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After Long Years and Other Stories by Translated from the German by Sophie A. Miller and Agnes M. Dunne

T >> Translated from the German by Sophie A. Miller and Agnes M. Dunne >> After Long Years and Other Stories

Pages:
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Produced by Charles Aldarondo, Tiffany Vergon, Tonya Allen,
Charles Franks and the Online Distributed Proofreading Team.




[Illustration: "The Count then opened the door and overcome with emotion
he fell at the feet of the Countess."--From _"Royal Palace to Lowly
Hut"_]



_SUNSHINE AND SHADOW SERIES_



AFTER LONG YEARS

AND

OTHER STORIES


TRANSLATIONS FROM THE GERMAN BY

SOPHIE A. MILLER

AND

AGNES M. DUNNE




NOTE


These ethical stories have been translated from the German with the view
of instilling into the minds of youthful readers such truths as will
help materially toward building a character that will withstand the
trials and temptations of life.

It is conceded by educators that ethics presented in the lecture form
fails of its purpose; therefore the writers have presented this subject
in the form most appealing to children--the story.




CONTENTS


I. AFTER LONG YEARS

Chapter

I. The Journey

II. Apprenticeship

III. Alfred Banford

IV. The Stranger


II. THE CAPTIVE

Chapter

I. Home-Coming

II. The Slave

III. In the Turkish Family

IV. The Lion

V. The Offer

VI. The Plans

VII. Restored to Freedom


III. THE ARTIST'S MASTERPIECE

Chapter

I. The Gift

II. Under the Emperor's Bush

III. No Prophet in His Own Country

IV. The Condition

V. The Fulfilment


IV. THE VINEYARD ON THE HILLSIDE

Chapter

I. Missing

II. The Faithful Dog

III. The Fond Foster-Parents

IV. The Errand

V. The Old Man

VI. The Legacy

VII. The Journey


V. THE DAMAGED PICTURE

Chapter

I. The Artist

II. The Picture

III. The Discovery


VI. MEMORIES AWAKENED

Chapter

I. The Change of Circumstances

II. The Revelation


VII. THE INHERITANCE

Chapter

I. Mr. Acton and his Son

II. The Uninvited Guest

III. The Flowering Plant

IV. The Two Families

V. The Feast


VIII. HOW IT HAPPENED

Chapter

I. The Wooded Island

II. Far From Home

III. The Smoke


IX. FROM ROYAL PALACE TO LOWLY HUT

Chapter

I. The Suburbs

II. The Retreat

III. The Prison

IV. The Purchase

V. Reunited


X. THE UGLY TRINKET

Chapter

I. The Opened Door

II. The Test

III. Reverses




AFTER LONG YEARS




CHAPTERS.

I. THE JOURNEY.

II. APPRENTICESHIP.

III. ALFRED BANFORD.

IV. THE STRANGER.


[Illustration: "He halted, offered his assistance to the two half-frozen
men, helped them into the sleigh and hurried on with them."]




AFTER LONG YEARS




CHAPTER I

THE JOURNEY


The Duchess of Banford and her two children were driving toward their
villa, when, owing to the roughness of the road, the front wheel of
their coach was suddenly broken. Considerably frightened, mother and
children quickly alighted. The approaching darkness, coupled with the
loneliness of the place, added to the difficulty; for the prospect of
spending the night in the woods was particularly distressing.

Just then a stable-boy chanced along and seeing the predicament, said:
"Oh, that wheel can be easily mended. Not far from here there lives a
wheelwright, and I am sure he can repair it in a very short time." The
boy then looked about him, and seeing a long pole, said: "We can use
this to support the wagon as it drags along. The road is rugged, and it
will take us about an hour to get there."

"Is there no shorter route?" inquired the Duchess.

"This is the only wagon road; but if you wish, I will lead you along a
shorter path across the fields which will cut the distance in half."

The Duchess thanked him, and asked: "Do you think that we may take this
pole? It seems to me as though some wood-cutter had left it here to prop
a tree."

"Oh, yes," he answered, "it belongs to the wheelwright to whom I am
taking you. All the wood around here belongs to him, and he will be glad
to have this pole so handy." So saying, he hurried to get the pole and
helped the coachman fasten it in place. The horses then drew the
carriage slowly over the rocky road, while the coachman walked
alongside.

The family, however, followed the footpath, which led between tall elms
and blooming shrubbery along the edge of a babbling brook.

The silence was broken now and then by the plaintive song of a
nightingale. The Duchess and her two children seated themselves upon the
trunk of a fallen tree and listened to the music till it ceased. A
gentle wind sighed softly through the leaves of the trees, and merrily
flowed the near-by brook. As the nightingale repeated its song, they all
listened intently.

When the song was ended, the Duchess said: "I would give twenty pounds
if I had such a bird in my garden. I have heard many nightingales sing
in the city, but here in the country, in this wooded region and deep
stillness, and at this twilight hour, its song seems doubly enchanting.
Oh, that I might hear it sing in the little bower near my villa."

"Hm," whispered the stable-boy, who stood near her oldest son, Alfred,
"those twenty pounds could be easily earned."

Alfred nodded, and motioned to the boy to be still, for just then the
nightingale began to sing. When the song ceased the Duchess arose to
continue her way. Alfred, however, lagged behind with the stable-boy,
with whom he was soon busily engaged in earnest talk.

"A nightingale in a cage is not what my mother wants; what she wants is
a nightingale that is at liberty, to sing and nest and fly as it pleases
in our beautiful garden, and to return to us in the spring from its
winter home."

"I understand very well what you mean. I should not want to catch a bird
and deliver it into captivity." After questioning Alfred more closely
about the trees near his villa, the boy said: "I feel sure that I can
get a nightingale and its nest for you. I know just how to go about it.
You will soon hear its song resound from all parts of your garden--
possibly not this week, but surely next."

Alfred stood still for a moment and looked at the boy--clothed in a
shabby suit, with his hair protruding from his torn hat. Then he asked,
wonderingly, "What would you do with the money?"

"Oh," said the boy, and the tears stood in his eyes, "twenty pounds
would help us out of our troubles. You see, my father is a day-laborer.
He is not a very strong man, and I was just on my way to visit him, and
do what I could to help him. My foreman has given me a few days' leave
of absence. I don't earn much, but it helps my father a little. I often
feel that it would be a great help to him if I could earn more. I
certainly should like nothing better than to be a wheelwright. It must
be grand to be able to take the wood that lies here in the forest, and
make a beautiful carriage out of it, like the one you own. I have often
talked with the wheelwright, but he will not take me as an apprentice
until I have a certain amount of money. Besides, I should need money to
buy tools. It would cost twenty pounds, and my father and I haven't as
much as that together.

"Poor boy," thought Alfred, "if what he says is true, we must help him."
Then he said aloud, "Bring me a written recommendation from your
schoolmaster; and if the wheelwright really wants to take you, I will
give you ten pounds as soon as the nightingale sings in our garden; and I
know that the missing ten pounds will soon be forthcoming. But you must
say nothing about this to anyone until my mother's wish is gratified. I
should like to give her an unexpected pleasure."

Soon they struck the main road again, and the rest of the distance was
quickly covered.

While the wheelwright was repairing the carriage, Alfred engaged him in
conversation concerning the stable-boy, all of whose statements the man
corroborated. He also showed a willingness to apprentice the boy on the
terms stated.

The damage had now been repaired, so the Duchess paid the charges,
giving the stable-boy a few coins, and seated herself in the carriage
with her children.

After whispering a few words to the boy, to tell him how to reach the
villa, Alfred joined his mother and sister, and with tooting of horns
they proceeded on their journey in high spirits.




CHAPTER II

APPRENTICESHIP


The little stable-boy, Michael Warden, hurried on to his sick father. It
was late, and the journey would take him two hours. On his way he
stopped to buy a few delicacies for his father with the coins the
Duchess had given him. To his surprise, he found on arrival that his
father was very much improved.

Before daybreak on the following morning, Michael hurried to the woods
to find the nightingale's nest he knew so well. When he had last visited
it, he had seen five brownish-green eggs there. But as he now peered
into it he found, to his great astonishment, that the young birds had
broken through their shells. With all haste he set out for the villa,
several miles distant, to study the situation and decide where he could
best fasten the nest. Arriving there, he found a suitable place, and
then hurried back to the woods.

In the course of a few days, he succeeded in caging the parent birds.
Placing the nest beside them in the cage, he carried it to the garden of
the Duchess. He arrived there toward evening, and was hospitably
received by the gardener, who had been fully acquainted with the idea.

Adjoining the villa was a large tract of land, well wooded, which was
beautifully laid out with garden plots, pebbly, shaded paths,
vine-covered bowers and rustic seats. In one corner of the garden there
stood an odd little thatch-covered arbor, nestling between high rocks in
the shadow of the tall trees. A brook which fell in foaming whiteness
flowed past this little nook, clear as crystal, and made the stillness
fascinating by its intermittent murmuring. This spot the Duchess loved
well, and many hours of the day she spent here.

Scarcely a hundred feet distant, there stood a willow tree closely
resembling the late home of the caged nightingales. The boy had chosen
this tree and had prepared a place for the nest on a forked branch. He
went there late one evening, as the moon was shining brightly, and
placed the nest securely on this tree; then he gave the parent birds
their freedom.

The next morning, the boy returned to the spot and hid himself in the
thick shrubbery, to see whether the birds would feed their young, who
were loudly crying for food. In a little while the parent birds returned
and fed them.

"Now I have triumphed," said Michael; and he hurried to the villa to
carry to Alfred the welcome news that in a few days the nightingales
would be singing their song in his garden.

"Fine," said Alfred, "and then the money will be yours. Stay a few days
longer and you can take it with you."

Two days later, the Duchess invited her friends to a lawn-party. The sun
had risen in all its glory, the sky was unclouded, and the breezes were
light and refreshing. The garden, with all its natural beauty, afforded
a most entrancing spot for the feast, which proved perfect in every
detail and was enjoyed in full measure.

After the guests had departed, the Duchess said to her children, "Let us
spend this delightful twilight hour here in quiet. My soul is satisfied;
for what can compare with this blessed evening hour? What comparison can
there be between the grandeur of our salon and the beauty of nature?"

Just then the nightingale broke the stillness with its ecstatic song.
The Duchess was surprised, and listened intently until the song was
ended.

"I wonder how this nightingale came to my garden. The oldest residents
cannot remember ever having heard one in this region."

"Dear mother," said Alfred, "you often wished that a nightingale would
lend its song and its presence to grace this beautiful spot. The same
boy who assisted us out of a difficulty recently, helped me gratify your
wish. You remember, dear mother, that you said at that time: 'I would
give twenty pounds to have a nightingale in my garden.' That boy has
helped us please you, and we have paid him half this amount out of our
savings. The boy is worthy of the money, and it may be the foundation of
his future success."

"You have acted nobly," said the Duchess. "I am transported with ecstasy
at hearing the nightingale sing for the first time in my garden, and
also at the love which you have shown for your mother. It moves me still
more, however, when I think that my children possess a heart big enough
to part with money intended for their own use, and voluntarily give it
up to afford help and joy to others. I, too, will reward the boy
generously. I wonder what use he would make of the money."

"We could not give the money to a more worthy person," said Alfred, who
then related to his mother the boy's aspirations. "Besides, I have
written to his teacher, and this is what he says about him: 'A greater
deed of charity you could not perform than to help Michael Warden carry
out his desire to learn a trade. He is a clever, ingenious boy, and
would learn quickly. I think he would like best to be a wheelwright, and
I would suggest that you apprentice him with the master in our village.'
So you see, mother, the money would not be spent in vain."

"Very well, the money shall be his."

On the following morning, Alfred sent for Michael, and counted out to
him the money, increasing it to fifty pounds. Michael's astonishment
almost carried him off his feet, and he thanked Alfred profusely for the
extra money. He hurried home to his father and laid his wealth before
him on the table. The old man stared at it in blank amazement, and said:
"My boy, I hope you have not stolen this money!"

"No, father, but a little bird in the forest helped me," and Michael
related the incident.

His father, overjoyed, now made all preparations for Michael's outfit.
He then conducted him to the master wheelwright, paid the stipulated sum
and entered him as an apprentice. At the end of three years, the boy was
as accomplished in his trade as his master.

Before starting out into the world, Michael returned to the Castle of
Banford to tell of his progress, and once more thank the Duchess and her
children for their kindness to him. They praised him heartily for the
strides he had made. The Duchess then gave him another gift of money for
his journey, and said: "Success be yours. We must never do good by
halves; the sapling that we plant we should also water." Then with many
encouraging remarks, the Banfords bade him good-bye.

Touched by their interest and charity, Michael was so stupefied that he
could scarcely speak. When he recovered his self-control, he thanked
them all, and promised faithfully to do his best and always remember
their good advice.




CHAPTER III

ALFRED BANFORD


Alfred Banford had always been kind to the poor and dutiful and
affectionate to his mother. Suddenly he was seized with patriotic
fervor. For some time he had nursed the desire to be a soldier. At the
age of seventeen, he studied the art of warfare at a military academy.
He surprised all the officers with his military genius.

The Duchess, too, loved her fatherland, and at last she tearfully
recognized that she must give up her son to fight in defense of his
country.

"Go, then," said she, "fight for the right and your country; and may God
protect you."

Alfred fought valiantly and well, and at last was forced to proceed with
the great French army against Russia. On the way to Moscow the ranks
were greatly depleted, owing to the long, wearisome marches and
privations. After untold hardships and bloodshed, the army at last
reached Moscow, with her many palaces and temples and spires and the old
palace, the Kremlin. It was a pleasing picture. Alfred, like every other
soldier, now hoped to recuperate from the hardships of warfare. But he
found the city uninhabited, the streets deserted, the palaces and houses
empty.

At midnight, a dreadful fire which had been smoldering for several days,
broke out in wild fury and laid the greater part of the city in ashes.
The army was obliged to retreat; and many thousand brave soldiers,
exposed to snow and ice, hunger and cold, met a horrible death. One
single freezing night killed thousands of horses, Alfred's among them.
He was obliged to walk knee deep in icy water.

They traversed miles and miles of country without passing one hut; and
when in the distance a human habitation appeared and gave promise of
warmth and food, they found upon approach that it was deserted and
devoid of everything.

The poor, miserable, weakened soldiers were obliged to spend many a
weary night on the snow-covered ground, with no roof but the sky. The
need of food became more and more imperative each moment; yet if they
had had the wealth of kings, they could not have bought a dry crust of
bread; so they were reduced to the extremity of eating the flesh of
their fallen horses. They quenched their thirst with snow.

The street upon which the greater part of the army had gathered was
marked with deserted cannons and powder wagons; and on both sides lay
the dead, upon whom the fast falling snow had spread a white coverlet.
Many of the soldiers of Alfred's regiment had fallen, and lay frozen in
the snow; others were scattered here and there.

Alfred and a chum, both in a weakened condition, tried to go on. They
descried a little village, about half an hour distant; but before they
reached it, Alfred had become so weak that he fell exhausted in the
snow, saying: "Thus must I die here!" He extended his hand to his friend
and with tears in his eyes said: "Should you ever reach the Castle of
Banford, bear my love to my mother and sisters. Tell them that Alfred
Banford fought bravely, and fell in the service of his country."

These words reached the ears of a Russian gentleman, Vosky by name, who
in a rude sled was going in the direction of the village. He halted,
offered his assistance to the two half-frozen men, helped them into the
sleigh and hurried on with them. A few minutes' drive brought them to a
little inn, half concealed by the drifted snow.

The men were conducted into the house and furnished with food and
warmth. The host asked them no questions, for he saw that they were
benumbed and almost unconscious. At last, when they had recovered, he
raised his glass and said: "To your health, gentlemen. All brave
soldiers should live. I sympathize with you, although I am a Russian
subject. The sad fate of your fellow soldiers pains me. I will do all in
my power to help you. I know you are not our enemy. We have but one
enemy--the man whose iron will has forced all these hundreds of
thousands of men into our country." Then he arose and went about the
place, giving orders to his assistant.

The sleigh still stood at the door, and the horses impatiently shook the
sleigh bells and pawed the snow. As Vosky re-entered the room, his two
guests had finished their repast.

"Now," said he, "let me conduct you to a room where you can rest and
sleep, undisturbed and undiscovered." After climbing a ladder and
walking through a narrow passage, they came to a secret door which
opened into a bedroom. Alfred Banford looked about him, and was startled
when he saw in a mirror the reflection of such a pale, hungry-looking
visage and such tattered clothes.

Pity was plainly written in Vosky's kind face, but all he said was:
"Stay here and recuperate. To my sorrow, I must leave you for a little
while in order to transact some urgent business; but I will instruct my
valet to provide you with every possible comfort. Everything in this
house stands at your service."

Alfred Banford ventured to ask whether it would be perfectly safe to
remain, for he feared that Russian soldiers might capture him and that
he would be sent to Siberia.

"I give you my word," said Vosky. "You will be as safe here as the Czar
is in his Castle. Give me your word of honor to remain until my return.
I will then devise means to help you reach your country. But I must be
off now. Take good care of yourselves." And hurriedly he closed the door
behind him.

Alfred Banford marveled at the friendliness and goodness of this strange
man who had come to his rescue so unexpectedly and so opportunely, like
an angel from heaven. "It seems like awakening from a dream, to find
myself transported from an icy field to a warm, cozy room," said he. "It
borders on the miraculous--I cannot fathom it." But sleep was fast
overpowering him. He had lain for so long on straw, on icy ground, and
even in the snow, that it seemed as if he had never felt anything softer
or warmer than this bed. He soon fell asleep and rested quietly and
peacefully till the dawn.




CHAPTER IV

THE STRANGER


On the following morning, at breakfast, Alfred Banford turned to the
kind-hearted Russian servant, and said: "Do tell me what sort of man
your master is, and what is his name?"

"He is a very good man," said the servant. "I can think of no one who is
kindlier. His name is Vosky, the Czar's chief financial adviser, and he
is particularly concerned with the care of the Russian army. He has
always shown me great consideration, for I was only a poor beggar boy.

"One day one of Mr. Vosky's assistants lost a package containing some
valuable papers and a large sum of money. It was extensively advertised.
I fortunately found the package and brought it to Mr. Vosky, who was so
pleased with my honesty that he offered me a home, had me trained for a
commercial life, and now takes me with him on his journeys, partly as
secretary and partly as valet.

"His home is in St. Petersburg. This house is only used as a stopping
place when his business carries him to this region, which happens quite
frequently. Before leaving yesterday, he gave me strict orders to look
after your welfare. I trust you will be pleased with my efforts, and
give Mr. Vosky a good report when he returns."

By slow degrees Alfred Banford recovered his strength. He found books
with which to while away the time. The stillness of this secluded spot
was a gratifying change from the noisy battlefield.

One night, Mr. Vosky returned. As he entered the house, his face shone
with enthusiasm and gay spirits. "I come," said he, turning to Alfred,
"to give you liberty after your long confinement. I stand at your
service, and wish to do everything in my power to see you safely
restored to your own country. I would suggest that you go with me to St.
Petersburg; from there you can easily return to your own home by water.
I should like to introduce you to my wife and children. Besides, I could
not let you depart without suitable clothing, and I cannot provide you
with that here."

"My good man," said Alfred, "your extraordinary kindness to me exceeds
all measure. I cannot understand how I should merit such consideration
from you."

"But," said Mr. Vosky, almost choked with emotion, "I find nothing
extraordinary or bountiful in my acts. It is my duty, an act of
gratitude."

"I fail to understand you," said Alfred. "I cannot remember the
slightest favor that I have ever proffered you. I never saw you before,
and what is more, I never heard of you in my life."

"Never?" cried Mr. Vosky. "Then listen to what I have to say. My entire
fortune I owe to you. All my success I lay at your door."

Alfred looked at him in astonishment and shook his head.

"Did you never help a poor boy, by giving him fifty pounds?"

"Just now I don't remember ever having done any poor boy such a
charity."

"Now," said Vosky, "perhaps you may remember a nightingale that you
wished to have brought to your mother's garden. You will recall that
poor stable-boy who managed it for you."

"Oh, yes," said Alfred, "I remember the boy very well. He was a poor,
worthy, ambitious lad, named Michael Warden. The last I heard of him was
when he went out into the world as a wheelwright, to make his fortune."

"So, you do remember him. Well, that boy Michael was none other than
myself. Now I am the owner of a large factory, besides being financial
adviser to the Czar. I had my name legally changed to Vosky. I was that
stable-boy, that wheelwright."

"You!" cried Alfred, filled with admiration and astonishment. He sprang
forward and embraced his benefactor. "But why didn't you tell me all
this at first?"

"That was impossible," said Vosky. "It would have taken too long to
explain; and my business affairs were so pressing, and you were so
exhausted, that you could not have listened to a detailed account. I
deferred it for a more quiet, restful time, when I could express to you
my thanks. I saw that you did not recognize me, and I, too, would never
have recognized you had you not said that day as you sank in the snow,
'Give my love to my mother and sisters and say that Alfred Banford fell
in the service of his country.' Let us be thankful that we have been
brought together, and that the opportunity has been afforded me to show
you that I am not ungrateful. I cannot express to you the joy it gives
me to see you, and to be able to serve you."

Mr. Vosky then related some of the events of his life. How he had
visited the principal cities of Europe; and how he had studied under the
best men, in order to make himself proficient in his line of work.
Having heard that many Londoners were competing for the construction of
carriages for Russia, he had hastily sent in his estimate. The work was
accorded to him, and in a few years time he had amassed a large fortune.
He had also opened a large wagon factory, and as soon as the war broke
out with France, he had received orders from the Czar to supply the
Russian army with additional powder wagons. The government had been as
pleased with his promptness as with his honesty. Later, he had received
the title of "Imperial Financial Adviser."

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

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

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

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

Buy The Dead by Charlie Higson at the Guardian bookshop

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

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

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

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

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

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

2. The Shining by Stephen King

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

3. The Drive-In by Joe R Lansdale

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

4. I Am Legend by Richard Matheson

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

5. The Killer Inside Me by Jim Thompson

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

6. Pan Books Of Horror

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

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

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

8. The Silence Of The Lambs by Thomas Harris

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

9. Ghost stories by MR James

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

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

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


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Extract: The Whales by Evie Wyld

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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Booker prize sees Peter Carey and Emma Donoghue head shortlist

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

'Stone lighter?' he asks quietly.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

'Christssake' whispers Jimmy stepping back.

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

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

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

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

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

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

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

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

'S'just a nip,' says Elaine.

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

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

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

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

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


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