A  /  B  /  C  /  D  /  E  /   F  /  G  /  H  /  I  /  J  /   K  /  L  /  M  /  N  /  O   P  /  R  /  S  /  T  /  U  /  V  /  W  /  X  /  Y  /  Z

The Duke of Stockbridge by Edward Bellamy

E >> Edward Bellamy >> The Duke of Stockbridge

Pages:
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24






CHAPTER TWENTY-FOURTH

THE BATTLE OF WEST STOCKBRIDGE


One day, three days before the end of January, as Perez, returning
from a walk, approached the guardhouse, he saw that it was in
possession of Deputy Sheriff Seymour and a posse. The rebel garrison
of three or four men only, having made no resistance, had been
disarmed and let go. Perez turned on his heel and went home. That same
afternoon about three o'clock, as he was sitting in the house, his
brother Reuben, who had been on the watch, came in and said that a
party of militia were approaching.

"I've saddled your horse, Perez, and hitched him to the fence. You've
got a good start, but it won't do to wait a minute." Then Perez rose
up, bade his father and mother and brother good-bye, and went out and
mounted his horse. The militia were visible descending the hill at the
north of the village, several furlongs off. Perez turned his horse in
the opposite direction, and galloped down to the green. He rode up in
front of the store, flung himself from his horse, ran up the steps and
went in. Dr. Partridge was in the store talking to Edwards, and
Jonathan was also there. As Perez burst in, pale, excited, yet
determined, the two gentlemen sprang to their feet and Jonathan edged
toward a gun that stood in the corner. Edwards, as if apprehending his
visitor's purpose, stepped between him and the door of the living-
rooms. But Perez' air was beseeching, not threatening, almost abject,
indeed.

"I am flying from the town," he said. "The hue and cry is out after
me. I beg you to let me have a moment's speech with Miss Desire."

"You impudent rascal," cried Edwards. "What do you mean by this. If
you do not instantly go, I will arrest you myself. See my daughter,
forsooth! Get out of here, fellow!" and he made a threatening step
forward, and then fell back again, for though Perez' attitude of
appeal was unchanged, he looked terribly excited and pertinacious.

"Only a word," he cried, his pleading eyes fixed on the storekeeper's
angry ones. "A sight of her, that's all I ask, sir. You shall stand
between us. Do you think I would harm her? Think, sir, I did not treat
you ill when I was master. I did not deny you what you asked."

There was something more terrifying in the almost whining appeal of
Perez' voice than the most violent threat could be, so intense was the
repressed emotion it indicated. But as Edwards' forbidding and angry
face plainly indicated that his words were having no effect, this
accent of abjectness suddenly broke off in a tremendous cry:

"Great God, I must see her!"

Edwards was plainly very much frightened, but he did not yield.

"You shall not," he replied between his teeth. "Jonathan! Dr.
Partridge! Will you see him murder me?"

Jonathan, gun in hand, pluckily rallied behind his father, while the
doctor laid his hand soothingly on Perez' shoulder, who did not notice
him. But at that moment the door into the living-rooms was flung open,
and Desire and her mother came in. The loud voices had evidently
attracted their attention and excited their apprehensions, but from
the start which Desire gave as she saw Perez, it was evident she had
not guessed he was there. At sight of her, his tense attitude and
expression instantly softened, and it was plain that he no longer saw
or took account of any one in the room but the girl.

"Desire," he said, "I came to see you. The militia are out after me at
last, and I am flying for my life. I couldn't go without seeing you
again."

Without giving Desire a chance to reply, which indeed she was much too
confused and embarrassed to do, her mother interposed.

"Mr. Edwards," she exclaimed indignantly, "can't you put the fellow
out? I'm sure you'll help, Doctor. This is an outrage. I never heard
of such a thing. Are we not safe in our own house from this impudent
loafer?" Perez had not minded the men, but even in his desperation,
Mrs. Edwards somewhat intimidated him, and he fell back a step, and
his eye became unsteady. Dr. Partridge walked to the window, looked
out, and then turning around, said coolly:

"I suppose it is our duty to arrest you, Hamlin, and hand you over to
the militia, but hang me if I wish you any harm. The militia are just
turning into the green, and if you expect to get away, you have not a
second to lose."

"Run! Run!" cried Desire, speaking for the first time.

Perez glanced out at the window and saw his pursuers not ten rods off.

"I will go," he said, looking at Desire. "I will escape, since you
tell me to, but I will come again some day," and opening the door and
rushing out, he leaped on his horse and galloped away on the road to
Lee, the baffled militiamen satisfying themselves with yelling and
firing one or two vain shots after him.

Sedgwick, aware that in the ticklish state of public opinion, the
government party could not afford to provide the malcontents with any
martyrs, had postponed the attempt to arrest Perez until affairs were
fully ripe for it. The militia company of Captain Stoddard had been
quietly reorganized, so that the very night of Perez' flight, patrols
were established, and a regular military occupation of the town began.
The larger part of the old company having gone over to the insurgents,
the depleted ranks had been filled out by the enlistment as privates
of the gentlemen of the village. The two Dwights, Drs. Sergeant and
Partridge, Deacons Nash and Edwards, and many other silk stockinged
magnates carried muskets, and a dozen gentlemen besides had organized
themselves into a party of cavalry, with Sedgwick himself as captain.
Even then the difficulty in finding men enough to fill out the company
was so great that lads of sixteen and seventeen, gentlemen's sons,
were placed in line with the gray fathers of the settlement. There was
need indeed of every musket that could be mustered, for up at West
Stockbridge, only an hour's march away, Paul Hubbard had a hundred and
fifty men about him, from whom a raid might at any moment be expected.

But Stockbridge was now to become the center of military operations,
not only for its own protection, but for that of the surrounding
country. Hampshire County, as well as the eastern counties, had been
called on for quotas to swell General Lincoln's army, but upon
Berkshire no requisition had been made. The peculiar reputation of
that county for an independent and insubordinate temper, afforded
little reason to hope such a requisition would be regarded if made.
And indeed the county promptly showed itself quite equal to the
independent role which the Governor's course conceded to it. An
effective plan for the suppression of the rebellion in the county had
been concerted between Sedgwick and the leading men of the other
towns. It had been agreed upon to raise five hundred men, and
concentrate them at Stockbridge, using that town as a base of
operations against the rebel bands in Southern Berkshire. Captain
Stoddard's company had scarcely taken military possession of
Stockbridge, when it was reλnforced by companies from Pittsfield,
Great Barrington, Sheffield, Lanesboro, Lee and Lenox. It was under
escort of the Pittsfield company, that Jahleel Woodbridge returned to
Stockbridge, after an absence of nearly four months. General
Patterson, one of the major-generals of militia in the county, and an
officer of revolutionary service, assumed command of the battalion,
and promptly gave it something to do.

Far from appearing daunted by the presence of so large a body of
militia in Stockbridge, Hubbard's force at the ironworks had increased
to two hundred men who boldly threatened to come down and clean out
Patterson's "Tories," a feat to which, if joined by some of the
smaller insurgent bands in the neighborhood, they might ere long be
equal. For this Patterson wisely decided not to wait. And so at noon
of one of the first days of February, about three hundred of the
government troops, with half a dozen rounds of cartridges per man, set
out to attack Hubbard's camp.

There had been tearful farewells in the gentlemen's households that
morning. Most had sent forth father and sons together to the fray and
some families there were which had three generations in the ranks. For
this was the gentlemen's war. The mass of the people held sullenly
aloof and left them to fight it out. It was all that could be expected
of themselves if they did not actively join the other side. There were
more friends of theirs with Hubbard than with Patterson, and the
temper in which they viewed the preparations to march against the
rebels was so unmistakably ugly that as a protection to the families
and property in the village one company had to be left behind in
Stockbridge. It was a muggy overcast day, a poor day to give men
stomach for fighting; drum and fife were silent that the enemy might
have no unnecessary warning of their coming; and so with an ill-wishing
community behind their backs and the foe in front, the troops set out
under circumstances as depressing as could well occur. And as they went,
mothers and daughters and wives climbed to upper windows and looked out
toward the western mountain up whose face the column stretched, straining
their ears for the sound of shots with a more quaking apprehension than
if their own bosoms had been their marks. It is bad enough to send
friends to far-off wars, sad enough waiting for the slow tidings, but
there is something yet more poignant in seeing loved ones go out to
battle almost within sight of home.

The word was that Hubbard was encamped at a point where the road
running directly west over the mountain to West Stockbridge met two
other roads coming in from northerly and southerly directions.
Accordingly, in the hope of catching the insurgents in a trap the
government force was divided into three companies. One pushed straight
up the mountain by the direct road, while the others made respectively
a northern and a southern detour around the mountain intending to
strike the other two roads and thus come in on Hubbard's flanks while
he was engaged in front. The center company did not set out till a
little after the other two, so as to give them a start. When it
finally began to climb the mountain Sedgwick with his cavalry rode
ahead. A few rods behind them came a score or two of infantry as a
sort of advance guard, the rest of the company being some distance in
the rear. The gentlemen in that little party of horsemen had nearly
all seen service in the late war and knew what fighting meant, but
that was a war against their country's foes, invaders from over the
sea, not like this, against their neighbors. They had no taste for the
job before them, resolute as they were to perform it. The men they
were going to meet had most of them smelled powder, and knew how to
fight. They were angry and desperate and the conflict would be bloody
and of no certain issue. So far as they knew, it would be the first
actual collision of the insurrection, for the news of the battle at
Springfield had not yet reached them. No wonder they should ride along
soberly and engrossed in thought.

Suddenly a man stepped out from the woods into the road and firing his
musket at them turned and ran. Thinking to capture him the gentlemen
spurred their horses forward at a gallop. Other shots were fired
around them, indicating clearly that they had come upon the picket
line of the enemy. But their blood was up and they rode on pell-mell
after the fugitive sentry. There was a turn in the road a short
distance ahead. As they dashed around it, now close behind the flying
man, they found themselves in the clearing at the crossing of the
roads. Why do they rein in their plunging steeds so suddenly? Well
they may! Not six rods off the entire rebel line of two hundred men is
drawn up. They hear Hubbard give the order "Present!" and the muskets
of the men rise to their cheeks.

"We're dead men. God help my wife!" says Colonel Elijah Williams, who
rides at Sedgwick's side. Advance or retreat is alike impossible and
the forthcoming volley can not fail to annihilate them.

"Leave it to me," says Sedgwick, quietly, and the next instant he is
galloping quite alone toward the line of levelled guns. Seeing but one
man coming the rebels withhold their fire. Reining up his horse within
a yard of the muzzles of the guns he says in a loud, clear,
authoritative voice:

"What are you doing here, men? Laban Jones, Abner Rathbun, Meshech
Little, do you want to hang for murder? Throw down your arms. You're
surrounded on three sides. You can't escape. Throw down your arms and
I'll see you're not harmed. Throw away your guns. If one of them
should go off by accident in your hands, you couldn't be saved from
the gallows."

His air, evincing not the slightest perturbation or anxiety on his own
part, but carrying it as if they only were in peril, startled and
filled them with inquietude. His evident conviction that there was
more peril at their end of the guns than at his, impressed them. They
lowered their muskets, some threw them down. The line wavered.

"He lies. Shoot him! Fire! Damn you, fire!" yelled Hubbard in a panic.

"The first man that fires hangs for murder!" thundered Sedgwick.
"Throw down your arms and you shall not be harmed."

"Kin yew say that for sartin, Squire?" asked Laban, hesitatingly.

"No, he lies. Our only chance is to fight!" yelled Hubbard,
frantically. "Shoot him, I tell you."

But at this critical moment when the result of Sedgwick's daring
experiment was still in doubt, the issue was determined by the
appearance of the laggard infantry at the mouth of the Stockbridge
road, while simultaneously shots resounding from the north and south
showed that the flanking companies were closing in.

"We're surrounded! Run for your lives!" was shouted on every side, and
the line broke in confusion.

"Arrest that man!" said Sedgwick, pointing to Hubbard, and instantly
Laban Jones and others of his former followers had seized him. Many,
throwing down their arms, thronged around Sedgwick as if for
protection, while the rest fled in confusion, plunging into the woods
to avoid the troops who were now advancing in plain sight on all three
roads. A few scattered shots were exchanged between the fugitives and
the militia, and the almost bloodless conflict was over.

"Who'd have thought they were such a set of cowards?" said a young
militia officer, contemptuously.

"They are not cowards," replied Sedgwick reprovingly. "They're the
same men who fought at Bennington, but it takes away their courage to
feel they're arrayed against their own neighbors and the law of the
land."

"You'd have had your stomach full of fighting, young man," added
Colonel Williams, "if Squire Sedgwick had not taken them just as he
did. Squire," he added, "my wife shall thank you that she's not a
widow, when we get back to Stockbridge. I honor your courage, sir. The
credit of this day is yours."

Those standing around joining heartily in this tribute, Sedgwick
replied quietly:

"You magnify the matter over much, gentlemen. I knew the men I was
dealing with. If I could get near enough to fix them with my eye
before they began to shoot I knew it would be easy to turn their
minds."

The reλntry of the militia into Stockbridge was made with screaming
fifes, and resounding drums, while nearly one hundred prisoners graced
the triumph of the victors. The poor fellows looked glum enough, as
they had reason to do. They had scorned the clemency of the government
and been taken with arms in their hands. Imprisonment and stripes was
the least they could expect, while the leaders were in imminent danger
of the gallows. But considerations other than those of strict justice
according to law determined their fate, and made their suspense of
short duration. It was well enough to use threats to intimidate
rebels, but in an insurrection with which so large a proportion of the
people sympathized partly or fully, severity to the conquered would
have been a fatal policy. As a merely practical point, moreover, there
was not jail room in Stockbridge for the prisoners. They must be
either forthwith killed or set free. The upshot of it was that
excepting Hubbard and two or three more they were offered release that
very afternoon, upon taking the oath of allegiance to the state. The
poor fellows eagerly accepted the terms. A line of them being formed
they passed one by one before Justice Woodbridge, with uplifted hand
took the oath, slunk away home, free men, but very much crestfallen.
As if to add a climax to the exultation of the government party, news
was received, during the evening, of the rout of the rebels under
Shays at Springfield, in their attack on the militia defending the
arsenal there, the last day of January.

Now it must be understood that not alone in Captain Stoddard's
Stockbridge company had gentlemen filled up the places of the
disaffected farmers in the ranks, but such was equally the case with
the companies which had come in from the other towns, the consequence
of which was that the present muster represented the wealth, the
culture, and aristocracy of all Berkshire. There are far more people
in Berkshire now than then; far more aggregate wealth, and far more
aggregate culture, but with the decay of the aristocratic form of
society which prevailed in the day of which I write, passed away the
elements of such a gathering as this, which stands unique in the
social history of Stockbridge. The families of the county gentry here
represented, though generally living at a day or two's journey apart,
were more intimate with each other than with the farmer folk, directly
surrounded by whom, they lived. They met now like members of one
family, the sense of unity heightened by the present necessity of
defending the interests of their order, sword in hand, against the
rabble. The gentlemen's families of Stockbridge had opened wide their
doors to these gallant and genial defenders, whose presence in their
households, far from being regarded as a burden, required by the
public necessity, was rather a social treat of rare and welcome
character; and, unless tradition deceives, more than one happy match
was the issue of the intimacies formed between the fair daughters of
Stockbridge and the knights who had come to their rescue.

Previous to the conflict at West Stockbridge and the news of the
battle at Springfield, the seriousness of the situation availed indeed
to put some check upon the spirits of the young people. But no sooner
had it become apparent that the suppression of the rebellion was not
likely to involve serious bloodshed than there was such a general
ebullition of fun and amusement as might be expected from the collection
of such a band of spirited youths. Not to speak of dances, teas, and
indoor entertainments, gay sleighing parties, out to the scene of
"battle" of West Stockbridge, as it was jokingly called, were of daily
occurrence, and every evening Mahkeenac's shining face was covered with
bands of merry skaters, and screaming, laughing sledge-loads of youths
and damsels went whizzing down Long Hill to the no small jeopardy of
their own lives and limbs, to say nothing of such luckless wayfarers
as might be in their path. To provide partners for so many gentlemen
the cradle was almost robbed, and many a farmer's daughter of Shayite
proclivities found herself, not unwillingly, conscripted to supply the
dearth of gentlemen's daughters, and provided with an opportunity for
contrasting the merits of silk-stockinged and worsted-stockinged
adorers, an experience possibly not redounding to their after
contentment in the station to which Providence had called them.

But even with these conscripts there was still such an excess of beaux
that every girl had half a dozen. As for Desire Edwards, she had the
whole army. If I have hitherto spoken of her in a manner as if she
were the only "young lady" in Stockbridge, that is no more than the
impression which she gave. Although there were several families in the
village which had a claim to equal gentility, their daughters somehow
felt that they failed to make good that claim in Desire's presence.
They owned, though they found less flattering terms in which to
express it, the same air of distinction and dainty aloofness about
her, which the farmers' daughters, too humble for jealousy, so
admiringly admitted. The young militia officers and gentlemen privates
found her adorable, and the three or four young men whom Squire
Edwards took into his house, as his share in quartering the troops,
were the objects of the most rancorous envy of the entire army. These
favored youths had too much appreciation of their fortune to be absent
from their quarters save when military duty required, and what with
the obligation of entertaining and being entertained by them, and
keeping in play the numerous callers who dropped in from other
quarters in the evening, Desire had mighty little time to herself. It
was of course very exciting for her and very agreeable to be the sole
queen of so gallant and devoted a court. She enjoyed it as any sprightly,
beautiful girl fond of society and well nigh starved for it might be
expected to. Provided here so unexpectedly in remote winter-bound
Stockbridge, it was like a table spread in the wilderness, whereof the
Psalmist speaks.

And in this whirl of gayety, did she quite forget Perez, did she so
soon forget the secret flame she had cherished for the Shayite
captain? Be sure she had not forgotten, but she would have been
willing to give anything in the world if she could.

After the conventual seclusion and mental vacancy of the preceding
months, the sudden, almost instantaneous change in her surroundings,
had been like a burst of air and sunlight which dissipates the
soporific atmosphere of a sleeping-room. It had brought back her
thoughts and feelings all at once to their normal standards, making
her recollection of that infatuation seem like a fantastic, grotesque
dream; unreal, impossible, yet shamefully real. Every time she entered
her chamber, and her eye caught sight of the little hole in the
curtain whence she had spied upon Perez, shame and self-contempt
overcame her like a flood. How could she, how ever could she be left
to do such a thing! What would the obsequious, admiring gallants she
had left in her parlor say if they but knew what that little pin-hole
in her curtain reminded her of? She could not believe it possible
herself that the girl whose fine-cut haughty beauty confronted her
gaze from the mirror could have so lost her self-respect, could have
actually--Oh! and tears of self-despite would rush into her eyes as
her remorseless memory set before her those scenes. And had she been
utterly beside herself that day in the store, when she gave him that
look and that hand-clasp? But for that the only fruit of her folly
would have been the loss of her own self-respect, but now she was
guilty toward him. This wretched business was dead earnest to him, if
not to her. With what a pang of self-contemptuous self-reproach she
recalled his white, anguished face as he rushed into the store to bid
her farewell when the soldiers were coming to take him. If he at
first, by his persecution of her, had left her with a right to complain,
she had given him such a right by that glance. She writhed as she
admitted to herself that by that she had given him a sort of claim on
her.

The village gossip about Perez' infatuation for her, although of her
own weakness none guessed, had naturally come to the ears of the
visitors, and some of the young men at Edwards' good naturedly chaffed
her about it, speaking of it as an amusing joke. She had to bear this
without wincing, and worse still, she had to play the hypocrite so far
as to reply in the same jesting tone, joining in turning the laugh on
the poor, shabby mob captain, when she knew in her heart it ought to
be turned against her.

There was nothing else she could do, of course. She could not confess
to these gay bantering young gentlemen the incredible weakness of
which she had been guilty. But if the self-contempt of the doer can
avenge a wrong done to another, Perez was amply avenged for this. And
the worst of it was that the thought that she had wronged him here
also, and meanly taken advantage of him, added to that horrid sense of
his claim on her. He began to occupy her mind to a morbid and most
painful extent, really much affecting her enjoyment. His sad and
shabby figure, with its mutely reproachful face, haunted her. All that
might have been to his disadvantage compared with the refined and
cultivated circle about her, was overcome by the pathos and dignity
with which her sense of having done him wrong invested him. Such was
her unenviable state of mind, when one evening, a week or ten days
after the affair at West Stockbridge, one of the young men at the
house said to her gayly:

"May I hope, Miss Edwards, not to be wholly forgotten if I should fall
on the gory field to-morrow?"

"What do you mean?" she asked.

Pages:
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24

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 naΓ―ve 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.


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

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 Β£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 Β£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 Β£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 Γ  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.


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

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.

β€’ To read the conclusion of the story, visit the Booktrust website from Tuesday 7 September.

β€’ 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


guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More Feeds

Copyright (c) 2007. booksboost.com. All rights reserved.