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The Lady of the Aroostook by W. D. Howells

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THE LADY OF THE AROOSTOOK

BY W. D. HOWELLS



THE LADY OF THE AROOSTOOK




I.


In the best room of a farm-house on the skirts of a village in the
hills of Northern Massachusetts, there sat one morning in August
three people who were not strangers to the house, but who had
apparently assembled in the parlor as the place most in accord with
an unaccustomed finery in their dress. One was an elderly woman with a
plain, honest face, as kindly in expression as she could be perfectly
sure she felt, and no more; she rocked herself softly in the haircloth
arm-chair, and addressed as father the old man who sat at one end of
the table between the windows, and drubbed noiselessly upon it with
his stubbed fingers, while his lips, puckered to a whistle, emitted
no sound. His face had that distinctly fresh-shaven effect which once
a week is the advantage of shaving no oftener: here and there, in the
deeper wrinkles, a frosty stubble had escaped the razor. He wore an
old-fashioned, low black satin stock, over the top of which the linen
of his unstarched collar contrived with difficulty to make itself
seen; his high-crowned, lead-colored straw hat lay on the table before
him. At the other end of the table sat a young girl, who leaned upon
it with one arm, propping her averted face on her hand. The window
was open beside her, and she was staring out upon the door-yard, where
the hens were burrowing for coolness in the soft earth under the lilac
bushes; from time to time she put her handkerchief to her eyes.

"I don't like this part of it, father," said the elderly woman,
--"Lyddy's seeming to feel about it the way she does right at the
last moment, as you may say." The old man made a noise in his throat
as if he might speak; but he only unpuckered his mouth, and stayed his
fingers, while the other continued: "I don't want her to go now, no
more than ever I did. I ain't one to think that eatin' up everything
on your plate keeps it from wastin', and I never was; and I say that
even if you couldn't get the money back, it would cost no more to
have her stay than to have her go."

"I don't suppose," said the old man, in a high, husky treble, "but
what I could get some of it back from the captain; may be all. He
didn't seem any ways graspin'. I don't want Lyddy should feel, any
more than you do, Maria, that we're glad to have her go. But what I
look at is this: as long as she has this idea--Well, it's like this
--I d'know as I can express it, either." He relapsed into the comfort
people find in giving up a difficult thing.

"Oh, I know!" returned the woman. "I understand it's an opportunity;
you might call it a leadin', almost, that it would be flyin' in the
face of Providence to refuse. I presume her gifts were given her for
improvement, and it would be the same as buryin' them in the ground
for her to stay up here. But I do say that I want Lyddy should feel
just _so_ about goin', or not go at all. It ain't like goin'
among strangers, though, if it _is_ in a strange land. They're
her father's own kin, and if they're any ways like him they're
warm-_hearted_ enough, if that's all you want. I guess they'll
do what's right by Lyddy when she gets there. And I try to look at it
this way: that long before that maple by the gate is red she'll be
with her father's own sister; and I for one don't mean to let it worry
me." She made search for her handkerchief, and wiped away the tears
that fell down her cheeks.

"Yes," returned the old man; "and before the leaves are on the ground
we shall more'n have got our first letter from her. I declare for't,"
he added, after a tremulous pause, "I was goin' to say how Lyddy would
enjoy readin' it to us! I don't seem to get it rightly into my head
that she's goin' away."

"It ain't as if Lyddy was leavin' any life behind her that's over and
above pleasant," resumed the woman. "She's a good girl, and I never
want to see a more uncomplainin'; but I know it's duller and duller
here all the while for her, with us two old folks, and no young
company; and I d'know as it's been any better the two winters she's
taught in the Mill Village. That's what reconciles me, on Lyddy's
account, as much as anything. I ain't one to set much store on
worldly ambition, and I never was; and I d'know as I care for Lyddy's
advancement, as you may call it. I believe that as far forth as true
happiness goes she'd be as well off here as there. But I don't say but
what she would be more satisfied in the end, and as long as you can't
have happiness, in this world, I say you'd better have satisfaction.
Is that Josiah Whitman's hearse goin' past?" she asked, rising from
her chair, and craning forward to bring her eyes on a level with the
window, while she suspended the agitation of the palm-leaf fan which
she had not ceased to ply during her talk; she remained a moment with
the quiescent fan pressed against her bosom, and then she stepped out
of the door, and down the walk to the gate. "Josiah!" she called,
while the old man looked and listened at the window. "Who you be'n
buryin'?"

The man halted his hearse, and answered briefly, "Mirandy Holcomb."

"Why, I thought the funeral wa'n't to be till tomorrow! Well, I
declare," said the woman, as she reλntered the room and sat down again
in her rocking-chair, "I didn't ask him whether it was Mr. Goodlow
or Mr. Baldwin preached the sermon. I was so put out hearin' it was
Mirandy, you might say I forgot to ask him anything. Mirandy was
always a well woman till they moved down to the Mill Village and began
takin' the hands to board,--so many of 'em. When I think of Lyddy's
teachin' there another winter,--well, I could almost rejoice that she
was goin' away. She ain't a mite too strong as it is."

Here the woman paused, and the old man struck in with his quaint
treble while she fanned herself in silence: "I do suppose the voyage
is goin' to be everything for her health. She'll be from a month
to six weeks gettin' to Try-East, and that'll be a complete change of
air, Mr. Goodlow says. And she won't have a care on her mind the whole
way out. It'll be a season of rest and quiet. I did wish, just for
the joke of the thing, as you may say, that the ship had be'n goin'
straight to Venus, and Lyddy could 'a' walked right in on 'em at
breakfast, some morning. I should liked it to be'n a surprise. But
there wa'n't any ship at Boston loadin' for Venus, and they didn't
much believe I'd find one at New York. So I just took up with the
captain of the Aroostook's offer. He says she can telegraph to her
folks at Venus as soon as she gets to Try-East, and she's welcome
to stay on the ship till they come for her. I didn't think of their
havin' our mod'n improvements out there; but he says they have
telegraphs and railroads everywheres, the same as we do; and they're
_real_ kind and polite when you get used to 'em. The captain,
he's as nice a man as I ever see. His wife's be'n two or three voyages
with him in the Aroostook, and he'll know just how to have Lyddy's
comfort looked after. He showed me the state-room she's goin' to have.
Well, it ain't over and above large, but it's pretty as a pink: all
clean white paint, with a solid mahogany edge to the berth, and a
mahogany-framed lookin'-glass on one side, and little winders at the
top, and white lace curtains to the bed. He says he had it fixed up
for his wife, and he lets Lyddy have it all for her own. She can set
there and do her mendin' when she don't feel like comin' into the
cabin. The cabin--well, I wish you could see that cabin, Maria! The
first mate is a fine-appearing man, too. Some of the sailors looked
pretty rough; but I guess it was as much their clothes as anything;
and I d'know as Lyddy'd _have_ a great deal to do with them,
any way." The old man's treble ceased, and at the same moment the
shrilling of a locust in one of the door-yard maples died away; both
voices, arid, nasal, and high, lapsed as one into a common silence.

The woman stirred impatiently in her chair, as if both voices had been
repeating something heard many times before. They seemed to renew her
discontent. "Yes, I know; I know all that, father. But it ain't the
mahogany I think of. It's the child's gettin' there safe and well."

"Well," said the old man, "I asked the captain about the seasickness,
and he says she ain't nigh so likely to be sick as she would on the
steamer; the motion's more regular, and she won't have the smell of
the machinery. That's what he said. And he said the seasickness would
do her good, any way. I'm sure I don't want her to be sick any more
than you do, Maria." He added this like one who has been unjustly put
upon his defense.

They now both remained silent, the woman rocking herself and fanning,
and the old man holding his fingers suspended from their drubbing upon
the table, and looking miserably from the woman in the rocking-chair
to the girl at the window, as if a strict inquiry into the present
situation might convict him of it in spite of his innocence. The girl
still sat with her face turned from them, and still from time to time
she put her handkerchief to her eyes and wiped away the tears. The
locust in the maple began again, and shrilled inexorably. Suddenly
the girl leaped to her feet.

"There's the stage!" she cried, with a tumult in her voice and manner,
and a kind of choking sob. She showed, now that she stood upright, the
slim and elegant shape which is the divine right of American girlhood,
clothed with the stylishness that instinctive taste may evoke, even in
a hill town, from study of paper patterns, Harper's Bazar, and the
costume of summer boarders. Her dress was carried with spirit and
effect.

"Lydia Blood!" cried the other woman, springing responsively to her
feet, also, and starting toward the girl, "don't you go a step without
you feel just like it! Take off your things this minute and stay, if
you wouldn't jus' as lives go. It's hard enough to _have_ you go,
child, without seemin' to force you!"

"Oh, aunt Maria," answered the girl, piteously, "it almost kills me to
go; but _I'm_ doing it, not you. I know how you'd like to have me
stay. But don't say it again, or I couldn't bear up; and I'm going
now, if I have to be carried."

The old man had risen with the others; he was shorter than either, and
as he looked at them he seemed half awed, half bewildered, by so much
drama. Yet it was comparatively very little. The girl did not offer to
cast herself upon her aunt's neck, and her aunt did not offer her an
embrace, it was only their hearts that clung together as they simply
shook hands and kissed each other. Lydia whirled away for her last
look at herself in the glass over the table, and her aunt tremulously
began to put to rights some slight disorder in the girl's hat.

"Father," she said sharply, "are Lyddy's things all ready there by
the door, so's not to keep Ezra Perkins waitin'? You know he always
grumbles so. And then he _gets_ you to the cars so't you have
to wait half an hour before they start." She continued to pin and pull
at details of Lydia's dress, to which she descended from her hat. "It
sets real nice on you, Lyddy. I guess you'll think of the time we had
gettin' it made up, when you wear it out there." Miss Maria Latham
laughed nervously.

With a harsh banging and rattling, a yellow Concord coach drew up at
the gate where Miss Maria had stopped the hearse. The driver got down,
and without a word put Lydia's boxes and bags into the boot, and left
two or three light parcels for her to take into the coach with her.

Miss Maria went down to the gate with her father and niece. "Take
the back seat, father!" she said, as the old man offered to take the
middle place. "Let them that come later have what's left. You'll be
home to-night, father; I'll set up for you. Good-by again, Lyddy."
She did not kiss the girl again, or touch her hand. Their decent and
sparing adieux had been made in the house. As Miss Maria returned to
the door, the hens, cowering conscience-stricken under the lilacs,
sprang up at sight of her with a screech of guilty alarm, and flew
out over the fence.

"Well, I vow," soliloquized Miss Maria, "from where she set Lyddy must
have seen them pests under the lilacs the whole time, and never said
a word." She pushed the loosened soil into place with the side of her
ample slipper, and then went into the house, where she kindled a fire
in the kitchen stove, and made herself a cup of Japan tea: a variety
of the herb which our country people prefer, apparently because it
affords the same stimulus with none of the pleasure given by the
Chinese leaf.




II.


Lydia and her grandfather reached Boston at four o'clock, and the
old man made a bargain, as he fancied, with an expressman to carry
her baggage across the city to the wharf at which the Aroostook lay.
The expressman civilly offered to take their small parcels without
charge, and deliver them with the trunk and large bag; but as he could
not check them all her grandfather judged it safest not to part with
them, and he and Lydia crowded into the horse-car with their arms and
hands full. The conductor obliged him to give up the largest of these
burdens, and hung the old-fashioned oil-cloth sack on the handle of
the brake behind, where Mr. Latham with keen anxiety, and Lydia with
shame, watched it as it swayed back and forth with the motion of the
car and threatened to break loose from its hand-straps and dash its
bloated bulk to the ground. The old man called out to the conductor
to be sure and stop in Scollay's Square, and the people, who had
already stared uncomfortably at Lydia's bundles, all smiled. Her
grandfather was going to repeat his direction as the conductor made
no sign of having heard it, when his neighbor said kindly, "The car
always stops in Scollay's Square."

"Then why couldn't he say so?" retorted the old man, in his high
nasal key; and now the people laughed outright. He had the nervous
restlessness of age when out of its wonted place: he could not remain
quiet in the car, for counting and securing his parcels; when they
reached Scollay's Square, and were to change cars, he ran to the
car they were to take, though there was abundant time, and sat down
breathless from his effort. He was eager then that they should not be
carried too far, and was constantly turning to look out of the window
to ascertain their whereabouts. His vigilance ended in their getting
aboard the East Boston ferry-boat in the car, and hardly getting
ashore before the boat started. They now gathered up their burdens
once more, and walked toward the wharf they were seeking, past those
squalid streets which open upon the docks. At the corners they
entangled themselves in knots of truck-teams and hucksters' wagons
and horse-cars; once they brought the traffic of the neighborhood to
a stand-still by the thoroughness of their inability and confusion.
They wandered down the wrong wharf amidst the slime cast up by the
fishing craft moored in the dock below, and made their way over heaps
of chains and cordage, and through the hand-carts pushed hither and
thither with their loads of fish, and so struggled back to the avenue
which ran along the top of all the wharves. The water of the docks
was of a livid turbidity, which teemed with the gelatinous globes of
the sun-fish; and people were rowing about there in pleasure-boats,
and sailors on floats were painting the hulls of the black ships. The
faces of the men they met were red and sunburned mostly,--not with
the sunburn of the fields, but of the sea; these men lurched in their
gait with an uncouth heaviness, yet gave them way kindly enough;
but certain dull-eyed, frowzy-headed women seemed to push purposely
against her grandfather, and one of them swore at Lydia for taking
up all the sidewalk with her bundles. There were such dull eyes and
slattern heads at the open windows of the shabby houses; and there
were gaunt, bold-faced young girls who strolled up and down the
pavements, bonnetless and hatless, and chatted into the windows, and
joked with other such girls whom they met. Suddenly a wild outcry rose
from the swarming children up one of the intersecting streets, where
a woman was beating a small boy over the head with a heavy stick:
the boy fell howling and writhing to the ground, and the cruel blows
still rained upon him, till another woman darted from an open door
and caught the child up with one hand, and with the other wrenched the
stick away and flung it into the street. No words passed, and there
was nothing to show whose child the victim was; the first woman walked
off, and while the boy rubbed his head and arms, and screamed with the
pain, the other children, whose sports had been scarcely interrupted,
were shouting and laughing all about him again.

"Grandfather," said Lydia faintly, "let us go down here, and rest a
moment in the shade. I'm almost worn out." She pointed to the open and
quiet space at the side of the lofty granite warehouse which they had
reached.

"Well, I guess I'll set down a minute, too," said her grandfather.
"Lyddy," he added, as they released their aching arms from their
bags and bundles, and sank upon the broad threshold of a door which
seemed to have been shut ever since the decay of the India trade, "I
don't believe but what it would have be'n about as cheap in the end
to come down in a hack. But I acted for what I thought was the best.
I supposed we'd be'n there before now, and the idea of givin' a dollar
for ridin' about ten minutes did seem sinful. I ain't noways afraid
the ship will sail without you. Don't you fret any. I don't seem to
know rightly just where I am, but after we've rested a spell I'll
leave you here, and inquire round. It's a real quiet place, and I
guess your things will be safe."

He took off his straw hat and fanned his face with it, while Lydia
leaned her head against the door frame and closed her eyes. Presently
she heard the trampling of feet going by, but she did not open her
eyes till the feet paused in a hesitating way, and a voice asked
her grandfather, in the firm, neat tone which she had heard summer
boarders from Boston use, "Is the young lady ill?" She now looked
up, and blushed like fire to see two handsome young men regarding
her with frank compassion.

"No," said her grandfather; "a little beat out, that's all. We've
been trying to find Lucas Wharf, and we don't seem somehow just to
hit on it."

"This is Lucas Wharf," said the young man. He made an instinctive
gesture of salutation toward his hat, with the hand in which he held
a cigar; he put the cigar into his mouth as he turned from them, and
the smoke drifted fragrantly back to Lydia as he tramped steadily and
strongly on down the wharf, shoulder to shoulder with his companion.

"Well, I declare for't, so it is," said her grandfather, getting
stiffly to his feet and retiring a few paces to gain a view of the
building at the base of which they had been sitting. "Why, I might
known it by this buildin'! But where's the Aroostook, if this is
Lucas Wharf?" He looked wistfully in the direction the young men
had taken, but they were already too far to call after.

"Grandfather," said the girl, "do I look pale?"

"Well, you don't now," answered the old man, simply. "You've got
a good color now."

"What right had he," she demanded, "to speak to you about me?"

"I d'know but what you did look rather pale, as you set there with
your head leaned back. I d'know as I noticed much."

"He took us for two beggars,--two tramps!" she exclaimed, "sitting
here with our bundles scattered round us!"

The old man did not respond to this conjecture; it probably involved
matters beyond his emotional reach, though he might have understood
them when he was younger. He stood a moment with his mouth puckered
to a whistle, but made no sound, and retired a step or two farther
from the building and looked up at it again. Then he went toward the
dock and looked down into its turbid waters, and returned again with
a face of hopeless perplexity. "This is Lucas Wharf, and no mistake,"
he said. "I know the place first-rate, now. But what I can't make out
is, What's got the Aroostook?"

A man turned the corner of the warehouse from the street above, and
came briskly down towards them, with his hat off, and rubbing his
head and face with a circular application of a red silk handkerchief.
He was dressed in a suit of blue flannel, very neat and shapely, and
across his ample waistcoat stretched a gold watch chain; in his left
hand he carried a white Panama hat. He was short and stout; his round
florid face was full of a sort of prompt kindness; his small blue eyes
twinkled under shaggy brows whose sandy color had not yet taken the
grizzled tone of his close-clipped hair and beard. From his clean
wristbands his hands came out, plump and large; stiff, wiry hairs
stood up on their backs, and under these various designs in tattooing
showed their purple.

Lydia's grandfather stepped out to meet and halt this stranger, as
he drew near, glancing quickly from the girl to the old man, and then
at their bundles. "Can you tell me where a ship named the Aroostook
is, that was layin' at this wharf--Lucas Wharf--a fortnight ago,
and better?"

"Well, I guess I can, Mr. Latham," answered the stranger, with
a quizzical smile, offering one of his stout hands to Lydia's
grandfather. "You don't seem to remember your friends very well,
do you?"

The old man gave a kind of crow expressive of an otherwise unutterable
relief and comfort. "Well, if it ain't Captain Jenness! I be'n so
turned about, I declare for't, I don't believe I'd ever known you if
you hadn't spoke up. Lyddy," he cried with a child-like joy, "this
is Captain Jenness!"

Captain Jenness having put on his hat changed Mr. Latham's hand into
his left, while he stretched his great right hand across it and took
Lydia's long, slim fingers in its grasp, and looked keenly into her
face. "Glad to see you, glad to see you, Miss Blood. (You see I've got
your name down on my papers.) Hope you're well. Ever been a sea-voyage
before? Little homesick, eh?" he asked, as she put her handkerchief to
her eyes. He kept pressing Lydia's hand in the friendliest way. "Well,
that's natural. And you're excited; that's natural, too. But we're not
going to have any homesickness on the Aroostook, because we're going
to make her home to you." At this speech all the girl's gathering
forlornness broke in a sob. "That's right!" said Captain Jenness.
"Bless you, I've got a girl just about your age up at Deer Isle,
myself!" He dropped her hand, and put his arm across her shoulders.
"Good land, I know what girls are, I hope! These your things?" He
caught up the greater part of them into his capacious hands, and
started off down the wharf, talking back at Lydia and her grandfather,
as they followed him with the light parcels he had left them. "I
hauled away from the wharf as soon as I'd stowed my cargo, and I'm at
anchor out there in the stream now, waiting till I can finish up a few
matters of business with the agents and get my passengers on board.
When you get used to the strangeness," he said to Lydia, "you won't
be a bit lonesome. Bless your heart! My wife's been with me many
a voyage, and the last time I was out to Messina I had both my
daughters."

At the end of the wharf, Captain Jenness stopped, and suddenly calling
out, "Here!" began, as she thought, to hurl Lydia's things into the
water. But when she reached the same point, she found they had all
been caught, and deposited in a neat pile in a boat which lay below,
where two sailors stood waiting the captain's further orders. He
keenly measured the distance to the boat with his eye, and then he
bade the men work round outside a schooner which lay near; and jumping
on board this vessel, he helped Lydia and her grandfather down, and
easily transferred them to the small boat. The men bent to their oars,
and pulled swiftly out toward a ship that lay at anchor a little way
off. A light breeze crept along the water, which was here blue and
clear, and the grateful coolness and pleasant motion brought light
into the girl's cheeks and eyes. Without knowing it she smiled.
"That's right!" cried Captain Jenness, who had applauded her sob in
the same terms. "_You'll_ like it, first-rate. Look at that ship!
_That's_ the Aroostook. _Is_ she a beauty, or ain't she?"

The stately vessel stood high from the water, for Captain Jenness's
cargo was light, and he was going out chiefly for a return freight.
Sharp jibs and staysails cut their white outlines keenly against the
afternoon blue of the summer heaven; the topsails and courses dripped,
half-furled, from the yards stretching across the yellow masts that
sprang so far aloft; the hull glistened black with new paint. When
Lydia mounted to the deck she found it as clean scrubbed as her aunt's
kitchen floor. Her glance of admiration was not lost upon Captain
Jenness. "Yes, Miss Blood," said he, "one difference between an
American ship and any other sort is dirt. I wish I could take you
aboard an English vessel, so you could appreciate the Aroostook. But
I guess you don't need it," he added, with a proud satisfaction in
his laugh. "The Aroostook ain't in order yet; wait till we've been
a few days at sea." The captain swept the deck with a loving eye.
It was spacious and handsome, with a stretch of some forty or fifty
feet between the house at the stern and the forecastle, which rose
considerably higher; a low bulwark was surmounted by a heavy rail
supported upon turned posts painted white. Everything, in spite of
the captain's boastful detraction, was in perfect trim, at least to
landfolk's eyes. "Now come into the cabin," said the captain. He gave
Lydia's traps, as he called them, in charge of a boy, while he led the
way below, by a narrow stairway, warning Lydia and her grandfather
to look out for their heads as they followed. "There!" he said, when
they had safely arrived, inviting their inspection of the place with
a general glance of his own.

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Extract: The Whales by Evie Wyld

Christos Tsiolkas and David Mitchell, both much-tipped when they appeared on the award longlist, have been overlooked in the six finalists

It headed the most controversial Man Booker prize longlist in years, but Christos Tsiolkas's The Slap has failed to make the final cut for the literary award, as has David Mitchell's much-tipped fifth novel, The Thousand Autumns of Jacob de Zoet.

Judges overlooked Australian novelist Tsiolkas's tale of the consequences when a child is slapped at a suburban barbecue – which is either "unbelievably misogynistic" or "riveting from beginning to end", depending on who's asked – and Mitchell, twice shortlisted for the prize in the past, to select a shortlist which ranges from two-time former winner Peter Carey's Parrot and Olivier in America to Emma Donoghue. The Irish writer has also stirred up debate with her Josel Fritzl-inspired Room, the story of a boy and his mother imprisoned in a tiny room for years.

Orange prize winner Andrea Levy's The Long Song, about the last years of slavery in Jamaica; Howard Jacobson's The Finkler Question, a cerebral comedy about grief and Anglo-Jewishness; experimental novelist Tom McCarthy's C, which tells the story of Serge Carrefax, a first world war radio operator who escapes from a German prison camp; and South African writer Damon Galgut's tale of a young man travelling through Greece, India and Africa, In a Strange Room, complete the six-strong shortlist for the Β£50,000 prize, announced this morning.

"It's been a great privilege and an exciting challenge for us to reduce our longlist of 13 to this shortlist of six outstandingly good novels," said chair of judges Andrew Motion, the former poet laureate. "In doing so, we feel sure we've chosen books which demonstrate a rich variety of styles and themes – while in every case providing deep individual pleasures."

The panel of judges had previously read 138 books to select the 13 titles for their longlist, with Martin Amis's new novel The Pregnant Widow and Ian McEwan's venture into comic fiction Solar both overlooked and Carey the only previous Booker winner on the longlist.

His inclusion on the shortlist today for Parrot and Olivier in America, a reimagining of Democracy in America author Alexis de Tocqueville's visit to the New World, gives him the chance of becoming the first ever writer to win the Booker three times, having previously taken it in 1988 for Oscar and Lucinda and 2001 for True History of the Kelly Gang.

"The omission of both David Mitchell and Christos Tsiolkas from the shortlist is a real shock. While both writers might rightly feel aggrieved at being overlooked, I imagine it took some wrangling amongst the judges to reduce one of the best longlists in years to six," said Jonathan Ruppin at independent book chain Foyles, who, while praising all six books for their "lightness of touch which means the reader doesn't get bogged down in something worthy or dull", predicted that Room was the most likely title to go on to win the award.

Waterstone's tipped C to take the prize, with fiction buying manager Simon Burke calling it "a challenging yet dazzling novel". "The news that David Mitchell has not made the shortlist will cause great wailing and gnashing of teeth across the bookworld, but perhaps is a useful reminder of the independence and unpredictability of the Booker," he said. "But this is still a hugely varied and exciting list, worthy of the Booker brand. Carey and Levy have to be strong contenders, but our money is on Tom McCarthy. The more people that read [C] the better."

The bookies agreed, with William Hill immediately installing McCarthy as 2/1 favourite to win the prize. "There has been a considerable media buzz around all of the books on the shortlist, and literary punters have staked more money in total on Tom McCarthy to win than any of the other authors, so he is a worthy favourite," said spokesman Graham Sharpe. Donoghue and Galgut came in second at the bookmaker, both at 3/1, with one customer so sure that In A Strange Room would win that they placed Β£400 on Galgut at 7/1, the largest single bet on the prize "for a few years", said Sharpe.

Carey came in fourth, at 5/1, with Levy at 7/1 and Jacobson the 8/1 outside to take the prize.

The opinion-splitting novels picked for this year's longlist have helped make it the most popular since 2001, with Tsiolkas's novel selling the most copies, followed by Donoghue's. The winner, who will join a roster of former winners including Margaret Atwood, Roddy Doyle and JM Coetzee, will be announced on 12 October. Last year's winner Wolf Hall by Hilary Mantel is the fastest-selling Booker winner ever, with sales of around half-a-million copies to date.

The Man Booker shortlist in full:

Peter Carey's Parrot and Olivier in America

Emma Donoghue's Room

Damon Galgut's In a Strange Room

Howard Jacobson's The Finkler Question

Andrea Levy's The Long Song

Tom McCarthy's C


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The books that send me back to school

For Ralph Miliband governments could never tame capitalism. New Labour thought otherwise – and then came the financial crisis. But what will David or Ed do if they gain the leadership? By John Gray

Viewed from one angle Ralph Miliband was a theorist of revolution who failed to notice the radical transformations going on around him. A lifelong Marxist, he never doubted that the future would be shaped by the struggle against capitalism. In fact it was capitalism that proved to be the revolutionary force in the late 20th century, consigning socialism to the memory hole. By the time Miliband died in May 1994, the Soviet system had been replaced by a type of resource-based authoritarian capitalism, while China's Communist party was overseeing the development of an unbridled market of a kind that Milton Friedman could only dream about.

In Britain in the 1980s Miliband managed to convince himself that Labour, which he had always bitterly attacked, might, under the influence of Tony Benn, turn into a genuinely socialist party. In fact Labour split, which more than any other single factor enabled the continuing dominance of Thatcher. Probably only the battles fought by Neil Kinnock prevented Labour disintegrating altogether. When John Smith became leader, the party began the "prawn cocktail offensive", a rapprochement with the financial sector pursued through private lunches with leading City figures, which formed the prelude to New Labour. Only weeks after Smith died (in the same month as Miliband) the party would start burying any trace of its socialist past.

When he gave the Bennite wing his intellectual support, Miliband was colluding in the politics of make-believe. Yet in one vital respect this intractably oppositional Jewish refugee from nazism had a firmer grip on reality than the social democrats who eventually prevailed in Labour's internecine conflicts, and when he ridiculed Anthony Crosland's vision of a domesticated and pacified capitalism, he left the party with a dilemma it has not been able to resolve. Like Marx, Miliband understood that states and governments are never autonomous actors; their options are shaped, and often foreclosed, by the distribution of power and resources. This was the central theme of Miliband's The State in Capitalist Society (1969), a penetrating assault on social-democratic thinking in which he developed and extended the argument against revisionism of his earlier Parliamentary Socialism: A Study of the Politics of Labour (1961).

In The Future of Socialism (1956), Crosland had argued that Labour must distinguish between means and ends (a theme pursued later by Blair). Capitalism had changed fundamentally, and rather than opposing it Labour should use the market to advance socialist values. Properly managed to ensure steady economic growth, free markets could be used to promote an egalitarian society in which everyone could live the good life. Against this rosy vision, Miliband urged – rightly, I've always thought – that the world had not changed as much as Crosland and his fellow-revisionists imagined. Capitalism remained an unruly beast, and the idea that governments had learnt how to tame it was just an illusion.

The oil shocks of the 70s were an early warning of the fragility of the postwar order. The shocks were not fatal, and capitalism survived the crisis (as it will survive the present crisis, in one form or another). But it was already becoming apparent that while governments could withstand upheavals in the global economy, the state was not the directing agency social democrats imagined it to be. As Miliband saw it, the state was a servant of these forces rather than their potential master. Of course he exaggerated. The interests of capitalists are often at odds, and in any case politics is driven by far more than class conflict. Even so, Miliband's view that the state is constrained, reactive and hemmed in by market forces has become increasingly plausible with the passage of time. But if this is so, what role can there be for a party that aims to make capitalism a force for the collective good? Can a future Labour government succeed where past governments have failed and harness capitalism to a vision of social improvement? Or should Labour accept that it is capitalism itself that must be changed?

These are precisely the questions that face Miliband's sons as they contend for the Labour leadership. The clash between the two has an undeniable drama, and it is not just a matter of sibling rivalry. It occurs at a time when the world economy is in a crisis the founders of New Labour believed to be impossible. Lacking the Marxian insight that capitalism is inherently volatile and constantly mutating, they never doubted that the deregulated finance-capitalism that developed in the US towards the end of the past century would last. The left had to overcome its suspicion of the free market, and accept that only by exploiting its productivity could government improve society: social democracy and neo-liberal economics were actually complementary.

Just like Crosland, though without his Keynesian grasp of the dangers of recurring boom and bust, New Labour believed capitalism had been tamed. But as Ralph Miliband suspected and events have confirmed, the anarchic energy of the free market is not so easily controlled. The fall of communism was celebrated as a triumph of capitalism, which now became practically world-wide; but the effect was to make capitalism more unstable, as disturbances in one part of the system were rapidly transmitted to all the rest. The fragmented world of the cold war was more resilient to shocks, and also more hospitable to social democracy, than the world that ensued. Governments found that few of the levers they used to control the economy worked as they had before. New Labour did not want to control the market. A feature of the understanding it reached with the City was that financial markets would continue to be deregulated. In part this was accepted as the price for power, but it also reflected New Labour's Fukuyama-like faith that market capitalism was the final stage of economic development; the future lay with the self-regulating market.

As could be foreseen, things turned out rather differently. With regulatory controls relaxed or scrapped the financial institutions whose support Labour had wooed became predatory, raking in vast profits from strategies whose risks they did not understand. Inevitably this hubris led to their downfall, and the financial system imploded. The market millennium lasted hardly more than a decade, leaving a legacy of unsustainable debt.

The happy conjunction of neo-liberal economics with social democracy on which New Labour was founded is now history. This is the truth evaded in Tony Blair's autohagiography. If New Labour is obsolete it is not because of the personal defects of Gordon Brown, Blair's delusional moral certainty and incessant war-mongering or even the dysfunctional relationship between the two leaders. It is because American finance-capitalism, the model for virtually everything that New Labour ever did, has blown itself up.

The problem with the debate between the Milibands is not that it risks turning into a public family feud. It is that neither of the two contenders has come to terms with the bankruptcy of the New Labour project in which each of them was involved. Neither has acknowledged, or perhaps fully understood, the implications of the financial crisis for a future Labour government. It can only mean an erosion of the very foundations of Britain's social democratic inheritance. Yet in different ways, each of the Miliband brothers still sees government as capable of controlling market forces – the illusion their father presciently exposed.

In his Keir Hardie lecture in July, David Miliband spoke eloquently of moving away from state paternalism and reviving Labour traditions of mutualism. The state can no longer be the centre of knowledge and initiative – its function is rather that of empowering society. Top-down Fabian control must be replaced by open democratic relationships. No doubt these are desirable goals, if very much in the spirit of the prevailing conventional wisdom and perhaps not so different from Cameron's fluffy "big society". The larger difficulty is that Miliband is harking back to Crosland (whom he recently cited as his political hero) at a time when Crosland's thinking is no longer applicable.

Crosland's vision was based above all on economic growth – steady, continuing and robust. Following Keynes, he believed that wise economic management could create a society of abundance. But the effect of the financial crisis has been to curtail growth, at least in developed economies. Even if the economy recovers, governments will not have the largesse he assumed would be available. Bailing out the banks has passed the burden of debt on to the state, and no British government can expect to avoid large-scale cut-backs in borrowing and spending. Instead of the market generating wealth that could be used by governments for collective purposes, the resources of government have been pre-empted for the repayment of debts incurred by the market's excesses. Against this background, the post-paternalist state is likely to mean higher unemployment and cash-starved public services.

Unlike his brother, Ed Miliband has chosen to define his candidacy explicitly in terms of New Labour's failings and argues forcefully for the need to remodel capitalism. "Britain's big question of the next decade," he has written, "is whether we head towards an increasingly US-style capitalism – more unequal, more brutish, more unjust – or whether we can build a different model, a capitalism that works for people and not the other way around". Once again these are noble aspirations but far removed from reality. Globalisation is an idea that has been greatly over-hyped, yet governments' freedom of action has without question been reduced as capital has become more mobile. Even the US may soon find it difficult to fund its ballooning federal debt. But if American capitalism is entering a crisis zone, Britain will not have the luxury of forging a new economic model; it will have trouble just staying afloat. Ralph Miliband's pessimistic assessment of the future of social democracy could well be vindicated.

If one of the Miliband brothers wins the Labour leadership and becomes prime minister he will confront in an acute form the constraints on the power of the state his father astutely identified. Rather than controlling or reshaping capitalism, a Miliband government would find itself struggling to preserve Britain's social democratic inheritance in the face of capitalism's renewed disorder. Ralph Miliband seems never to have lost the Marxist faith that history would eventually open the way to a truly socialist society. He would surely have appreciated the curious dialectic through which it has fallen to his sons to defend the social democracy he so fiercely attacked.


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Booktrust teenage prize shortlist spans time, space and genre

It's the start of another school year and I'm dreaming of new pencil cases, satchels and the books I read in class. But what are the books you remember from your own school days?

Fourteen years after I finished school, there's still something about September which feels like the start of the year, and I'm nostalgic this morning for new pencils and felt tips, satchels and packed lunches. As the hope of the nation barrels back into classrooms, I'm also thinking back to the books I read in school.

I was away last weekend and talking about how we all read William Golding's Lord of the Flies (and no, the weekend wasn't that bad, it's just that one of my friends is currently making her way through his complete works, to settle a bet). I was 14, and I think there couldn't have been a more perfect book to pick for kids of that age – if you're not going to be hooked by Ralph and Piggy and Simon and Jack, and "kill the pig, cut his throat, spill his blood", then you're not going to be hooked by anything. This was the edition we had – just looking at it casts me back to yellow highlighters and doodling and the horrors of reading aloud.

Anyway, the shocking gloriousness of Lord of the Flies made me hungry for more Golding. Our school library was pretty small, but it did, impressively, have a copy of Pincher Martin. I am quite sure I failed to get any allegorical, existential meaning from the book, but it successfully terrified me, burning an image of Martin clinging to his lonely rock into my brain. In typically disorganised fashion, I promptly lost the book for about a month and was subsequently banned from the school library for giving it back so late – obviously as a sop to all those Golding fans clamouring for more of his work.

Golding and my thieving tendencies aside, Jane Eyre bored me, King Lear enthralled me, and I described Romeo and Juliet in my mock GSCE as a novel – so something clearly went wrong there (thankfully I'd got the right end of the stick by the time the real thing came around). But the other book which really stands out in my memory from schooldays is Wuthering Heights. I was on to A-levels by then, but for some reason we were still going through the purgatory of reading (droning) aloud in class – possibly one of the best ways to make a group of teenagers lose interest in a novel. I was lazy, more interested in messing around than working, but I was so caught up in the melodramas of Cathy and Heathcliff ("Do not leave me in this abyss where I cannot find you! Oh God! It is unutterable! I cannot live without my life! I cannot live without my soul!") that I'd be pages ahead when it came to my turn to read and would get in trouble for not concentrating. And I distinctly remember spending a break time racing to the end.

The rest of it, though, the years of English classes and essays, revising and exams, has largely faded into oblivion, which is rather worrying. But how about you? Indulge my nostalgia and tell me what you remember of your own literary school days.


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