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The Journal of Arthur Stirling by Upton Sinclair

U >> Upton Sinclair >> The Journal of Arthur Stirling

Pages:
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Do not stop!--I cry it all day--Do not stop!

* * * * *

April 30th.

It is weak of me, but sometimes I can not help but look ahead--and think
that it is done! I could not find any words to tell the joy that that will
be to me--to be free, after so long--to be free!

I do not care anything about the fame--it would not be anything to me to be
a great author. If it could be done, nothing would please me better than
to publish it anonymously--to let no one ever know that it was mine. If I
could only have the little that I need to be free, I would publish all that
I might ever write anonymously.

Yes, that is the thing that makes my blood bound. To be free! Let it only
be done--let it only be real, as it will be--and the naked force of it will
shake men to the depths of their souls. I could not write it, if I did not
believe that I was writing words that would grip the soul of any man--I
care not how dull or how coarse he might be.

* * * * *

I finished the first act just now.

* * * * *

May 1st.

I am wild to-day. Oh, how can I bear this--why should I have to contend
with such things as this! Is it not hard enough--the agony that I have to
bear, the task that takes all my strength and more? And must I be torn to
pieces by such hideous degradation as this? Oh, my God, if my life is not
soon clear of these things I shall die!

* * * * *

Oh, it is funny--yes, funny!--Let us laugh at it. The dance-hall musician
has brought home his 'cello! I heard him come bumping up the stairs with
it--God damn his soul! And there he sits, sawing away at some loathsome jig
tunes! And he has two friends in there--I listen to their wit between the
tunes.

Here I sit, like a wild beast pent in a cage. I tell you I can bear any
work in the world, but I can not bear things such as this. That I, who am
seeking a new faith for men--who am writing, or trying to write, what will
mean new life to millions--should have my soul ripped into pieces by such
loathsome, insulting indignities!

Oh, laugh!--but _I_ can't laugh--I sit here foaming at the lips, and
crying! And suppose he's lost his position, and does this every day!

Now every day I must lay aside what I am doing and sit and shudder when I
hear him coming up the steps--and wait for him to begin this! I tell you,
I demand to be free--I _demand_ it! I want nothing in this world but to
be let alone. I don't want anybody to wait on me.--_I don't want anything
from this hellish world but to be let alone!_

It is pouring rain outside, and my overcoat is thin; but I must go out and
pace the streets and wait until a filthy Dutchman gets through scraping
ragtime on a 'cello.

All day wasted! All day! Does it not seem that these things persecute you
by system? I came in, cold and wet, and got into bed, and then he began
again! And the friends came back and they had beer, and more music. And I
had to get up and put on the wet clothes once more.

* * * * *

May 2d.

I was crouching out on one of the docks last night. I had no place else to
go. I can think anywhere, if it is quiet.

A wonderful thing is the night. I bless Thee for the night, oh "_susse,
heilige Natur_"!

It was a voice in my soul, as clear as could be.

--She can not bear too long the sight of men, sweet, holy Nature: the
swarming hives--the millions of tiny creatures, each drunk and blind with
his own selfishness; and so she lays her great hand upon it all, and hides
it out of her sight.

Once it was all silent, and formless as the desert; soon it shall all be
silent and formless again; and meanwhile--the night, the night!

* * * * *

Oh, I hunger for the desert! I do not care for beauty--I have no time for
beauty, I want the earth stern and forbidding. Give me some place where no
one else would want to go--an iron crag where the oceans beat--a
mountain-top where the lightning splinters on the rocks.

* * * * *

I go at it again. But I am nervous--these things get me into such a state
that I simply can not do anything. It was not merely yesterday--I have it
constantly. The dirty chambermaid singing, or yelling down to the landlady;
the drunken man swearing at his wife; the boys screaming in the street and
kicking a tomato-can about. When I think of how much beauty and power has
been shattered in my life by such things as these, it brings tears of
impotent rage into my eyes.

I must be free--oh, I must be free!

* * * * *

It comes strangely from the author of The Captive, does it not?

I give all my life to my work, and sometimes, when I am broken like this, I
wonder if I do not give too much. Once I climbed to a dizzy height, and I
cried out a dizzy truth:

"O God, how as nothing in Thy sight are my writings!"

I do not know if I shall ever reach that height again.

* * * * *

May 3d.

I have not one single beautiful memory in my life. I have nothing in my
life that, when I think of it, does not make me _writhe_.

To all that I have lived, and known, and seen, I have but one word, one
cry--Away! Away! Let me get away from it! Let me get away from cities, let
me get away from men, let me out of my cage! Let me go with my God, let
me forget it all--put it away forever and ever! Let me no longer have to
plot and plan, to cringe and whimper, to barter my vision and my hours for
bread!

Who knows what I suffer--who has any idea of it? To have a soul like a
burning fire, to be hungry and swift as the Autumn wind, to have a heart as
hot as the wild bird's, and wings as eager--and to be chained here in this
seething hell of selfishness, this orgy of folly.

* * * * *

Ah, and then I shut my hands together. No, I am not weak, I do not spend my
time chafing thus! I have fought it out so far--

"I was ever a fighter, so one fight more!"

I will go back, and I will hammer and hammer again--grimly--savagely--day
by day. And out of the furnace of my soul I will forge a weapon that will
set me free in the end--I think.

* * * * *

May 4th.

I wrote a little poem once. I remembered two lines of it--a nature
description; they were not great lines, but there flashed over me to-day an
application of them that was a stroke of genius, I believe. I was passing
the Stock Exchange. It was a very busy day. I climbed one of the pillars,
in spirit, and wrote high above the portals:

Where savage beasts through forest midnight roam,
Seeking in sorrow for each other's joy.

* * * * *

May 5th.

A dreadful thing is unbelief! A dreadful thing it is to be an infidel!

--That is what all men cry nowadays--there is so much infidelity in the
world--it is the curse of our modern society--it is everywhere--it is
all-prevailing!

I had a strange experience to-day, Sunday. I went into a church, and high
up by the altar, dressed in solemn garb and offering prayers to God--I saw
an infidel!

He preached a sermon. The theme of his sermon was "Liberalism."

"These men," cried the preacher, "are blinding our eyes to our salvation,
they are undermining, day by day, our faith! They tell us that the sacred
word of God is 'literature'! And they show us more 'literature'; but oh, my
friends, what new _Bible_ have they shown us!"

As I got up and went out of that church, I whispered: "What a dreadful
thing it is to be an infidel!"

Oh Dante and Goethe and Shakespeare--oh Wordsworth and Shelley and Emerson!
Oh thrice-anointed and holy spirits! What a dreadful thing it is to be an
infidel!

What a dreadful thing it is to believe in a Bible, and not to believe in
literature--to believe in a Bible and not to believe in a God!

You think that this world lives upon the revelation of two thousand years
ago! Fool--this world lives as your body lives by the beating of its
heart--upon the revelation and the effort of each instant of its life. And
to-day or to-morrow the great Revealer might send to some lonely thinker in
his garret a new word that would scatter to dust and ashes all laws and all
duties that now are known to men.

* * * * *

There are many ways to look at the world, and always a deeper one. I see it
as a fearful thing, towering, expanding, upheld by the toil and the agony
of millions. Who will bring us the new hope, the new song of courage, that
it go not down into the dust to-day?

To do that there is the poet; to live and to die unheeded, and to feed for
ages upon ages the hungry souls of men--that is to be a poet. Therefore
will he sing, and sing ever, and die in the sweetness of his song.

When I think of that--not now as I write it here in bare words--but in
quivering reality, it is a hand upon my forehead, and a presence in the
room.

* * * * *

May 6th.

Chiefest of all I think of my country! Passionately, more than words can
utter, I love this land of mine. If I tear my heart till it bleeds and pour
out the tears of my spirit, it is for this consecration and this hope--it
is for this land of Washington and Lincoln. There never was any land like
it--there may never be any like it again; and Freedom watches from her
mountains, trembling.

--It is a song that it needs, a song and a singer; to point it to its high
design, to thrill it with the music of its message, to shake the heart of
every man in it, and make him burn and dare! For the first time there is
Liberty; for the first time there is Truth, and no shams and no lies,
enthroned. The news of it has gone forth like the sound of thunder, and has
shaken all the earth: that man at last may live, may do what he can and
will!

--And to what is it? Is it to the heaping up of ugly cities, the packing of
pork and the gathering of gold? That is the thing that I toil for--to tear
this land from the grasp of mean men and of merchants! To take the souls
of my countrymen into the high mountains with me, to thrill them with a
soaring, strong resolve! _Living things_ shall come from this land of
mine, living things before I die, for the hunger of it burns me, and will
not ever let me rest. Freedom! freedom! And stern justice and honor, and
knowledge and power, and a noonday blaze of light!

Arise in thy majesty, confronting the ages!
Stretch out thine arms to the millions that shall be!
Justice thine inheritance, God thy stay and sustenance,
My country, to thee!

Those are feeble words. If this were a book, I would tear it all up.

I wonder if any one will ever read this. As a matter of fact, I suppose ten
people will read gossip about the book for every one who reads the book.

* * * * *

This is just a month from the beginning. A month to-day! Yes--I have done
my share, I have done a third of it--a third!

But the end is so much harder!

* * * * *

May 9th.

I have been for two days in the mire. I was disturbed, and then I was
sluggish. Oh, the sluggishness of my nature!

If ever I am a great poet, I will have made myself that by the power of my
will; that is a fact. I am by nature a great clod--I feel nothing, I care
about nothing. I look at the flowers as a cow chewing its cud.--It is only
that I _will_ to do right.

Sometimes the sight of my dulness drives me wild. Then again I merely
gaze at it. I try time and again to get my mind on my work, and
something--anything, provided it is trivial enough--turns me aside. Just
now I saw a spider-web, and that made me think of Bruce, and thence I went
by way of Walter Scott to Palestine, and when I came to I was writing a
song for--who was the minstrel?--to sing outside of the prison of Coeur de
Lion.

I go wandering that way--sometimes I sit so for an hour; and then suddenly
I leap up with a cry. But I may try all I please--I don't care anything
about the work--it doesn't stir me--the verses I think of make me sick. And
then I remember that I have only so many weeks more; and what it will mean
to fail; and that makes me desperate, but doesn't help.

When I have stopped at some resting-place in the poem, I can get going
again. But now I have stopped in the middle of a climax; and the number
of times that I have read that last line, trying to find another--Great
heavens!

* * * * *

But I can not find another word. I am in despair.

I know perfectly well what I shall do, only I am a coward, and do not do
it. I shall stay in this state till my rage has heaped itself up enough and
breaks through everything at last. And then I shall begin to hammer myself!
to swear at myself in a way that would make a longshoreman turn white. And
I shall spend perhaps two or three hours--perhaps two or three days--doing
that, until I am quite in a white heat; and then--I shall go to my work.

That is the price I pay for being distracted.

* * * * *

May 11th.

I said to myself the day before yesterday--with a kind of a dry sob--"I
can't do it! I can't do it!"

Oh how tormented I am by noises--noises! What am I not tormented by? Some
days ago I was writing in a frenzy--and the landlady came for her rent. And
the horrible creature standing there, talking at me! "So lonely!--don't
ever see people! Mrs. Smithers was a-saying--" Oh, damn Mrs. Smithers!

I thought I could never do it--I was really about to give it up. I went out
on the street--I roamed about for hours, talking I don't know what nonsense
to myself. And then at last I came home, and I knelt down there at the
bedside and said: "Here you stay without anything to eat until you've
written ten lines of that poem!"

And that was how I did it. I stayed there, and I prayed. I don't often
pray, but that time I prayed like one possessed--I was so lonely and so
helpless--and the work was so beautiful. I stayed there for nine blessed
hours, and then the clock stopped and I couldn't count after that.

But the day came, and then the ten lines! And so I had my breakfast.

These things leave you weak, but a little less dull.

* * * * *

May 13th.

I have been working with a kind of wild desperation all day to-day. Oh it
hurts--it hurts--but I am doing it! Whenever I read some lines of it that
are real--whenever some great living phrase flashes over me--then I laugh
like a man in the midst of a battle.

I shall be just as a man who has been through a battle; haggard and wild
and desperate. Oh, I don't think I shall _ever_ have the courage to do
it again!

I did not know what it meant! I did not! It was giving myself into the
hands of a fiend!

All great books will be something different to me after this. Did
Shakespeare write thus with the blood of his soul? Or am I weak? Did he
ever cry out in pain, as I have?

* * * * *

May 14th.

Another day of raw torture. It is like toiling up a mountain side; and your
limbs are of lead. It is like struggling in a nightmare,--that is just what
it is like. It is sickening.

But then you dare not stop. It is hard to go on, but it is ten times as
hard to start if you stop.

I could hardly stand up this afternoon! but the thing was ringing in
my ears--it went on and on--I had to go after it! I was in the seventh
heaven--I could see anything, dare anything, do anything. It made no
difference how hard--it called to me--on--on! And I said: "Suppose I were
to be tortured--could I go then?" And so I went and went.

I haven't written it down yet; I felt sick. But I know it all.

Oh men--oh my brothers--will you love me for this thing?

* * * * *

May 16th.

I did no writing yesterday or to-day. I have been terribly frightened.

I wrote what I had to write the day before yesterday--I could not help it.
But when I stopped my head was literally on fire, and the strangest mad
throbbing in it--I stood still in fear, it felt so as if something were
going to burst--my head seemed to weigh a ton. I poured cold water over it,
but it made no difference--it stayed that way all night and all yesterday.

What am I to do? I dare not think--I took a long walk, and even now I find
myself thinking of the book without knowing it. Imagine me sitting on a
doorstep and playing for two hours with a kitten!

Why should I be handicapped in such a way as this? I had never thought of
such a thing.

* * * * *

I was thinking about The Captive--it is my own. Nobody has helped me--I
have told not one person of it. Everything in it has come out of my soul.

* * * * *

May 17th.

I feel better to-day, but I hardly know what to do.

Meantime I was happy!--Think of a poet's being happy with city flowers! of
a poet's being happy with store-flowers--prostitute-flowers--flowers for
sale!

It was all about a narcissus--"Very flower of youth, and morning's golden
hour!"--as I called it once. And it danced so! (It was out on the
curbstone)--and I went off happy.

Then I thought of a poem that is pure distilled ecstasy to my spirit. I
will write it, and be happy again:

Sit thee by the ingle, when
The sear faggot blazes bright;
Spirit of a winter's night!-- ...
Sit thee there, and send abroad,
With a mind self-overaw'd,
Fancy, high-commission'd:--send her!
She has vassals to attend her;
She will bring, in spite of frost,
Beauties that the earth hath lost;
She will bring thee, all together,
All delights of summer weather;
All the buds and bells of May,
From dewy sward or thorny spray;
All the heaped Autumn's wealth,
With a still, mysterious stealth;
She will mix those pleasures up,
Like three fit wines in a cup,
And thou shall quaff it!--

Ah! And so I went along, "sun, moon, and stars forgot"--laughing and half
dancing. People stared at me--and I laughed. And then I passed three pretty
girls, and I laughed, and they laughed too. I guess they thought I was
going to follow them.

--But that pleasure was not in my cup, dear girls.

* * * * *

Some of these days I hope to live in a beautiful world, where a man may
speak to a pretty girl on the street. Badness is its own punishment, let
the bad world observe.

I would rather look at a beautiful woman than do anything else I know of in
this world, except listen to music.

* * * * *

May 18th.

I often think how I shall spend my money after The Captive is done. I shall
take a band of chosen youths, seekers and worshipers, and we shall build a
house on a mountain-top and worship the Lord in the beauty of music!

I shall have to begin at the beginning--I have never had any one to teach
me music. But oh, if I did know!--And if I ever got hold of an
orchestra--_how_ I would make it go!

And in the middle of it the astonished orchestra would see the conductor
take wings unto himself and fly off through the roof.

A book that I mean to write some day will be called The Pleasures of Music,
and it will sing the joys of being clean and strong, of cold water and the
early morning and a free heart. It will show how all the unhappiness of men
is that they live in the body and in self, and how the world is to be saved
through music, which is not of the body, nor of self--which is free and
infinite, swift as the winds, vast as the oceans, endless as time, and
happy as whole meadows of flowers! The more who come to partake of it, the
better it is; for generous is "Frau Musika," her heart is made wholly of
love.

--And when I have shown all these things, Frau Musika, I shall tell of the
golden lands that I have visited upon the wings of thy spirit!--

What objects are the fountains
Of thy happy strain!
What fields or waves or mountains,
What shapes of sky or plain!
What love of thine own kind, what ignorance of pain!

* * * * *

May 20th.

I live among the poor people and that keeps me humble. There is not much
chance for freedom, I hear them say, there are not many who can dwell in
the forests. Prove your right to it--prove what you can do--the law is
stern. I am not afraid of the challenge; I will prove what I can do.

But I see one here and there with whom the law is not so strict, I think.

* * * * *

I met a merchant the other night. I dreamed of him. He said: "I buy such
goods as men need; I buy them as cheaply as I can, since life is grim. I
sell them as cheaply as I can, since men are poor and suffering. I make of
profit what I need to live humbly. I am not of the world's seekers; I am of
the finders."

* * * * *

I met also a guileless fool.

We passed a great mansion. "I should like to know the man who lives there,"
said the fool.

"Should you?" said I.

"Is he a hero?" asked the fool.

"No," said I.

"Is he a poet?" asked the fool.

"No," said I.

"Must he not be very beautiful," said the fool, "that men judge him worthy
of so much beauty?"

* * * * *

May 21st.

I must finish this thing this time! That cry rings in my ears night after
night. I am toiling upward--upward--I can see no sign of the end yet--but
I must finish this time! If I had to stop with this thing haunting me--if
I had to go out into that jungle of a world with this weight upon me--to
repress myself with this fire in my heart--I could not bear it--I could not
bear it!

And if I stopped and went out into that world again--how many weeks of
agony would it cost me to get back to where I am now!

I must finish this time!

* * * * *

May 22d.

"No, officer, I am neither a burglar nor a highwayman, nor anything else
worth bothering; I'm just a poet, and I'm crazy, to all practical purposes,
so please get used to me and let me wander about the streets at these
strange hours of the night without worrying!"

Poor, perplexed policeman! Poor, perplexed world! Poor, perplexed mothers
and fathers, sisters and cousins and aunts of poets!

Mit deinen schwarzbraunen Augen
Siehst du mich forschend an:
"Wer bist du, und was fehlt dir,
Du fremder, kranker Mann!"

Who does not love the poet Heine--melodious, beautiful, bitter soul? Is
there any other poet who can mingle, in one sentence, savage irony and
tenderness that brings tears into the eyes? Who can tell the secret of his
flower-like verses?

Ich bin ein deutscher Dichter,
Bekannt im deutschen Land;
Nennt man die besten Namen
So wird auch der meine genannt.
Und was mir fehlt, du Kleine,
Fehlt manchem im deutschen Land;
Nennt man die schlimmsten Schmerzen,
So wird auch die meine genannt!

I have never seen but one beautiful thing in New York, and that is its
mighty river in the night-time. I wander down to the docks when my work is
done, and when it is still; I sit and gaze at it until the city is quite
gone, and all its restlessness,--until there is but that grave presence,
rolling restlessly, silently, as it has rolled for ages. It makes no
comments; it has seen many things.

To-night I sat and watched it till a tangled forest sprang up about me, and
I saw a strange, high-bowed, storm-beaten craft glide past me, ghostly
white, its ghostly sailors gazing ahead and dreaming of spices and gold.

* * * * *

The old, old river--my only friend in a whole city! It goes its way--it is
not of the hour.

It fascinates me, and I sit and sit and wonder. I gaze into its black and
gurgling depths, and whisper what Shelley whispered: "If I should go down
there, I should _know_!"

* * * * *

But no, I should not know anything.

* * * * *

_The days when thou wert not, did they trouble thee? The days when thou
art not shall trouble thee as much._

* * * * *

May 24th.

AN ESSAY AFTER RIGHTEOUSNESS

I write this to set forth a purpose which I have for over a year held
before me. I write it that it may serve me for a standard. I write it at
a time when my bank-account consists of twenty-five dollars, and I mean
to publish it at such a time as by the method of plain living and high
thinking, I shall have been able to increase it a hundredfold.

We are told that a man who would write a great poem must first make a poem
of his life. An artist, as I understand the word, is a man who has but one
joy and one purpose and one interest in life--the creating of beauty; he is
a man lifted above and set apart from all other motives of men; a man who
seeks not wealth nor comfort nor fame, nor values these things at all; a
man whose heart is forever lonely, whose life is an endless sorrow, and
whose excuse and whose spur and whose goal and whose consecration, is the
creating of beauty.

What power--be it talent or genius--God has given me, I can not tell; I
only know that an artist in that sense of the word I mean to be. I have
thought out a plan by which I shall make the publishing of my books, as
well as the writing of them, a thing of Art.

Pages:
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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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