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

Authors of Greece by T. W. Lumb

T >> T. W. Lumb >> Authors of Greece

Pages:
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18


E-text prepared by Ted Garvin, Marc D'Hooghe, Charles Franks, and the Online
Distributed Proofreading Team



AUTHORS OF GREECE

By the Reverend T. W. LUMB, M.A.

With an Introduction by

The Reverend CYRIL ALINGTON, D.D.






AUTHOR'S PREFACE


Greek literature is more modern in its tone than Latin or Medieval or
Elizabethan. It is the expression of a society living in an environment
singularly like our own, mainly democratic, filled with a spirit of
free inquiry, troubled by obstinate feuds and still more obstinate
problems. Militarism, nationalism, socialism and communism were well
known, the preachers of some of these doctrines being loud, ignorant
and popular. The defence of a maritime empire against a military
oligarchy was twice attempted by the most quick-witted people in history,
who failed to save themselves on both occasions. Antecedently then we
might expect to find some lessons of value in the record of a people
whose experiences were like our own.

Further, human thought as expressed in literature is not an
unconnected series of phases; it is one and indivisible. Neglect of
either ancient or modern culture cannot but be a maiming of that great
body of knowledge to which every human being has free access. No man
can be anything but ridiculous who claims to judge European literature
while he knows nothing of the foundations on which it is built.
Neither is it true to say that the ancient world was different from
ours. Human nature at any rate was the same then as it is now, and
human character ought to be the primary object of study. The strange
belief that we have somehow changed for the better has been strong
enough to survive the most devilish war in history, but few hold it
who are familiar with the classics.

Yet in spite of its obvious value Greek literature has been damned and
banned in our enlightened age by some whose sole qualification for the
office of critic often turns out to be a mental darkness about it so
deep that, like that of Egypt, it can be felt. Only those who know
Greek literature have any right to talk about its powers of survival.
The following pages try to show that it is not dead yet, for it has a
distinct message to deliver. The skill with which these neglected
liberators of the human mind united depth of thought with perfection
of form entitles them at least to be heard with patience.




CONTENTS


AUTHOR'S PREFACE.

HOMER

AESCHYLUS

SOPHOCLES

EURIPIDES

ARISTOPHANES

HERODOTUS

THUCYDIDES

PLATO

DEMOSTHENES




INTRODUCTION


I count it an honour to have been asked to write a short introduction
to this book. My only claim to do so is a profound belief in the
doctrine which it advocates, that Greek literature can never die and
that it has a clear and obvious message for us to-day. Those who sat,
as I did, on the recent Committee appointed by Mr. Lloyd George when
Prime Minister to report on the position of the classics in this
country, saw good reason to hope that the prejudice against Greek to
which the author alludes in his preface was passing away: it is a
strange piece of irony that it should ever have been encouraged in the
name of Science which owes to the Greeks so incalculable a debt. We
found that, though there are many parts of the country in which it is
almost impossible for a boy, however great his literary promise, to be
taught Greek, there is a growing readiness to recognise this state of
affairs as a scandal, and wherever Greek was taught, whether to girls
or boys, we found a growing recognition of its supreme literary value.
There were some at least of us who saw with pleasure that where only
one classical language can be studied there is an increasing readiness
to regard Greek as a possible alternative to Latin.

On this last point, no doubt, classical scholars will continue to
differ, but as to the supreme excellence of the Greek contribution to
literature there can be no difference of opinion. Those to whom the
names of this volume recall some of the happiest hours they have spent
in literary study will be grateful to Mr. Lumb for helping others to
share the pleasures which they have so richly enjoyed; he writes with
an enthusiasm which is infectious, and those to whom his book comes as
a first introduction to the great writers of Greece will be moved to
try to learn more of men whose works after so many centuries inspire
so genuine an affection and teach lessons so modern. They need have no
fear that they will be disappointed, for Mr. Lumb's zeal is based on
knowledge. I hope that this book will be the means of leading many to
appreciate what has been done for the world by the most amazing of all
its cities, and some at least to determine that they will investigate
its treasures for themselves. They will find like the Queen of Sheba
that, though much has been told them, the half remains untold.

C. A. ALINGTON.





HOMER


Greek literature opens with a problem of the first magnitude. Two
splendid Epics have been preserved which are ascribed to "Homer", yet
few would agree that Homer wrote them both. Many authorities have
denied altogether that such a person ever existed; it seems certain
that he could not have been the author of both the _Iliad_ and the
_Odyssey_, for the latter describes a far more advanced state of
society; it is still an undecided question whether the _Iliad_ was
written in Europe or in Asia, but the probability is that the
_Odyssey_ is of European origin; the date of the poems it is very
difficult to gauge, though the best authorities place it somewhere in
the eighth century B.C. Fortunately these difficulties do not
interfere with our enjoyment of the two poems; if there were two
Homers, we may be grateful to Nature for bestowing her favours so
liberally upon us; if Homer never existed at all, but is a mere
nickname for a class of singer, the literary fraud that has been
perpetrated is no more serious than that which has assigned
Apocalyptic visions of different ages to Daniel. Perhaps the Homeric
poems are the growth of many generations, like the English parish
churches; they resemble them as being examples of the exquisite
effects which may be produced when the loving care and the reverence
of a whole people blend together in different ages pieces of artistic
work whose authors have been content to remain unnamed.

It is of some importance to remember that the Iliad is not the story
of the whole Trojan war, but only of a very small episode which was
worked out in four days. The real theme is the Wrath of Achilles. In
the tenth year of the siege the Greeks had captured a town called
Chryse. Among the captives were two maidens, one Chryseis, the
daughter of Chryses, a priest of Apollo, the other Briseis; the former
had fallen to the lot of Agamemnon, the King of the Greek host, the
latter to Achilles his bravest follower. Chryses, father of Chryseis,
went to Agamemnon to ransom his daughter, but was treated with
contumely; accordingly he prayed to the god to avenge him and was
answered, for Apollo sent a pestilence upon the Greeks which raged for
nine days, destroying man and beast. On the tenth day the chieftains
held a counsel to discover the cause of the malady. At it Chalcas the
seer before revealing the truth obtained the promise of Achilles'
protection; when Agamemnon learned that he was to ransom his captive,
his anger burst out against the seer and he demanded another prize in
return. Achilles upbraided his greed, begging him to wait till Troy
was taken, when he would be rewarded fourfold. Agamemnon in reply
threatened to take Achilles' captive Briseis, at the same time
describing his follower's character. "Thou art the most hateful to me
of all Kings sprung of Zeus, for thou lovest alway strife and wars and
battles. Mighty though thou art, thy might is the gift of some god.
Briseis I will take, that thou mayest know how far stronger I am than
thou, and that another may shrink from deeming himself my equal,
rivalling me to my face." At this insult Achilles half drew his sword
to slay the King, but was checked by Pallas Athena, who bade him
confine his resentment to taunts, for the time would come when
Agamemnon would offer him splendid gifts to atone for the wrong.
Obeying the goddess Achilles reviled his foe, swearing a solemn oath
that he would not help the Greeks when Hector swept them away. In vain
did Nestor, the wise old counsellor who had seen two generations of
heroes, try to make up the quarrel, beseeching Agamemnon not to
outrage his best warrior and Achilles not to contend with his leader.
The meeting broke up; Achilles departed to his huts, whence the
heralds in obedience to Agamemnon speedily carried away Briseis.

Going down to the sea-shore Achilles called upon Thetis his mother to
whom he told the story of his ill-treatment. In deep pity for his fate
(for he was born to a life of a short span), she promised that she
would appeal to Zeus to help him to his revenge; she had saved Zeus
from destruction by summoning the hundred-armed Briareus to check a
revolt among the gods against Zeus' authority. For the moment the king
of the gods was absent in Aethiopia; when he returned to Olympus on
the twelfth day she would win him over. Ascending to heaven, she
obtained the promise of Zeus' assistance, not without raising the
suspicions of Zeus' jealous consort Hera; a quarrel between them was
averted by their son Hephaestus, whose ungainly performance of the
duties of cupbearer to the Immortals made them forget all resentments
in laughter unquenchable.

True to his promise Zeus sent a dream to Agamemnon to assure him that
he would at last take Troy. The latter determined to summon an
Assembly of the host. In it the changeable temper of the Greeks is
vividly pictured. First Agamemnon told how he had the promise of
immediate triumph; when the army eagerly called for battle, he spoke
yet again describing their long years of toil and advising them to
break up the siege and fly home, for Troy was not to be taken. This
speech was welcomed with even greater enthusiasm than the other, the
warriors rushing down to the shore to launch away. Aghast at the
coming failure of the enterprise Athena stirred up Odysseus to check
the mad impulse. Taking from Agamemnon his royal sceptre as the sign
of authority, he pleaded with chieftains and their warriors, telling
them that it was not for them to know the counsel in the hearts of
Kings.

"We are not all Kings to bear rule here. 'Tis not good to have many
Lords; let there be one Lord, one King, to whom the crooked-counselling
son of Cronos hath given the rule."

Thus did Odysseus stop the flight, bringing to reason all save
Thersites, "whose heart was full of much unseemly wit, who talked
rashly and unruly, striving with Kings, saying what he deemed would
make the Achaeans smile".

He continued his chatter, bidding the Greeks persist in their homeward
flight. Knowing that argument with such an one was vain, Odysseus laid
his sceptre across his back with such heartiness that a fiery weal
started up beneath the stroke. The host praised the act, the best of
the many good deeds that Odysseus had done before Troy.

When the Assembly was stilled, Odysseus and Nestor and Agamemnon told
the plan of action; the dream bade them arm for a mighty conflict, for
the end could not be far off, the ten years' siege that had been
prophesied being all but completed. The names of the various
chieftains and the numbers of their ships are found in the famous
catalogue, a document which the Greeks treasured as evidence of united
action against a common foe. With equal eagerness the Trojans poured
from their town commanded by Hector; their host too has received from
Homer the glory of an everlasting memory in a detailed catalogue.

Literary skill of a high order has brought upon the scene as quickly
as possible the chief figures of the poem. When the armies were about
to meet, Paris, seeing Menelaus whom he had wronged, shrank from the
combat. On being upbraided by Hector who called him "a joy to his foes
and a disgrace to himself", Paris was stung to an act of courage.
Hector's heart was as unwearied as an axe, his spirit knew not fear;
yet beauty too was a gift of the gods, not to be cast away. Let him be
set to fight Menelaus in single combat for Helen and her wealth; let
an oath be made between the two armies to abide by the result of the
fight, that both peoples might end the war and live in peace.
Overjoyed, Hector called to the Greeks telling them of Paris' offer,
which Menelaus accepted. The armies sat down to witness the fight,
while Hector sent to Troy to fetch Priam to ratify the treaty.

In Troy the elders were seated on the wall to watch the conflict,
Priam among them. Warned by Iris, Helen came forth to witness the
single combat. As she moved among them the elders bore their testimony
to her beauty; its nature is suggested but not described, for the poet
felt he was unable to paint her as she was.

"Little wonder," they exclaimed, "that the Trojans and Achaeans
should suffer woe for many a year for such a woman. She is marvellous
like the goddesses to behold; yet albeit she is so fair let her depart
in the ships, leaving us and our little ones no trouble to come."

Seeing her, Priam bade her sit by him and tell the names of the Greek
leaders as they passed before his eyes. Agamemnon she knew by his
royal bearing, Odysseus who moved along the ranks like a ram she
marked out as the master of craft and deep counsel. Hearing her words,
Antenor bore his witness to their truth, for once Odysseus had come
with Menelaus to Troy on an embassy.

"When they stood up Menelaus was taller, when they sat down Odysseus
was more stately. But when they spake, Menelaus' words were fluent,
clear but few; Odysseus when he spoke, fixed his eyes on the ground,
turning his sceptre neither backwards nor forward, standing still
like a man devoid of wit; one would have deemed him a churl and a very
fool; yet when he sent forth his mighty voice from his breast in words
as many as the snowflakes, no other man could compare with him."

Helen pointed out Ajax and Idomeneus and others, yet could not see her
two brothers, Castor and Pollux; either they had not come from her
home in Sparta, or they had refused to fight, fearing the shame and
reproach of her name. "So she spake, yet the life-giving earth covered
them there, even in Sparta, their native land."

When the news came to Priam of the combat arranged between Paris and
Menelaus, the old King shuddered for his son, yet he went out to
confirm the compact. Feeling he could not look upon the fight, he
returned to the city. Meanwhile Hector had cast lots to decide which
of the two should first hurl his spear. Paris failed to wound his
enemy, but Menelaus' dart pierced Paris' armour; he followed it up
with a blow of his sword which shivered to pieces in his hand. He then
caught Paris' helmet and dragged him off towards the Greek army; but
Aphrodite saved her favourite, for she loosed the chin-strap and bore
Paris back to Helen in Troy. Menelaus in vain looked for him among the
Trojans who were fain to see an end of him, "and would not have hidden
him if they had seen him". Agamemnon then declared his brother the
victor and demanded the fulfilment of the treaty.

Such an end to the siege did not content Hera, whose anger against the
Trojans was such that she could have "devoured raw Priam and his
sons". With Zeus' consent she sent down Pallas Athena to confound the
treaty. Descending like some brilliant and baleful star the goddess
assumed the shape of Laodocus and sought out the archer Pandarus. Him
she tempted to shoot privily at Menelaus to gain the favour of Paris.
While his companions held their shields in front of him the archer
launched a shaft at his victim, but Athena turned it aside so that it
merely grazed his body, drawing blood. Seeing his brother wounded
Agamemnon ran to him, to prophesy the certain doom of the treaty
breakers.

"Not in vain did we shed the blood of compact and offer the pledges
of a treaty. Though Zeus hath not fulfilled it now, yet he will at
last and they will pay dear with their lives, they, their wives and
children. Well I know in my heart that the day will come when sacred
Troy will perish and Priam and his folk; Zeus himself throned on high
dwelling in the clear sky will shake against them all his dark aegis
in anger for this deceit."

While the leeches drew out the arrow from the wound, Agamemnon went
round the host with words of encouragement or chiding to stir them up
to the righteous conflict. They rushed on to battle to be met by the
Trojans whose host

"knew not one voice or one speech; their language was mixed, for they
were men called from many lands."

In the fight Diomedes, though at first wounded by Pandarus, speedily
returned refreshed and strengthened by Athena. His great deeds drew
upon him Pandarus and Aeneas, the son of Aphrodite and the future
founder of Rome's greatness. Diomedes quickly slew Pandarus and when
Aeneas bestrode his friend's body, hurled at him a mighty stone which
laid him low. Afraid of her son Aphrodite cast her arms about him and
shrouded him in her robe. Knowing that she was but a weak goddess
Diomedes attacked her, wounding her in the hand. Dropping her son, she
fled to Ares who was watching the battle and besought him to lend her
his chariot, wherein she fled back to Olympus. There her mother Dione
comforted her with the story of the woes which other gods had suffered
from mortals.

"But this man hath been set upon thee by Athena. Foolish one, he
knoweth not in his heart that no man liveth long who fighteth with
the gods; no children lisp 'father' at his knees when he returneth
from war and dread conflict. Therefore, albeit he is so mighty, let
him take heed lest a better than thou meet him, for one day his
prudent wife shall wail in her sleep awaking all her house, bereft
of her lord, the best man of the Achaeans."

But Athena in irony deemed that Aphrodite had been scratched by some
Greek woman whom she caressed to tempt her to forsake her husband and
follow one of the Trojans she loved.

Aeneas when dropped by his mother had been picked up by Apollo; when
Diomedes attacked the god, he was warned that battle with an immortal
was not like man's warfare. Stirred by Apollo, Ares himself came to
the aid of the Trojans, inspiring Sarpedon the Lycian to hearten his
comrades, who were shortly gladdened by the return of Aeneas whom
Apollo had healed. At the sight of Ares and Apollo fighting for Troy
Hera and Athena came down to battle for the Greeks; they found
Diomedes on the skirts of the host, cooling the wound Pandarus had
inflicted. Entering his chariot by his side, Athena fired him to meet
Ares and drive him wounded back to Olympus, where he found but little
compassion from Zeus. The two goddesses then left the mortals to fight
it out.

At this moment Helenus, the prophetic brother of Hector, bade him go
to Troy to try to appease the anger of Athena by an offering, in the
hope that Diomedes' progress might be stayed. In his absence Diomedes
met in the battle Glaucus, a Lycian prince.

"Who art thou?" he asked. "I have never seen thee before in battle,
yet now thou hast gone far beyond all others in hardihood, for thou
hast awaited my onset, and they are hapless whose sons meet my
strength. If thou art a god, I will not fight with thee; but if thou
art one of those who eat the fruit of the earth, come near, that
thou mayest the quicker get thee to the gates of death."

In answer, Glaucus said:

"Why askest thou my lineage? As is the life of leaves, so is that of
men. The leaves are scattered some of them to the earth by the wind,
others the wood putteth forth when it is in bloom, and they come on
in the season of spring. Even so of men one generation groweth,
another ceaseth."

He then told how he was a family friend of Diomedes and made with him
a compact that if they met in battle they should avoid each the other;
this they sealed by the exchange of armour, wherein the Greek had the
better, getting gold weapons for bronze, the worth of a hundred oxen
for the value of nine.

Coming to Troy Hector bade his mother offer Athena the finest robe she
had; yet all in vain, for the goddess rejected it. Passing to the
house of Paris, he found him polishing his armour, Helen at his side.
Again rebuking him, he had from him a promise that he would be ready
to re-enter the fight when Hector had been to his own house to see his
wife Andromache. Hector's heart foreboded that it was the last time he
would speak with her. She had with her their little son Astyanax.
Weeping she besought him to spare himself for her sake.

"For me there will be no other comfort if thou meetest thy doom, but
sorrow. Father and mother have I none, for Achilles hath slain them
and my seven brothers. Hector, thou art my father and my lady mother
and my brother and thou art my wedded husband. Nay, come, pity me and
abide on the wall, lest thou make thy son an orphan and thy wife a
widow."

He answered, his heart heavy with a sense of coming death:

"The day will come when Troy shall fall, yet I grieve not for father
or mother or brethren so much as for thee, when some Achaean leads
thee captive, robbing thee of thy day of freedom. Thou shalt weave at
the loom in Argos or perchance fetch water, for heavy necessity shall
be laid upon thee. Then shall many a one say when he sees thee shedding
tears: 'Lo, this is the wife of Hector who was the best warrior of the
Trojans when they fought for their town.' Thus will they speak and thou
shalt have new sorrow for lack of such a man to drive away the day of
slavery."

He stretched out his arms to his little son who was affrighted at the
sight of the helmet as it nodded its plumes dreadfully from its tall
top. Hector and Andromache laughed when they saw the child's terror;
then Hector took off his helmet and prayed that the boy might grow to
a royal manhood and gladden his mother's heart. Smiling through her
tears, Andromache took the child from Hector, while he comforted her
with brave words.

"Lady, grieve not overmuch, I beseech thee, for no man shall thrust me
to death beyond my fate. Methinks none can avoid his destiny, be he
brave or a coward, when once he hath been born. Nay, go to the house,
ply thy tasks and bid the maids be busy, but war is the business of
the men who are born in Troy and mine most of all."

Thus she parted from him, looking back many a time, shedding plenteous
tears. So did they mourn for Hector even before his doom, for they
said he would never escape his foes and come back in safety.

Finding Paris waiting for him, Hector passed out to the battlefield.
Aided by Glaucus he wrought great havoc, so much that Athena and
Apollo stirred him to challenge the bravest of the Greeks. The victor
was to take the spoils of the vanquished but to return the body for
burial. At first the Greeks were silent when they heard his challenge,
ashamed to decline it and afraid to take it up. At last eight of their
bravest cast lots, the choice falling upon Ajax. A great combat ended
in the somewhat doubtful victory of Ajax, the two parting in
friendship after an exchange of presents. The result of the fighting
had discouraged both sides; the Greeks accordingly decided to throw up
a mound in front of their ships, protected by a deep trench. This
tacit confession of weakness in the absence of Achilles leads up to
the heavy defeat which was to follow. On the other side the Trojans
held a council to deliver up Helen. When Paris refused to surrender
her but offered to restore her treasures, a deputation was sent to
inform the Greeks of his decision. The latter refused to accept either
Helen or the treasure, feeling that the end was not far off. That
night Zeus sent mighty thunderings to terrify the besiegers.

So far the main plot of the _Iliad_ has been undeveloped; now that the
chief characters on both sides have played a part in the war, the poem
begins to show how the wrath of Achilles works itself out under Zeus'
direction. First the king of the gods warned the deities that he would
allow none to intervene on either side and would punish any offender
with his thunders. Holding up the scales of doom, he placed in them
the lot of Trojans and of Greeks; as the latter sank down, he hurled
at their host his lightnings, driving all the warriors in flight to
the great mound they had built. For a time Teucer the archer brother
of Ajax held them back, but when he was smitten by a mighty stone
hurled of Hector all resistance was broken. A vain attempt was made by
Hera and Athena to help the Greeks, but the goddesses quailed before
the punishment wherewith Zeus threatened them. When night came the
Trojans encamped on the open plain, their camp-fires gleaming like the
stars which appear on some night of stillness.

Pages:
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18

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

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

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

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

Buy The Dead by Charlie Higson at the Guardian bookshop

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

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

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

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

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

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

2. The Shining by Stephen King

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

3. The Drive-In by Joe R Lansdale

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

4. I Am Legend by Richard Matheson

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

5. The Killer Inside Me by Jim Thompson

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

6. Pan Books Of Horror

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

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

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

8. The Silence Of The Lambs by Thomas Harris

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

9. Ghost stories by MR James

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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


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.

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

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


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.