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A Deal in Wheat by Frank Norris

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Produced by Eric Eldred, Elaine Nash
and the Online Distributed Proofreading Team.




A DEAL IN WHEAT


And Other Stories Of The New And Old West


By FRANK NORRIS



_Illustrated by Remington, Leyendecker, Hitchcock and Hooper_



1903


[Illustration: "'Sell A Thousand May At One-Fifty,' Vociferated The Bear
Broker"]




CONTENTS


A Deal in Wheat

The Wife of Chino

A Bargain with Peg-Leg

The Passing of Cock-Eye Blacklock

A Memorandum of Sudden Death

Two Hearts That Beat as One

The Dual Personality of Slick Dick Nickerson

The Ship That Saw a Ghost

The Ghost in the Crosstrees

The Riding of Felipe




LIST OF ILLUSTRATIONS

"'Sell a Thousand May at One-Fifty,' Vociferated the Bear Broker"

Caught in the Circle. The last stand of three troopers and a scout
overtaken by a band of hostile Indians.

"'Ere's 'Ell to Pay!"

"'My Curse Is on Her Who Next Kisses You'"




A DEAL IN WHEAT


I. THE BEAR--WHEAT AT SIXTY-TWO

As Sam Lewiston backed the horse into the shafts of his backboard and
began hitching the tugs to the whiffletree, his wife came out from the
kitchen door of the house and drew near, and stood for some time at the
horse's head, her arms folded and her apron rolled around them. For a
long moment neither spoke. They had talked over the situation so long
and so comprehensively the night before that there seemed to be nothing
more to say.

The time was late in the summer, the place a ranch in southwestern
Kansas, and Lewiston and his wife were two of a vast population of
farmers, wheat growers, who at that moment were passing through a
crisis--a crisis that at any moment might culminate in tragedy. Wheat
was down to sixty-six.

At length Emma Lewiston spoke.

"Well," she hazarded, looking vaguely out across the ranch toward the
horizon, leagues distant; "well, Sam, there's always that offer of
brother Joe's. We can quit--and go to Chicago--if the worst comes."

"And give up!" exclaimed Lewiston, running the lines through the torets.
"Leave the ranch! Give up! After all these years!"

His wife made no reply for the moment. Lewiston climbed into the
buckboard and gathered up the lines. "Well, here goes for the last try,
Emmie," he said. "Good-by, girl. Maybe things will look better in town
to-day."

"Maybe," she said gravely. She kissed her husband good-by and stood for
some time looking after the buckboard traveling toward the town in a
moving pillar of dust.

"I don't know," she murmured at length; "I don't know just how we're
going to make out."

When he reached town, Lewiston tied the horse to the iron railing in
front of the Odd Fellows' Hall, the ground floor of which was occupied
by the post-office, and went across the street and up the stairway of a
building of brick and granite--quite the most pretentious structure of
the town--and knocked at a door upon the first landing. The door was
furnished with a pane of frosted glass, on which, in gold letters, was
inscribed, "Bridges & Co., Grain Dealers."

Bridges himself, a middle-aged man who wore a velvet skull-cap and who
was smoking a Pittsburg stogie, met the farmer at the counter and the
two exchanged perfunctory greetings.

"Well," said Lewiston, tentatively, after awhile.

"Well, Lewiston," said the other, "I can't take that wheat of yours at
any better than sixty-two."

"Sixty-_two_."

"It's the Chicago price that does it, Lewiston. Truslow is bearing the
stuff for all he's worth. It's Truslow and the bear clique that stick
the knife into us. The price broke again this morning. We've just got a
wire."

"Good heavens," murmured Lewiston, looking vaguely from side to side.
"That--that ruins me. I _can't_ carry my grain any longer--what with
storage charges and--and--Bridges, I don't see just how I'm going to
make out. Sixty-two cents a bushel! Why, man, what with this and with
that it's cost me nearly a dollar a bushel to raise that wheat, and now
Truslow--"

He turned away abruptly with a quick gesture of infinite discouragement.

He went down the stairs, and making his way to where his buckboard was
hitched, got in, and, with eyes vacant, the reins slipping and sliding
in his limp, half-open hands, drove slowly back to the ranch. His wife
had seen him coming, and met him as he drew up before the barn.

"Well?" she demanded.

"Emmie," he said as he got out of the buckboard, laying his arm across
her shoulder, "Emmie, I guess we'll take up with Joe's offer. We'll go
to Chicago. We're cleaned out!"


II. THE BULL--WHEAT AT A DOLLAR-TEN

...----_and said Party of the Second Part further covenants and agrees to
merchandise such wheat in foreign ports, it being understood and agreed
between the Party of the First Part and the Party of the Second Part
that the wheat hereinbefore mentioned is released and sold to the Party
of the Second Part for export purposes only, and not for consumption or
distribution within the boundaries of the United States of America or of
Canada_.

"Now, Mr. Gates, if you will sign for Mr. Truslow I guess that'll be
all," remarked Hornung when he had finished reading.

Hornung affixed his signature to the two documents and passed them over
to Gates, who signed for his principal and client, Truslow--or, as he
had been called ever since he had gone into the fight against Hornung's
corner--the Great Bear. Hornung's secretary was called in and witnessed
the signatures, and Gates thrust the contract into his Gladstone bag and
stood up, smoothing his hat.

"You will deliver the warehouse receipts for the grain," began Gates.

"I'll send a messenger to Truslow's office before noon," interrupted
Hornung. "You can pay by certified check through the Illinois Trust
people."

When the other had taken himself off, Hornung sat for some moments
gazing abstractedly toward his office windows, thinking over the whole
matter. He had just agreed to release to Truslow, at the rate of one
dollar and ten cents per bushel, one hundred thousand out of the two
million and odd bushels of wheat that he, Hornung, controlled, or
actually owned. And for the moment he was wondering if, after all, he
had done wisely in not goring the Great Bear to actual financial death.
He had made him pay one hundred thousand dollars. Truslow was good for
this amount. Would it not have been better to have put a prohibitive
figure on the grain and forced the Bear into bankruptcy? True, Hornung
would then be without his enemy's money, but Truslow would have been
eliminated from the situation, and that--so Hornung told himself--was
always a consummation most devoutly, strenuously and diligently to be
striven for. Truslow once dead was dead, but the Bear was never more
dangerous than when desperate.

"But so long as he can't get _wheat_," muttered Hornung at the end of
his reflections, "he can't hurt me. And he can't get it. That I _know_."

For Hornung controlled the situation. So far back as the February of
that year an "unknown bull" had been making his presence felt on the
floor of the Board of Trade. By the middle of March the commercial
reports of the daily press had begun to speak of "the powerful bull
clique"; a few weeks later that legendary condition of affairs implied
and epitomized in the magic words "Dollar Wheat" had been attained, and
by the first of April, when the price had been boosted to one dollar and
ten cents a bushel, Hornung had disclosed his hand, and in place of mere
rumours, the definite and authoritative news that May wheat had been
cornered in the Chicago pit went flashing around the world from
Liverpool to Odessa and from Duluth to Buenos Ayres.

It was--so the veteran operators were persuaded--Truslow himself who had
made Hornung's corner possible. The Great Bear had for once over-reached
himself, and, believing himself all-powerful, had hammered the price
just the fatal fraction too far down. Wheat had gone to sixty-two--for
the time, and under the circumstances, an abnormal price.

When the reaction came it was tremendous. Hornung saw his chance, seized
it, and in a few months had turned the tables, had cornered the product,
and virtually driven the bear clique out of the pit.

On the same day that the delivery of the hundred thousand bushels was
made to Truslow, Hornung met his broker at his lunch club.

"Well," said the latter, "I see you let go that line of stuff to
Truslow."

Hornung nodded; but the broker added:

"Remember, I was against it from the very beginning. I know we've
cleared up over a hundred thou'. I would have fifty times preferred to
have lost twice that and _smashed Truslow dead_. Bet you what you like
he makes us pay for it somehow."

"Huh!" grunted his principal. "How about insurance, and warehouse
charges, and carrying expenses on that lot? Guess we'd have had to pay
those, too, if we'd held on."

But the other put up his chin, unwilling to be persuaded. "I won't sleep
easy," he declared, "till Truslow is busted."


III. THE PIT

Just as Going mounted the steps on the edge of the pit the great gong
struck, a roar of a hundred voices developed with the swiftness of
successive explosions, the rush of a hundred men surging downward to the
centre of the pit filled the air with the stamp and grind of feet, a
hundred hands in eager strenuous gestures tossed upward from out the
brown of the crowd, the official reporter in his cage on the margin of
the pit leaned far forward with straining ear to catch the opening bid,
and another day of battle was begun.

Since the sale of the hundred thousand bushels of wheat to Truslow the
"Hornung crowd" had steadily shouldered the price higher until on this
particular morning it stood at one dollar and a half. That was Hornung's
price. No one else had any grain to sell.

But not ten minutes after the opening, Going was surprised out of all
countenance to hear shouted from the other side of the pit these words:

"Sell May at one-fifty."

Going was for the moment touching elbows with Kimbark on one side and
with Merriam on the other, all three belonging to the "Hornung crowd."
Their answering challenge of "_Sold_" was as the voice of one man. They
did not pause to reflect upon the strangeness of the circumstance. (That
was for afterward.) Their response to the offer was as unconscious, as
reflex action and almost as rapid, and before the pit was well aware of
what had happened the transaction of one thousand bushels was down upon
Going's trading-card and fifteen hundred dollars had changed hands. But
here was a marvel--the whole available supply of wheat cornered, Hornung
master of the situation, invincible, unassailable; yet behold a man
willing to sell, a Bear bold enough to raise his head.

"That was Kennedy, wasn't it, who made that offer?" asked Kimbark, as
Going noted down the trade--"Kennedy, that new man?"

"Yes; who do you suppose he's selling for; who's willing to go short at
this stage of the game?"

"Maybe he ain't short."

"Short! Great heavens, man; where'd he get the stuff?"

"Blamed if I know. We can account for every handful of May. Steady! Oh,
there he goes again."

"Sell a thousand May at one-fifty," vociferated the bear-broker,
throwing out his hand, one finger raised to indicate the number of
"contracts" offered. This time it was evident that he was attacking the
Hornung crowd deliberately, for, ignoring the jam of traders that swept
toward him, he looked across the pit to where Going and Kimbark were
shouting _"Sold! Sold!"_ and nodded his head.

A second time Going made memoranda of the trade, and either the Hornung
holdings were increased by two thousand bushels of May wheat or the
Hornung bank account swelled by at least three thousand dollars of some
unknown short's money.

Of late--so sure was the bull crowd of its position--no one had even
thought of glancing at the inspection sheet on the bulletin board. But
now one of Going's messengers hurried up to him with the announcement
that this sheet showed receipts at Chicago for that morning of
twenty-five thousand bushels, and not credited to Hornung. Some one had
got hold of a line of wheat overlooked by the "clique" and was dumping
it upon them.

"Wire the Chief," said Going over his shoulder to Merriam. This one
struggled out of the crowd, and on a telegraph blank scribbled:

"Strong bear movement--New man--Kennedy--Selling in lots of five
contracts--Chicago receipts twenty-five thousand."

The message was despatched, and in a few moments the answer came back,
laconic, of military terseness:

"Support the market."

And Going obeyed, Merriam and Kimbark following, the new broker fairly
throwing the wheat at them in thousand-bushel lots.

"Sell May at 'fifty; sell May; sell May." A moment's indecision, an
instant's hesitation, the first faint suggestion of weakness, and the
market would have broken under them. But for the better part of four
hours they stood their ground, taking all that was offered, in constant
communication with the Chief, and from time to time stimulated and
steadied by his brief, unvarying command:

"Support the market."

At the close of the session they had bought in the twenty-five thousand
bushels of May. Hornung's position was as stable as a rock, and the
price closed even with the opening figure--one dollar and a half.

But the morning's work was the talk of all La Salle Street. Who was back
of the raid?

What was the meaning of this unexpected selling? For weeks the pit
trading had been merely nominal. Truslow, the Great Bear, from whom the
most serious attack might have been expected, had gone to his country
seat at Geneva Lake, in Wisconsin, declaring himself to be out of the
market entirely. He went bass-fishing every day.


IV. THE BELT LINE

On a certain day toward the middle of the month, at a time when the
mysterious Bear had unloaded some eighty thousand bushels upon Hornung,
a conference was held in the library of Hornung's home. His broker
attended it, and also a clean-faced, bright-eyed individual whose name
of Cyrus Ryder might have been found upon the pay-roll of a rather
well-known detective agency. For upward of half an hour after the
conference began the detective spoke, the other two listening
attentively, gravely.

"Then, last of all," concluded Ryder, "I made out I was a hobo, and
began stealing rides on the Belt Line Railroad. Know the road? It just
circles Chicago. Truslow owns it. Yes? Well, then I began to catch on. I
noticed that cars of certain numbers--thirty-one nought thirty-four,
thirty-two one ninety--well, the numbers don't matter, but anyhow, these
cars were always switched onto the sidings by Mr. Truslow's main
elevator D soon as they came in. The wheat was shunted in, and they were
pulled out again. Well, I spotted one car and stole a ride on her. Say,
look here, _that car went right around the city on the Belt, and came
back to D again, and the same wheat in her all the time_. The grain was
reinspected--it was raw, I tell you--and the warehouse receipts made out
just as though the stuff had come in from Kansas or Iowa."

"The same wheat all the time!" interrupted Hornung.

"The same wheat--your wheat, that you sold to Truslow."

"Great snakes!" ejaculated Hornung's broker. "Truslow never took it
abroad at all."

"Took it abroad! Say, he's just been running it around Chicago, like the
supers in 'Shenandoah,' round an' round, so you'd think it was a new
lot, an' selling it back to you again."

"No wonder we couldn't account for so much wheat."

"Bought it from us at one-ten, and made us buy it back--our own
wheat--at one-fifty."

Hornung and his broker looked at each other in silence for a moment.
Then all at once Hornung struck the arm of his chair with his fist and
exploded in a roar of laughter. The broker stared for one bewildered
moment, then followed his example.

"Sold! Sold!" shouted Hornung almost gleefully. "Upon my soul it's as
good as a Gilbert and Sullivan show. And we--Oh, Lord! Billy, shake on
it, and hats off to my distinguished friend, Truslow. He'll be President
some day. Hey! What? Prosecute him? Not I."

"He's done us out of a neat hatful of dollars for all that," observed
the broker, suddenly grave.

"Billy, it's worth the price."

"We've got to make it up somehow."

"Well, tell you what. We were going to boost the price to one
seventy-five next week, and make that our settlement figure."

"Can't do it now. Can't afford it."

"No. Here; we'll let out a big link; we'll put wheat at two dollars, and
let it go at that."

"Two it is, then," said the broker.


V. THE BREAD LINE

The street was very dark and absolutely deserted. It was a district on
the "South Side," not far from the Chicago River, given up largely to
wholesale stores, and after nightfall was empty of all life. The echoes
slept but lightly hereabouts, and the slightest footfall, the faintest
noise, woke them upon the instant and sent them clamouring up and down
the length of the pavement between the iron shuttered fronts. The only
light visible came from the side door of a certain "Vienna" bakery,
where at one o'clock in the morning loaves of bread were given away to
any who should ask. Every evening about nine o'clock the outcasts began
to gather about the side door. The stragglers came in rapidly, and the
line--the "bread line," as it was called--began to form. By midnight it
was usually some hundred yards in length, stretching almost the entire
length of the block.

Toward ten in the evening, his coat collar turned up against the fine
drizzle that pervaded the air, his hands in his pockets, his elbows
gripping his sides, Sam Lewiston came up and silently took his place at
the end of the line.

Unable to conduct his farm upon a paying basis at the time when Truslow,
the "Great Bear," had sent the price of grain down to sixty-two cents a
bushel, Lewiston had turned over his entire property to his creditors,
and, leaving Kansas for good, had abandoned farming, and had left his
wife at her sister's boarding-house in Topeka with the understanding
that she was to join him in Chicago so soon as he had found a steady
job. Then he had come to Chicago and had turned workman. His brother Joe
conducted a small hat factory on Archer Avenue, and for a time he found
there a meager employment. But difficulties had occurred, times were
bad, the hat factory was involved in debts, the repealing of a certain
import duty on manufactured felt overcrowded the home market with cheap
Belgian and French products, and in the end his brother had assigned and
gone to Milwaukee.

Thrown out of work, Lewiston drifted aimlessly about Chicago, from
pillar to post, working a little, earning here a dollar, there a dime,
but always sinking, sinking, till at last the ooze of the lowest bottom
dragged at his feet and the rush of the great ebb went over him and
engulfed him and shut him out from the light, and a park bench became
his home and the "bread line" his chief makeshift of subsistence.

He stood now in the enfolding drizzle, sodden, stupefied with fatigue.
Before and behind stretched the line. There was no talking. There was no
sound. The street was empty. It was so still that the passing of a
cable-car in the adjoining thoroughfare grated like prolonged rolling
explosions, beginning and ending at immeasurable distances. The drizzle
descended incessantly. After a long time midnight struck.

There was something ominous and gravely impressive in this interminable
line of dark figures, close-pressed, soundless; a crowd, yet absolutely
still; a close-packed, silent file, waiting, waiting in the vast
deserted night-ridden street; waiting without a word, without a
movement, there under the night and under the slow-moving mists of rain.

Few in the crowd were professional beggars. Most of them were workmen,
long since out of work, forced into idleness by long-continued "hard
times," by ill luck, by sickness. To them the "bread line" was a
godsend. At least they could not starve. Between jobs here in the end
was something to hold them up--a small platform, as it were, above the
sweep of black water, where for a moment they might pause and take
breath before the plunge.

The period of waiting on this night of rain seemed endless to those
silent, hungry men; but at length there was a stir. The line moved. The
side door opened. Ah, at last! They were going to hand out the bread.

But instead of the usual white-aproned under-cook with his crowded
hampers there now appeared in the doorway a new man--a young fellow who
looked like a bookkeeper's assistant. He bore in his hand a placard,
which he tacked to the outside of the door. Then he disappeared within
the bakery, locking the door after him.

A shudder of poignant despair, an unformed, inarticulate sense of
calamity, seemed to run from end to end of the line. What had happened?
Those in the rear, unable to read the placard, surged forward, a sense
of bitter disappointment clutching at their hearts.

The line broke up, disintegrated into a shapeless throng--a throng that
crowded forward and collected in front of the shut door whereon the
placard was affixed. Lewiston, with the others, pushed forward. On the
placard he read these words:

"Owing to the fact that the price of grain has been increased to two
dollars a bushel, there will be no distribution of bread from this
bakery until further notice."

Lewiston turned away, dumb, bewildered. Till morning he walked the
streets, going on without purpose, without direction. But now at last
his luck had turned. Overnight the wheel of his fortunes had creaked and
swung upon its axis, and before noon he had found a job in the
street-cleaning brigade. In the course of time he rose to be first
shift-boss, then deputy inspector, then inspector, promoted to the
dignity of driving in a red wagon with rubber tires and drawing a salary
instead of mere wages. The wife was sent for and a new start made.

But Lewiston never forgot. Dimly he began to see the significance of
things. Caught once in the cogs and wheels of a great and terrible
engine, he had seen--none better--its workings. Of all the men who had
vainly stood in the "bread line" on that rainy night in early summer,
he, perhaps, had been the only one who had struggled up to the surface
again. How many others had gone down in the great ebb? Grim question; he
dared not think how many.

He had seen the two ends of a great wheat operation--a battle between
Bear and Bull. The stories (subsequently published in the city's press)
of Truslow's countermove in selling Hornung his own wheat, supplied the
unseen section. The farmer--he who raised the wheat--was ruined upon one
hand; the working-man--he who consumed it--was ruined upon the other.
But between the two, the great operators, who never saw the wheat they
traded in, bought and sold the world's food, gambled in the nourishment
of entire nations, practised their tricks, their chicanery and oblique
shifty "deals," were reconciled in their differences, and went on
through their appointed way, jovial, contented, enthroned, and
unassailable.




THE WIFE OF CHINO


I. CHINO'S WIFE

On the back porch of the "office," young Lockwood--his boots, stained
with the mud of the mines and with candle-drippings, on the rail--sat
smoking his pipe and looking off down the cańon.

It was early in the evening. Lockwood, because he had heard the laughter
and horseplay of the men of the night shift as they went down the cańon
from the bunk-house to the tunnel-mouth, knew that it was a little after
seven. It would not be necessary to go indoors and begin work on the
columns of figures of his pay-roll for another hour yet. He knocked the
ashes out of his pipe, refilled and lighted it--stoppering with his
match-box--and shot a wavering blue wreath out over the porch railing.
Then he resettled himself in his tilted chair, hooked his thumbs into
his belt, and fetched a long breath.

For the last few moments he had been considering, in that comfortable
spirit of relaxed attention that comes with the after-dinner tobacco,
two subjects: first, the beauty of the evening; second, the temperament,
character, and appearance of Felice Zavalla.

As for the evening, there could be no two opinions about that. It was
charming. The Hand-over-fist Gravel Mine, though not in the higher
Sierras, was sufficiently above the level of the mere foot-hills to be
in the sphere of influence of the greater mountains. Also, it was
remote, difficult of access. Iowa Hill, the nearest post-office, was a
good eight miles distant, by trail, across the Indian River. It was
sixteen miles by stage from Iowa Hill to Colfax, on the line of the
Overland Railroad, and all of a hundred miles from Colfax to San
Francisco.

To Lockwood's mind this isolation was in itself an attraction. Tucked
away in this fold of the Sierras, forgotten, remote, the little
community of a hundred souls that comprised the _personnel_ of the
Hand-over-fist lived out its life with the completeness of an
independent State, having its own government, its own institutions and
customs. Besides all this, it had its own dramas as well--little
complications that developed with the swiftness of whirlpools, and that
trended toward culmination with true Western directness. Lockwood,
college-bred--he was a graduate of the Columbia School of Mines--found
the life interesting.

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Stranger than fiction: the true story behind Kidnapped

It is a satirist's dream come true. John Crace looks back over a decade of poking fun at clunky plots and dodgy dialogue

I could be the only person who has never forgotten William Sutcliffe's Love Hexagon. It was the first book I ever digested and I'd like to be able to say I'd spent a lot of time selecting it. But it wasn't like that.

A few days earlier I'd been stopped in the corridor by the new editor of the Editor, the Guardian's standalone digest of the week's news (RIP), and asked if I'd like to take over a little-noticed column called the Digested Read. She wandered off before I had time to answer, but she didn't need to hang around. The ­Digested Read is a dream job for any satirist and I would have done it for almost nothing. Come to think of it, I did. But I still needed to choose a book and as I hadn't yet got the hang of ringing publishers, asking to bite the hand that feeds, I went to see the literary editor, who poked around in her cupboard for something she didn't want. So Love Hexagon it was.

I doubt it's much consolation to Sutcliffe now, but I soon realised it was a poor choice. The Digested Read works best with authors who are getting the most media attention in any given week – be they Ian McEwan, JK Rowling, Nigella Lawson or Katie Price – and since that first week, it is a principle to which I have tried to stick.

It's not infallible. Publishers tend to keep their big names for the spring and summer; in these months there's often too much choice and it can be a straight toss-up between JM Coetzee and AS Byatt. At other times of the year, particularly January, the publishing lists are thin and books squeeze in that normally wouldn't get a reading. It happened once with the brother of a well-known author, a mistake for which I've clearly never been forgiven by the victim; a year ago someone kindly directed me to his blog where he continues to regularly rubbish me seven or eight years on. Books do also just get missed. I never gave The Da Vinci Code a second thought when it came out.

Over the last 10 years, the Digested Read has changed locations several times – from the Editor to the main paper to G2 – but the format has remained the same; rewriting a book in 700 words in the style of the author. The primary goal is to entertain – something the book itself has often failed to do – but it's also intended as a (semi-) serious critique, for much of the fun is derived from clunky plot devices that don't work, pretentious stylistic tics, risible dialogue and an absence of big ideas. Literary criticism does not have to be dull to be serious.

Some people object to its cruelty. I have no defence. Satire often is cruel, especially when it's accurate. Here's the thing. I read every word of every book I digest, scribbling notes on the pages as I go along. I can't afford not to because if I get something wrong, I'm stuffed. So you could argue that I show rather more respect for the integrity of an author's work than a reviewer who gives a book the thumbs up after a skim read. And that does happen. I've read reviews of books I've ­digested and can see the critic has only read the blurb, the first few chapters and the ending. But who cares so long as it's a positive review? Certainly not the author or the publisher. You might, though, if you fork out £10 to buy it.

And many authors do seem to "get" the Digested Read. I'm continually delighted – and astonished – by the number of writers who are more generous about my work than I am about theirs and get in touch to say how much they enjoy the column. Especially when it's someone else's books. Some even email to say they've liked what I've done to their own book. That I don't understand. Publishers are also surprisingly complimentary; some authors would be surprised to discover how much their egotism gets up the noses of their editors and publicists. My favourite compliment is this from the New York Times: "The best book-related feature in any of this planet's English-language newspapers." That will go on my gravestone.

No writer has yet – and I'm not keen for a precedent to be created – emailed to tell me they hate me. It would be nice to imagine this was because they all thought I was so wonderful, but I suspect this is wishful thinking. More likely they are maintaining a dignified ­silence, or have their minds on higher matters.

Not that authors don't have their strops. Jilly Cooper moaned to the Daily Telegraph that I had given away the plot of her book. I hadn't been aware there was one; the ­ending was blindingly obvious from about page 20. One award-winning young author had a complete strop after I digested their partner's book, and threatened never to write for the Guardian again; a threat that hasn't been kept.

One last thing. Sometimes I am asked if I enjoy reading. How could I not? Do you ­really imagine the last 10 years have been an extended exercise in masochism? Especially now that I also digest a classic each week. Few books are as good as their publicity – and it's more often than not the difference between hype and reality I try to exploit – but there haven't been many that have had no redeeming qualities.

Reading is, and remains, a pleasure. As does digesting. Edith Wharton's The Age of Innocence is a great book. It's also great to satirise. The two aren't mutually exclusive. So here's to ­another 10 years digesting. If you'll have me.

A complete archive of John Crace's Digested Reads guardian.co.uk/digestedread


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The greatest Russian writer you've never read

From Huck Finn to Holden Caulfield and Humbert Humbert, the novelist provides an entirely trustworthy guide to some of literature's slipperiest characters

Henry Sutton was born in Norfolk in 1963. After training as a journalist he worked for a number of national newspapers and magazines. He is the author of five previous novels, including Gorleston, Flying and Kids' Stuff, and a collection of short stories, Thong Nation. He also teaches creative writing at UEA and lives in Norwich with his family. His new novel, Get Me Out of Here, is published by Harvill Secker.

Buy Henry Sutton books at the Guardian bookshop

"Something strange happened to unreliable narrators in the mid-20th century: they became a little more reliably unreliable, and a lot nastier. In the late-19th century they tended to be untrustworthy either because they were hiding something about themselves or had failed to recognise the truth, generally because of some kind of psychological weakness. However, as modernism shifted into post-modernism and we all became that much more cynical, most narrators were expected to be complicated. Unreliability became inextricably linked with malevolence – not to mention duplicity, delusion, even derangement. Of course, as the parameters stretched, unreliable narrators also became a lot more fun, with humour often countering the blackness. The challenge was to make tricksy first-person characters both intriguing and entertaining."

1. Lolita by Vladimir Nabokov (1955)

Never straight with himself, let alone the ladies and gentlemen of the jury to whom he is ultimately addressing his words, Humbert Humbert arrived halfway through the 20th century, intent on justifying his appalling crime. Nabokov's syntactical genius is the one true triumph.

2. The Turn Of The Screw by Henry James (1898)

Is it a ghost story, or the tragic tale of a young woman undergoing a breakdown? Believing her two young charges are communing with the spirits of her two dead predecessors, the prim governess of Bly House becomes increasingly panic-stricken and erratic, until she's left with a dead boy in her arms.

3. The Heart Of Darkness by Joseph Conrad (1902)

Right at the start we're told that Marlow likes to spin yarns. However, his tale of journeying up the Congo, in search first of ivory, and then the infamous Kurtz, is one of the most powerful stories in literature. Whether his story is strictly faithful becomes irrelevant, as Marlow ends up highlighting the moral corruption at the heart of all humans.

4. Money by Martin Amis (1984)

John Self is one of literature's most repulsively addictive narrators. The book might be subtitled "A Suicide Note", but it is in fact a love story, with Self dreaming up ever more extravagant ways to shed his wedge while pursuing entirely corruptible Selina Street, among others. The fact that Self might never have actually existed, revealed towards the end, is Amis's sly take on the death of the self.

5. American Psycho by Bret Easton Ellis (1991)

Patrick Bateman makes John Self look even more out of shape, when it comes to commenting on the big brands and applying his murderous hands to the unsuspecting and the vulnerable. Yet Ellis's great comment on consumerism and the death of high culture could just be a mirror to our own deluded thoughts, and Bateman nothing more than a sickly funny fantasist.

6. The Killer Inside Me by Jim Thompson (1952)

It was Jim Thompson, not James M Cain, who put the hard into hard-boiled, the noir into roman noir. He was also one of the first crime writers to take us into the heads of seriously twisted killers, if not out-and-out psychopaths. Deputy Sheriff Lou Ford is regarded as a pillar of the small Texan community he serves. Yet he's in possession of a secret he doesn't even admit to himself. When the bodies start to appear, the net slowly tightens.

7. The Catcher in the Rye by JD Salinger (1951)

Classic unreliability when first published in the early 1950s which now looks almost tamely reliable. Of course young Holden Caulfield is anything but clear about what his short, privileged life has already led him to believe – he's a teenager. Naturally everything's phoney, except his beloved sister Phoebe. Though even she is abandoned as Holden loses his fragile grasp on reality.

8. The End Of Alice by AM Homes (1996)

Narrated in the first person by a hyper-intelligent paedophile, and from the third person perspective of a 19-year-old girl with an unhealthy fixation on a much younger boy, Homes's homage to Nabokov didn't just question the nature of desire, but that of literary taste and acceptability. A brutally brave and truly experimental novel that, over here, fell very foul of the Daily Mail.

9. We Need to Talk About Kevin by Lionel Shriver (2003)

Shriver's Orange Prize-winning novel is a postmodern masterclass in unreliability, as the principal theme of nature versus nurture trickles through the slow revelations of exactly what Kevin has done. Told in a series of letters by Kevin's mother, Eva, to her estranged husband, Franklin, the reader is never quite sure of whether it was Eva or Kevin who exhibited the most disturbing behaviour. Franklin, meanwhile, is guilty of chronic denial.

10. The Adventures of Huckleberry Finn by Mark Twain (1884)

In his search of freedom, as he floats down the Mississippi, Tom Sawyer's best friend "Huck" Finn finds himself travelling out of his rational mind. First published in 1884, Twain himself described his controversial masterpiece, as "... a book of mine where a sound heart and a deformed conscience come into collision and conscience suffers defeat".


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Diagram prize pits worm hunter's afterthoughts against Nazi spoons

An anti-Stalinist author who died in obscurity in 1951 may be the greatest Russian writer of the last century, his English translator Robert Chandler explains to Daniel Kalder

Stalin called him scum. Sholokhov, Gorky, Pasternak, and Bulgakov all thought he was the bee's knees. But when Andrei Platonov died in poverty, misery and obscurity in 1951, no one would have predicted that within half a century he would be a contender for the title as Russia's greatest 20th-century prose stylist. Indeed, his English translator Robert Chandler thinks Platonov's novel The Foundation Pit is so astonishingly good he translated it twice. Set against a backdrop of industrialisation and collectivisation, The Foundation Pit is fantastical yet realistic, funny yet tragic, profoundly moving and yet disturbing. Daniel Kalder caught up with Chandler to talk about why more people should be reading Platonov.

Why did you translate Platonov's Foundation Pit twice?

No other work of literature means so much to me. I translated it together with Geoffrey Smith in 1994 for the Harvill Press, and again in 2009, together with my wife Elizabeth and the American scholar Olga Meerson, for NYRB Classics. There were two reasons for retranslating it. First, the original text was never published in Platonov's lifetime, and the first posthumous publications – on which our Harvill translation was based – were severely bowdlerised. One crucial three-page passage, for example, is entirely missing.

Second, Platonov is hard to translate: in the early 1990s we were working in the dark. During the last 15 years, however, I have regularly attended Platonov seminars and conferences in Moscow and Petersburg. One indication of how deeply many Russian writers and critics admire him is the extent of their generosity to his translators; I now have a long list of people I can turn to for help. Above all, I have the good fortune to have my wife, who shares my love of Platonov, and the brilliant American scholar, Olga Meerson, as my closest collaborators. Olga was brought up in the Soviet Union; she has a fine ear, knows a great deal about Russian Orthodoxy, and has written an excellent book on Platonov. She has deepened my understanding of almost every sentence.

You've argued that Russians will eventually come to recognise Platonov as their greatest prose writer. Given that he's up against titans such as Gogol, Tolstoy and Chekhov this is quite a claim.

Well, it probably sounds less startling to Russians than it does to English and Americans. I've met a huge number of Russian writers and critics who look on Platonov as their greatest prose writer of the last century. In my personal judgment, it was confirmed for me during the last stages of my work on Russian Short Stories from Pushkin to Buida, an anthology of short stories I compiled for Penguin Classics. I worked on this for several years, did most of the translations myself and revised them many times. I read through the proofs with enjoyment – I was still happy with the choices I had made – but there were only two writers whom I was still able to read with real wonder: Pushkin and Platonov. Even at this late stage I was still able to find new and surprising perceptions in Pushkin's The Queen of Spades and Platonov's The Return. This didn't happen with any other writers. 
 
Readers who encounter Platonov for the first time are often struck by his surreality: in the Foundation Pit, for example, a bear staggers through a village denouncing kulaks [supposedly wealthy peasants]. But you've said that almost everything he writes is drawn from reality.

Platonov's stories work on many levels. When I first read his account of the kulaks being sent off down the river on a raft, I thought of it simply as weird. Then I realised that it's one of many examples of Platonov's way of literally realising a metaphor or political cliché; the official directive is to "liquidate" the peasants – and this unfamiliar word is interpreted as meaning that they must be got rid of by means of water.

Many years later I found out that this scene is also entirely realistic. The Siberian Viktor Astafiev wrote in his memoir: "In spring 1932 all the dispossessed kulaks were collected together, placed on rafts and floated off to Krasnoyarsk, and from there to Igarka. When they started loading the rafts, the whole village gathered together. Everyone wept; it was their own kith and kin who were leaving. One person was carrying mittens, another a bread roll, another a lump of sugar." Any educated Russian reading these lines today would at once imagine that they were written by Platonov.

As for the bear, he's drawn from many sources. He is the generally helpful but somewhat dangerous bear of Russian folk tales; he is a representative of the proletariat – strong but inarticulate. As a hammer in a forge, he is linked both to Stalin, whose name means "man of steel" and to Molotov, whose name means "hammerer". He is the tame bear often employed by a village sorcerer. Platonov's bear "denounces" kulaks by stopping outside a hut and roaring; in the late 1920s an ethnographer working in the province of Kaluga recorded the belief that "a clean home, outside which a bear stops of his own accord, not going in but refusing to budge – that home is an unhappy home". And one of Platonov's brothers has written that there really was a tame bear who worked in a local blacksmith's.

Platonov started off as a committed communist, but was appalled by collectivisation and the excesses of Stalinism. Uniquely – unlike others who adopted an oppositional stance, or wrote critiques for the desk drawer – he tried to negotiate a space within Soviet culture in which he could write honestly about what was going on. Is it fair to say that he failed?

I don't think so. Some of the stories he managed to publish – The River Potudan, The Third Son and The Return – are as great, in their more compact and classical way, as the novels he was unable to publish. The Return was viciously criticised, but it was published in a journal with a huge circulation and may well have been read by hundreds of thousands of people. And there is no knowing how important Platonov's example was to younger writers. Vasily Grossman, for example, was a close friend. They met frequently during Platonov's last years and read their work out loud to each other. Grossman gave the main speech at Platonov's funeral. His last stories are very Platonov-like. And Platonov's very last work – the moving, witty versions of Russian folk tales he composed after the war – was included, without acknowledgment, in millions of school textbooks. Platonov was not widely known, but he was widely read. Here again he is in a similar position to Grossman, whose words are carved in granite, in huge letters, on the Stalingrad war memorial, without acknowledgment of his authorship.

Platonov's language is often extremely intimate yet also strange: alienated and alienating. Is he exceptionally difficult to translate? And does he sound more "normal" in the original than in translation?

He is certainly difficult to translate. On the other hand, I've sometimes been surprised by how much of him evidently survives even in a poor translation. I've met people who have been deeply moved after first encountering him in a very poor translation indeed. As for your second question, you need to ask someone who is entirely bilingual and not involved in the work. All I can say myself is that all languages have norms that can be infringed, and that we do our best to infringe English norms just as Platonov infringes Russian norms. It is for you and other readers to judge how much we have succeeded!
 
Sometimes I think you have a secret plan to steer readers away from familiar authors such as Chekhov towards more angular, difficult work such as Platonov, thus reshaping perceptions of 20th-century Russian literature.
 
Well, I'd put it at least a little differently! I love Chekhov's stories as much as anyone, and would especially love to translate The Steppe and A Boring Story. But then Chekhov isn't so very easy or smooth either, though many of his complexities and contradictions are smoothed over in translation. What's certainly true is that I think we have a distorted view of Soviet literature. For many decades it was impossible for a Soviet writer to achieve fame in the west except through a major international scandal. This is what happened with both Pasternak and Solzhenitsyn. Both are important writers, but they are not greater writers than Grossman, Platonov and Shalamov.

Things are changing, however. Grossman is far better known in the west now than he was 10 years ago. Platonov is at least beginning to be noticed – Penelope Fitzgerald and John Berger are two of the English writers who have been quickest to realise his genius. And there is a chance that the Yale University Press will soon be commissioning a complete translation of Shalamov's Kolyma Tales. One more point: we have found it easier in the west to learn to appreciate the 20th-century writers who wrote from outside the Soviet experience. Bulgakov reached adulthood long before the revolution. He was never taken in by it; he looks down on everything Soviet. Grossman, Platonov and Shalamov, however, belong to a generation 10 to 20 years younger. All of them, at least for a while and to some degree, shared the hopes of the revolution. They write from inside the Soviet experience. This perhaps gives them a greater depth and complexity; their work contains no ready-made answers.

• Robert Chandler's new co-translation (in collaboration with his wife and Olga Meerson) of The Foundation Pit will be published in the UK by Vintage Classics later this year.   
 


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