upsetting stuff. There is never any question as to where Thompson stands – the narrator is a monster. We watch his destructive relations unfold and discover the reasons for his condition from the reading equivalent of "behind the sofa". Unlike a lot of modern writers who go into this area in a sort of gleefully voyeuristic adolescent way that is entirely fake (stand up Brett Easton Ellis). Jim Thompson lived the life. He understood these people and fought many demons of his own. He is my favourite author by a long chalk, and this is an extraordinary book, but it's also certainly one of the most extreme (and extremely upsetting) things I've ever read.

6. Pan Books Of Horror

If any horror collections can be described as seminal it is these. When I was a teenager they were everywhere. Passed around from hand to hand, they had a forbidden, naughty allure, like video nasties. With their classy but trashy covers the stories they contained were gory, nasty, sometimes sexy, often badly written, sometimes brilliant. The collections were a mix of old classics and more modern material, increasingly the latter as the supply of classics ran dry. You'd find Stephen King alongside Algernon Blackwood and some blood-soaked fillers from writers you'd never heard of before and never hear would again. A superfan is currently working with Pan to get the series relaunched, starting with a facsimile reprint of volume one later in the year. Look out for it. And check out his website.

7. Uncle Montague's Tales Of Terror by Chris Priestley

This one's for the kids. Written in an accessible, cod Victorian style it has a neat framing device. Edgar goes to stay with his uncle in the woods who proceeds to tell him a series of terrifying stories – all the while hinting at some dark secrets of his own. Rest assured, the stories, which all feature a child in some way, are genuinely scary and unsettling and really do get under your skin. They certainly frightened my 10-year-old when I read them to him.

8. The Silence Of The Lambs by Thomas Harris

Is this crime or horror? It certainly has a classic horror set up – basically it's Beauty And The Beast. A naïve and innocent, yet ultimately resilient, young girl enters the monster's lair and he falls in love with her. Then together they sort put each other's problems. The secondary villain – Buffalo Bill - is certainly a monster from a horror story, making clothes out if his victims' skin and keeping his latest victim in a pit. The film played like a horror film, and Anthony Hopkins certainly seemed to think he was in one. The book, as usual, is even better than the film. It's weird and engrossing and seductive and scary with some nice gothic touches. A great, great read.

9. Ghost stories by MR James

Apologies to Bram Stoker, Mary Shelley and Edgar Allen Poe, but of the old classics I've gone for James. And not really for the original stories but just so I can bang on about Jonathan Miller's extraordinary BBC film of "Whistle And I'll Come To You". MR James was the king of the unsettling ghost story where not very much happens and it's all about atmosphere and dread. Miller's film still has the power to be very, very disturbing. Give yourself a treat and buy it. There are other James BBC adaptations you should look out for as well (A Warning to the Curious is another favourite), they used to show them at Christmas in the good old days, and all still work.

10. Don't Look Now/The Birds by Daphne du Maurier

All right, I'll admit it, I'm cheating a bit here. I don't think these 2 stories actually appear together in a Du Maurier collection except on audiobook. And like MR James, my interest in du Maurier is primarily in the films made of her stories (nearly all of her output was filmed – she was the Stephen King of her day). I couldn't leave her out because to have come up with the story for not one but two all-time classic horror films is a feat to be applauded. And as Don't Look Now is my favourite horror film I had to get a mention of it in here somewhere. The original stories are still good reads and its fascinating to see how two great directors teased complete films out of them.


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Extract: The Whales by Evie Wyld

"I am an enemy of Waterstone's being destroyed. I am not in any way an enemy of Waterstone's being properly led by people who know what they're doing"

Tim Waterstone is explaining to me why he has a problem with the word entrepreneur, a distaste that I've seen ascribed to him on several occasions but find difficult to understand. How else might you describe a man who conjured, out of a redundancy package of a few thousand pounds, a retail operation that changed the face of British bookselling, and with it the nation's high streets? A man who went on to sell the company to the firm that had made him redundant, and then bought it back; and who, after apparently parting ways with his bookshops for good, made four separate attempts to gain control of them once again? This strikes me as almost a dictionary definition of an entrepreneur. So what's the beef?

His quibble, it turns out, has its basis in good manners. "I can't bear the self-congratulatory thing of applying it to oneself, really," he says: softly spoken and courteous, he appears, in tone and bearing, far more like a gentleman publisher than a cut-throat boardroom monster. Indeed, our semantic discussion has been prompted by his description of the bankers whom he met during a deal he was working on a few years ago and who make up a major strand in his new novel, In for a Penny, In for a Pound, an everyday tale of high finance, newspaper dynasties and the world of books. They were, he says, "so awful" that he started jotting down their conversations during meetings, and soon began to form an idea for a fictional parody of them. He was particularly struck by what seemed to him "like this endless drive towards the accumulation of personal wealth", a motivation at odds, he is at pains to point out, with his own impulses.

"You know, as an entrepreneur, and I hate calling myself an entrepreneur" – here our digression begins – "you don't do it for the money at all, really you don't; you're doing it because you get caught up in an idea and you want that idea to work." The ultimate achievement, according to Waterstone, is to see your vision realised, often against the odds: almost all entrepreneurs, he thinks, are fighting against received wisdom.

He was certainly bucking the trend when he started Waterstone's in 1982; he describes a grim landscape, in which the demise of the book was regularly predicted and which presented book-lovers with a choice between WH Smith, the smaller Blackwells and an array of independents, "some of whom were good, some of whom were terrible; one can romanticise the independents". By far the biggest market share lay with Smiths, the company that Waterstone had spent the previous eight years working for; when he first left university, he had gone to India to work in his father's tea business ("I was 22 going on 18, I was incredibly immature"), before "thoroughly enjoying" a long stint as a marketing man for Allied Breweries. Then, having married young and with a growing family to support, he joined Smiths, who were offering to triple his salary. It was a time he now says he loathed: "I don't want to spend my time knocking Smiths, but in those days family preference ran through, and it was a sort of caricature of corporate life, and I realised I can't stand corporate life, I really can't stand it. The fault was mine . . . I don't like other people's opinions much, I like having my own things, and then they fired me which was a huge relief, and I knew I wanted to start Waterstone's."

His first inspiration was the kind of bookselling he had witnessed in New York, exemplified by the "really terrific" Doubleday stores that stayed open until 11 o'clock at night and dispatched books around the city on delivery bicycles. By contrast, Putney-resident Waterstone had to trudge to the Smiths on his local high street or trek into central London to Hatchards, which, he says, "closed at 12 o'clock on Saturdays; Dillons didn't seem to open at all". And yet he was convinced that there was a market: he knew that all he wanted to do was read, and felt sure that there must be a couple of million like-minded souls in the country. "I was filled with this thought: why couldn't the best of the independents, Hatchards or whoever, be done nationally? Why can't they be like New York stores, better than New York stores, why can't they stay open late at night, why can't they have people working there who really love and know books? And why can't the stock be fabulous?"

So, with his £6,000 redundancy package and additional venture capital, Waterstone advertised in the London Evening Standard for staff – "salary moderate" – and opened up his first store in London's Old Brompton Road. And he was right, there was an appetite for books: soon, branches of Waterstone's, with their sleek black bookshelves, knowledgeable booksellers and unashamedly upmarket range of books, were opening everywhere, aided by their creator's "gift of the gab" with the money men, not to mention the occasional celebrity customer. Waterstone recalls Laurence Olivier visiting his Kensington High Street branch: "He said, are you looking for money? I said yes, so he put in 20,000 quid or something."

Waterstone's arrived at just the right time. It was, he reminds me, a rich time for literary fiction, with writers such as Salman Rushdie, Ian McEwan, John Banville and Martin Amis rising to prominence; Waterstone capitalised on the excitement surrounding this explosion of new writing by making sure that his shops were a natural place for launch parties and readings. "We were," he says, "plainly unfussed about being as culturally aware as we wanted to be." They also made it their business to maximise exposure for writers they believed in, in one instance creating the chain's "Book of the Month" when Waterstone and others in the company fell in love with Nicholas Mosley's Hopeful Monsters in 1990. And there was confidence in the publishing industry, which meant that enough of the big players – Waterstone cites Peter Mayer as an example, then head of the all-powerful Penguin – were prepared to support the enterprise with favourable credit and discount terms. All of which added up, after a while and despite "some fantastically dangerous moments", to a profitable business. "But," maintains Waterstone now, "the real thrill was winning, it wasn't the money; we did make money and it's very nice to have done so, but the real thrill was the dream."

But even the best dreams must come to an end. Waterstone's had expanded rapidly ("We got so arrogant"), often going against the advice of local demographics and sticking to their policy of having an unprecedentedly wide stock offering. It all took a lot of capital and, in 1993, having already sold a share of the business to them, Waterstone sold out to WH Smith for £47m. It can be no coincidence that, in the following years, he wrote three novels – Lilley and Chase, An Imperfect Marriage and A Passage of Lives. Clearly, however, writing books was no simple replacement for selling them, because in 1998 Waterstone joined forces with HMV to buy back the chain for £300m, in the process creating the HMV Media Group, of which he became chairman. Three years later, he was on his way again, and set out to embark on one of the publishing world's most intriguing soap operas – his attempts to buy out HMV altogether. Why?

"I became increasingly frustrated – frankly pissed off – with the way it was being run. I was chairman of HMV and was watching my own baby being absolutely murdered. And it was so stupid because the book market was just growing and growing, and people coming in from Tesco or Asda or Boots seemed to think their job was to get Waterstone's away from books, and move it towards multimedia or something. It was very hard for the people who worked in the stores, who I'd known for years – great, terrific people, wonderful people."

You realise, chatting to Waterstone, that at least part of his success lies in his genial manner: good situations become superlative – "great, terrific, wonderful", while the challenging moments are "tricky". The exception comes when he touches on his declining relationship with HMV: during the period when he tried to buy back the company – especially his fourth, final and "very serious" attempt in 2006, which took place at around the same time as HMV's purchase of the Ottakars chain – he describes himself as "apoplectic" at how the chain was being managed. But when that deal collapsed, with both sides proclaiming themselves hamstrung by the other's impossible demands, he knew it was time to call it quits.

The twists and turns of the battle between Waterstone and Waterstone's must surely, though, have come in handy when he was writing In for a Penny, In for a Pound, the first draft of which ran to an eye-watering 240,000 words. It doesn't shy away from bloodlust in the boardroom – the in-fighting in a family-run newspaper business is cynically manipulated by a private bank hell-bent on extracting maximum commission. In a subsidiary story, a thoroughly decent chap struggles to keep his small publishing firm afloat; the two worlds collide when agony aunt Anna Lavey, the company's star author and a columnist for one of the Macaulay newspapers, finds herself at the centre of a tabloid scandal. Elsewhere, there are high-flying barristers sleeping with senior leftwing politicians, Australian media tycoons running amok and ardent fans who metamorphose into havoc-wreaking stalkers. In short, with its fast-paced plot and to-the-point dialogue (sample: "You're a shit, Nicky. A total shit"), it is designed to grab the attention quickly.

I say to Waterstone "When I first picked it up . . . " and he completes my sentence with the question "you thought it was Jeffrey Archer?" I did, a little: it is bright red, with black-and-gold lettering, and its title is not a million miles away from that of Archer's debut novel, Not a Penny More, Not a Penny Less. Rather than being published by one of the vast commercial houses, Waterstone's novel was picked up by the independent publisher Atlantic, perhaps best known for its Man Booker victory with Aravind Adiga's The White Tiger. It was Atlantic's chief executive and chairman, Toby Mundy, who spotted the book's potential for Corvus, the Atlantic list that publishes crime and thrillers. Waterstone was attracted by Mundy's enthusiasm, though he confesses when he first saw the cover "I nearly passed out. I decorously tried to keep enthusiasm on my face. But I've rather come round to it now."

Mundy was no doubt aware that media and publishing industry observers would lock on to the book's roman à clef aspect: the Barclay brothers, Rupert Murdoch and Anna Raeburn have all been mentioned thus far. All that Waterstone will say is that Anna Lavey is most certainly not based on the late Beryl Bainbridge. But there was a detail that really bothered me. Surely, I ask, when he sends Anna to a bookshop event and has 500 eager readers queue up to meet her, isn't this stretching credulity a little far? After all, if that were most writers' and publishers' experience, they'd be riding around in golden sedan chairs. But he assures me that, no, when Dirk Bogarde signed books in his Kensington store, they sold more than 1,000 copies. If this is a little Pollyannaish – a global film star is not, of course, literary novelist X or poet Y – it is rather charmingly so.

In the latest throw of the dice, Waterstone has found himself largely reconciled with the chain he gave his name to. He is far too polite to inject a hint of "I told you so" into his conversation, saying only how delighted he is that some of Waterstone's most senior staff ring him up these days to talk over the whys and wherefores of the book trade. And, following the departure of managing director Gerry Johnson in January after a poor Christmas, it does seem that the chain is attempting to return to its roots, restoring buying power to staff in individual shops, lessening its reliance on aggressive marketing campaigns and emphasising its focus on quality. So, is the hatchet well and truly buried? "I am an enemy of Waterstone's being destroyed," he says. "I am not in any way an enemy of Waterstone's being properly led by people who know what they're doing." And will he ever try to buy it again? He says not, but stops short of ruling it out entirely with the words: "I'm certainly not going aggressively at them again, under any circumstances."

But even if the chain of shops can realign itself with its core market, it will still have to face the challenges of what Waterstone might call a "tricky" business environment: most obviously, the past few years have seen exceptionally stiff competition from both non-traditional retailers such as supermarkets, with their limited range but rock-bottom prices, and from online bookshops such as Amazon, which in a sense played Waterstone at his own game by having a stock offering of undreamt-of depth. And now there is the ebook – Waterstone has played about on an ereader, he says, but can't see it dominating leisure-time reading.

Perhaps most importantly for the man whose childhood experience of reading was to go into the independent bookshop in Crowborough in East Sussex – his family was not bookish and there wasn't "a bean" to spend on books – and sit on the floor, day after day, poring over their titles, does he still think that people want to buy books? This, it turns out, is not a tricky question to answer at all. "I just couldn't be more optimistic about it."

Waterstone will celebrate the publication of his novel with a party at one of the branch's shops, along with what he calls "the Waterstone diaspora", including former staff, many of whom have gone on to open their own shops or work in publishing. This, presumably, would have been unthinkable a few years ago, and must feel a bit odd. "It's quite strange to be connected to Waterstone's in that way," he concedes, "but they are being so generous over this." And then he will return to his other activities – looking after the youngest two of his eight children, serving as chancellor of Edinburgh Napier University, dodging invitations to sit on other companies' boards – and pondering his next novel. In the unlikely event that he hits a patch of writer's block, he can look for advice to his wife, TV producer Rosie Alison, whose first novel The Very Thought of You was shortlisted for this year's Orange prize. "I'm rather cross with Rosie, stealing my thunder," he jokes. But I'm not sure Waterstone really does cross – I suspect he goes straight from affable to apoplectic, and that, it seems clear, is reserved for rather exceptional circumstances.


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Booker prize sees Peter Carey and Emma Donoghue head shortlist

Evie Wyld, whose debut novel After the Fire, a Still Small Voice won the 2009 John Llewellyn Rhys prize, has written a short story, The Whales, exclusively for Booktrust, where she is currently writer-in-residence. Here we join Jimmy, Elaine, Terry and Yvonne, deep in the bush after five days of walking. The conclusion will appear on the Booktrust website tomorrow

There are four of them footslogging single file along the trail. They sweat and wave their sticks at the flies, spitting the salt off their lips and feeling the rub of their backpacks, hot on their shoulders. A storm bird knows about them from miles off and lets out a wop-wop-wop, getting higher and louder as it goes. Jimmy watches Elaine look up at the gum-treed sky. He follows her gaze. No, he thinks. The bird is wrong; overhead is blue without a wash of cloud.

The crack of dry bark, the whistle of whip birds and sometimes a thundering in the undergrowth – a wombat, a pademelon – it all makes Jimmy feel younger. He can feel the muscles in his thighs working, can feel them thank him for not being stood at the assembly line six hours a day.

Five days of walking and now they are deep in the bush. In another day, they'll turn east, head for the sea, where if they make good time, they'll see the humpbacks heading south towards the Antarctic, their new calves in tow. There'll be a party that night, between the four of them. Terry the young bow-legged one from further down the line with a touch of the idiot about him, Yvonne his frizz-plaited, heavy cousin who runs accounts and her friend Elaine who is nothing to do with the factory and who returns his glances, smiling. Not a bad lot really, especially the girls.

Three days down the coast and they'll arrive home about ready for that soft bed and the meal without char-grit from the campfire, or the dog food pong of tinned meat. It's been good so far. He thinks of what was waiting for him if he hadn't gone bush this week – all those monkey-wrenches wanting to be set. It's been time to move on for a while, he sees that now. Only he'll wait and see what comes of Elaine and the damp hair that ringlets at the back of her neck.

Later in the day he spots a bower bird's chapel. Even this far in, the bird has found a blue toothbrush and bits of turquoise plastic to frame its humpy. He takes a photo, so that the side of Elaine's brown leg slides up the view finder.

'They only collect blue stuff', he says, mainly to Elaine. He feels the roots of his fingers strain as he reigns himself in, his stiff hands reminding him not to overdo it. Steady on.

Chances are, Elaine already knows more than him about bower birds – she told him she's walked the bush for six years, since she left varsity, this last two with Yvonne for company and he only knows from camping out when money gets bad. But he wants to show something to her. Elaine squats next to him and traces an arc with one finger in the dirt, looking at the toothbrush. She is smiling with her eyebrows pulled in.

'It's to impress the female – then she'll come down and he'll do a sexy dance.' As he explains, he wiggles his tail a little in a sexy dance and Elaine smiles wider.

Terry who has been leaning over them to get a look, gyrates around his walking stick. What his mating dance lacks in accuracy it makes up for in energy and the other three look on in silence while he makes the noise of a boombox with his lips pressed together. Jimmy's fingers stretch out towards the ground in embarrassment as he keeps his bad eye – the eye that he thinks of as his secret eye – on Elaine.

'You're a disgustin' specimen, Terry', says the stone-buttocked Yvonne. Terry quickens his hips and points, wiggling himself towards her.

Yvonne stands stiff and still like a wary buffalo. 'Never been the brightest crayon in the box', she says and they all push past him, smiles held down. Jimmy looks back to see him finish in a bunny squat and a flick of his head.

'Yeah!' says Terry loudly, arms raised and both thumbs up to the tops of the trees like they are his audience.

'Yeah' and he finds a cigarette in his back pocket, lights it and considers its glowing end before following on.

There'd been a night of heavy breathing when Elaine and Jimmy faced each other in their swags. They hadn't touched but they'd looked hard in the dark, seeing the glints of each other's tongues, teeth and eyes. There is a luxury in not touching, Jimmy thinks, in not just going with your gut; they don't have all the time in the world but they have this time, which won't end for another few days.

He looks forward to it, imagines the beach in an old film kind of a way. The last night when they will open the wine they've lugged all this way – they'll cool the bottles in a rock pool for a couple of hours, while they see what the beach has for them. He's a beach person at heart, it's where his childhood is at and he can't wait to show off about it. Terry's brought along his spearfishing gear and says he reckons on a good spot up at the point. Jimmy imagines striding into camp, a jewfish slung over one shoulder, a clutch of softly ticking crays hung from their whiskers in his other fist. When the moon's up and the salty wine is drunk, their fingers warm and sticky with sand and cray brains, he'll rub his foot over hers. He'll put his wrists either side of her jaw, so as not to touch her with his prawny fingers and he'll plant a long warm kiss on her mouth, one that shows them both that this is the start of things. He could think about staying on at the factory, him who hasn't stayed in one spot for more than six months at a time since he was 16. Or else, Elaine could come with him, go feral together up the coast. He gets the feeling there's not much holding her to the city anymore. He looks down at himself and he speaks softly to his hands You're orright you bung-eyed bastard. You're an okay sort after all.

Elaine breaks off from the group to take a pee in the scrub. She squats behind a paperbark and laughs. She's been hip deep in croc water, has woken up feeling a huntsman, as big as both of her hands put together, tangling with her feet in her swag. But the idea that the group might hear the sound of her pissing makes it so that she can't go. Eventually, she manages and makes a wet stain on the gum leaves. She pulls her shorts back up and a twig cracks not far up ahead. Shadows rise and fall as something heavy moves away. She catches up with the others at a jog.

Jimmy, that trunk of a man with his duff eye and his bear hands and her pal Yvonne are arguing about a fish. The argument is snapper versus flathead, but in what capacity Elaine is not sure. Terry is unusually quiet for a conversation involving food and he walks a little way from Jimmy and Yvonne.

'Stone lighter?' he asks quietly.

'It was a pee', she says, but her face flushes anyway.

'Right', says Terry and he smiles a weird smile. Elaine accidentally catches his eye.

By five o'clock they reach a small billabong. They strip down to their underwear and jump in like kids, laughing, drowning each other with splashing. Terry tries to duck the girls under, Jimmy dives for yabbies and opens his eyes in the bourbon-coloured water. The white legs of the other three bicycle in the open water. When he comes up for air, he can see that Yvonne is pleased with her breasts and bobs them gently up and down making small waves to the bank.

Jimmy looks a long time at Elaine and she looks back. There is a water level smile between them. He is aware of the ripples that come from his heartbeat and he sees how Elaine's canines creep over her bottom lip. Her hair is dark now, but in the light you can see into it. Where the sun hasn't caught her, her skin is like the damp underside of a leaf.

Elaine thinks she's some wonderful creature. The water holds her in on all sides, she feels good in her skin. The billabong is black from the tea trees that line the bank and when she flicks her legs to the surface she's a pale fish. She pauses before she puts her head under – a brief worry about spluttering and snotting in front of Jimmy, but then she thinks of the beach and the sea to come and she duck dives.

The dark water lifts her hair up and spreads it out, it pushes around her cheeks and taps on her eyelids as she reaches out for the leafy mud of the billabong floor, but even though she goes deep, her hands touch nothing. She kicks up for air and sends a flume of mist from her mouth. She smiles widely at Jimmy who floats on his back like an otter, hands clasped over his chest, dreaming of something.

Frogs and magpies are loud and someone finds a leech and then another and another and there's shrill laughing.

Terry shouts, 'It's eatin' the fuckin' kidneys out of me!' then, 'You girls want me to check under your bras?'

Even though everyone has had a leech before and every person has treated that leech with salt or the tip of a cigarette, quietly, without fear, they all pretend this is the first time they've been bitten and they wallow in the hysteria, enjoying it like gobble-mouthed kids.

Out of the water, damp shirts wrapped around them like towels, Jimmy burns a fat one off Elaine's shoulder. She looks at him sideways and curls a bit of paper bark around her finger.

'Ta', she says, as Jimmy passes her the cigarette which they share puffs from. He looks at her with his good eye. It creases in the corner.

The four of them set up camp a little way from the water hole, away from the leeches. Terry makes a small tepee out of kindling and rings stones around it to stop the fire spreading. Once it's lit they hang over a billy and drink tea while they watch the bats turning circles in the creeping darkness. Yvonne stirs up a thick damper and they bake it in a pan over the fire, to be eaten with a warmed tin of bean stew and rice pudding for afters. The birds are mostly quiet and the cicadas and frogs rev themselves up, as everyone slaps on Rid against the mosquitoes.

'Reckon we'll beat those whales, the way we're moving', Terry says cleaning his bowl with a licked finger.

'Fuckin' A.' Yvonne brings out a flask of bourbon to swill down the pudding with. She takes a long unflinching pull of it before passing it round and beginning a murder story.

'There's this girl went missing not far from Tully – all the kids hitchhike out there…' The dark gets deeper and everyone settles in, enjoying the creep of it. Elaine thinks that there's nothing you can't fix by putting your cheek to the land and feeling it settle. She studies the landscape of Jimmy's face. He is unashamedly enthralled by Yvonne's story. His funny eye looks directly at Elaine but doesn't see her. The lines on his forehead have dirt ground in. He's older than Elaine and she wonders what it is he's been doing all the time he's been alive.

In the silence, after Yvonne's concluding remark 'They only ever found her thumb', Terry farts, a loud one and everyone groans.

'Well, that's put that to bed', he says and they all unroll their swags around the fire and climb in for the night. Jimmy feels the hot weight of Elaine's foot on his and his fingers twitch on their own. Elaine sees Terry's wet eyes, tangerine from the fire and spreads her toes out. She stays awake for as long as possible, making up script after script of how it will go with Jimmy once they reach the sea. She replays the swim at waterhole until she's unsure if she's made parts of it up. She finally falls asleep with her heartbeat high in her chest.

Jimmy wakes long before dawn with a pressure like a stone on his bladder. He swears quietly and rolls out of his swag to ease the ache against a tree. In the undergrowth to his right, something scrabbles. He catches a strong scent and sees a wet snout or eye in the dark. A rumble in the brush and it's gone. Probably a pig or a dingo, but he's glad to get back to the group, where the coals in the fire are still orange. He checks each sleeper. Terry is spread at a diagonal, mouth open, not snoring but making noise. Yvonne sleeps on her front clutching the loose material of her swag, not letting it get away. Elaine is on her side and a brown arm has slithered free. Her hair makes a perfect ring around her ear. As he watches she produces a little noise, a tiny pop from her lips as they're opened with breath. Sleep speaking, thinks Jimmy as he burrows back into his swag, careful not to jog her feet with his, but careful also that they are touching.

The morning is hot and blue from the outset. After tea and a tidy up, they set off, aiming to reach the sea before sunset. Jimmy looks forward to a swim in the bubbling salt, a proper clean down with no bloodsuckers. Terry starts to talk about food almost immediately,

'Lamb chops.' He says confidently to Yvonne. 'That's gotta be the best type of food; lamb chops with the whole grill piece; onions, mushrooms, boiled spuds – no tomatoes though, I'm so over tomatoes.' Yvonne rolls her eyes at him.

'Couldn't give a rat's ring, Terry,' but she hands him a date and a piece of chocolate. Elaine enjoys her feeling of emptiness. Her spit tastes of eucalyptus, she feels new, like the air and blood in her has been filtered out and changed for something better.

After midday, there's a yell from Terry up ahead.

'Get a look at this!' The other three catch up to find him crouching in a small clearing surrounded by stay-a-while and they peer over his shoulder. There's a dead butcher bird on the ground and following the line of Terry's finger into one of the thorny bushes, they see its larder. A small mouse impaled through the neck, stiff and dry, missing parts of its hind quarters, a large Christmas beetle, upside down with the thorn square through the middle and last, still twitching, its legs up and angry, barely impaled through its leaking abdomen, a mouse spider.

'Christssake' whispers Jimmy stepping back.

'How the poor bastard got it up here, I can't figure,' Terry says, pushing the bird with his foot to reveal the green ants starting on its wing. The mouse spider's fangs, black and thick and shiny are up and ready to strike. It waves its legs in the air. Terry picks up a twig to poke it with, but Yvonne knocks it out of his hand.

'Don't be a bum, Terry. I'm not carrying yer fat dead lump out of here if you get bitten. You can count on that.' Jimmy takes a photograph, in which Terry insists on including his own hand, so as get the scale of the thing.

They start to walk on, but Elaine stays behind a beat or two looking at the spider; its fangs reaching for her, legs pointing.

'The sky is falling, the sky is falling!' Yvonne shrieks in a chicken voice as thunder mumbles in the distance. Elaine looks again at the sky, but it's still clear. The thunder is a long way off, but you can smell it in the air, which is heavy and hot. The tips of the trees sway in the sky, but there's no breeze down on the bush floor.

A goanna clings to a Moreton Bay fig above them but nobody sees it.

Jimmy touches the side of Elaine's hand with his little finger and as he does, the leaves to the side of her snaffle and a striped snake comes streaking out of the ground, hitting her on the boot. She barks loudly and kicks trying to get her foot away. The snake's fangs are deeply embedded in the leather of her boot and she shakes her leg hard while around her the others dip and weave and try to help and point their sticks. Jimmy thinks he has control of the situation when he holds Elaine's arm and beats at the snake with his walking stick, accidentally cracking her on the shin. The snake is dislodged, but instead of bolting back into the undergrowth, it turns again and bites Elaine, once, twice, three times and a fourth; calf, back of the knee, thigh, deeply, deeply again on her inner thigh. It's snap-quick and Jimmy doesn't have time to understand and still has Elaine by the arm so she doesn't get away. Finally, Terry gets it – a blow to the eye – and it's stunned. He stomps on the head, but it still twitches, so he beats it with his stick, smashing, till it changes colour, loses its stripes. It is still, but the bush crackles and carries on.

Elaine is tight-lipped and white. Yvonne cries softly into her cupped hands, the small beeps of a bird. Terry shoes leaves over the corpse of the snake and Jimmy still holds Elaine's arm, his grip hard from not knowing what to do, from doing the wrong thing. There is blood, Elaine thinks how it looks like she's got her period and then thinks she'd love a piece of liquorice from her backpack. She starts to turn around, to take her pack off, but her legs have lost their hardness and she is sliding back into Jimmy who is stiff and still.

'Jesus H Christ,' whispers Terry. He looks at the snake and away, prodding it rhythmically with his stick. 'Jimmy,' he says. 'Jesus, Jimmy.'

'S'just a nip,' says Elaine.

As she slides to the ground with the help of Jimmy who has become flesh again, Elaine thinks about the liquorice and then about how it was a tiger. A big dose of tiger and she's starting to feel it now, it feels like it bit her in the artery of her groin. The big one. The one where all the blood lives.

Yvonne straightens herself. She helps Elaine's pack off her back and slides it behind her back to prop her up. She pulls out her poncho and arranges it over Elaine's wounded leg, to keep it out of sight and then snaps the men into action.

'Hot water - get a fire on. Get the first aid.' She looks at the two men who are twisting their fingers. 'C'mon s'only a fuckin' snake bite, let's get it sorted and get on with it.' She's right and Jimmy says so. He says, 'Only a snake bite.' Smiling at Elaine, but what they all think, Jimmy, Terry, Yvonne and Elaine is but it's tiger. And we are deep in. Deep.

• To read the conclusion of the story, visit the Booktrust website from Tuesday 7 September.

• Evie Wyld works in the independent Review Bookshop in Peckham. She is taking part in a live-streamed book club Q&A from the shop at 7.30pm on Thursday 9 September. To find out how to submit questions for the event, visit the Booktrust website


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