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Viviette by William J. Locke

W >> William J. Locke >> Viviette

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VIVIETTE

BY

WILLIAM J. LOCKE

1916







[Illustration: "No, don't, Viviette; forgive me"]




CONTENTS

CHAPTER

I. THE BROTHERS

II. THE CONSPIRATORS

III. KATHERINE

IV. THE FAMOUS DUELLING PISTOLS

V. A CRISIS

VI. VIVIETTE TAKES THE RISK



ILLUSTRATIONS

"No, don't, Viviette; forgive me"

"Dick glared at him"

"He held out imploring hands"

"I want you to love me forever and ever"



VIVIETTE




CHAPTER I

THE BROTHERS


"Dick," said Viviette, "ought to go about in skins like a primitive
man."

Katherine Holroyd looked up from her needlework. She was a gentle,
fair-haired woman of thirty, with demure blue eyes, which regarded the
girl with a mingling of pity, protection, and amusement.

"My dear," she said, "whenever I see a pretty girl fooling about with a
primitive man I always think of a sweet little monkey I once knew, who
used to have great sport with a lyddite shell. Her master kept it on his
table as a paper-weight, and no one knew it was loaded. One day she hit
the shell in the wrong place--and they're still looking for the monkey.
Don't think Dick is the empty shell."

Whereupon she resumed her work, and for a few moments the click of
thimble and needle alone broke the summer stillness. Viviette lay idly
on a long garden chair admiring the fit of a pair of dainty tan shoes,
which she twiddled with graceful twists of the ankles some five feet
from her nose. At Mrs. Holroyd's remark she laughed after the manner of
one quite contented with herself--a low, musical laugh, in harmony with
the blue June sky and the flowering chestnuts and the song of
the thrushes.

"My intentions with regard to Dick are strictly honourable," she
remarked. "We've been engaged for the last eleven years, and I still
have his engagement ring. It cost three-and-sixpence."

"I only want to warn you, dear," said Mrs. Holroyd. "Anyone can see that
Dick is in love with you, and if you don't take care you'll have Austin
falling in love with you too."

Viviette laughed again. "But he has already fallen! I don't think he
knows it yet; but he has. It's great fun being a woman, isn't it, dear?"

"I don't know that I've ever found it so," Katherine replied with a
sigh. She was a widow, and had loved her husband, and her sky was still
tinged with grey.

Viviette, quick to catch the sadness in the voice, made no reply, but
renewed the contemplation of her shoe-tips.

"I'm afraid you're an arrant little coquette," said Katherine
indulgently.

"Lord Banstead says I'm a little devil," she laughed.

If she was in some measure a coquette she may be forgiven. What woman
can have suddenly revealed to her the thrilling sense of her sex's
mastery over men without snatching now and then the fearful joy of
using her power? She was one-and-twenty, her heart still unawakened, and
she had returned to her childhood's home to find men who had danced her
on their knees bending low before her, and proclaiming themselves her
humble vassals. It was intoxicating. She had always looked up to Austin
with awe, as one too remote and holy for girlish irreverence. And now!
No wonder her sex laughed within her.

Until she had gone abroad to finish her education, she had lived in that
old, grey manor-house, that dreamed in the sunshine of the terrace below
which she was sitting, ever since they had brought her thither, an
orphaned child of three. Mrs. Ware, her guardian, was her adopted
mother; the sons, Dick and Austin Ware, her brothers--the engagement,
when she was ten and Dick one-and-twenty, had hardly fluttered the
fraternal relationship. She had left them a merry, kittenish child. She
had returned a woman, slender, full-bosomed, graceful, alluring, with a
maturity of fascination beyond her years. Enemies said she had gipsy
blood in her veins. If so, the infusion must have taken place long, long
ago, for her folks were as proud of their name as the Wares of Ware
House. But, for all that, there was a suggestion of the exotic in the
olive and cream complexion, and the oval face, pointing at the dimpled
chin; something of the woodland in her lithe figure and free gestures;
in her swimming, dark eyes one could imagine something fierce and
untamable lying beneath her laughing idleness. Katherine Holroyd called
her a coquette, Austin whatever the whim of a cultured fancy suggested,
and Lord Banstead a little devil. As for Dick, he called her nothing.
His love was too great; his vocabulary too small.

Lord Banstead was a neighbour who, in the course of three months, had
proposed several times to Viviette.

"I'm not very much to look at," he remarked on the first of these
occasions--he was a weedy, pallid youth of six-and-twenty--"and the
title's not very old, I must admit. Governor only a scientific Johnnie,
Margetson, the celebrated chemist, you know, who discovered some beastly
gas or other and got made a peer--but I can sit with the other old
rotters in the House of Lords, you know, if I want. And I've got enough
to run the show, if you'll keep me from chucking it away as I'm doing.
It'd be a godsend if you'd marry me, I give you my word."

"Before I have anything to do with you," replied Viviette, who had heard
Dick express his opinion of Lord Banstead in forcible terms, "you'll
have to forswear sack, and--and a very big AND--"

Lord Banstead, not being learned in literary allusions, looked
bewildered. Viviette laughed.

"I'll translate if you like. You'll have to give up unlimited champagne
and whiskey and lead an ostensibly respectable life."

Whereupon Lord Banstead called her a little devil and went off in
dudgeon to London and took golden-haired ladies out to supper. When he
returned to the country he again offered her his title, and being
rejected a second time, again called her a little devil, and went back
to the fashionable supper-room. A third and a fourth time he executed
this complicated manoeuvre; and now news had reached Viviette that he
was in residence at Farfield, where he was boring himself exceedingly in
his father's scientific library.

"I suppose he'll be coming over to-day," said Viviette.

"Why do you encourage him?" asked Katherine.

"I don't," Viviette retorted. "I snub him unmercifully. If I am a
coquette it's with real men, not with the by-product of a chemical
experiment."

Katherine dropped her work and her underlip, and turned reproachful blue
eyes on the girl.

"Viviette!"

"Oh, she's shocked! Saint Nitouche is shocked!" Then, with a change of
manner, she rose and, bending over Katherine's chair, kissed her. "I'm
sorry, dear," she said, in pretty penitence. "I know it was an
abominable and unladylike thing to say, but my tongue sometimes runs
away with my thoughts. Forgive me."

At that moment a man dressed in rough tweeds and leggings, who had
emerged from the stable side of the manor-house, crossed the terrace,
and, descending the steps, walked over the lawn towards the two ladies.
He had massive shoulders and a thick, strong neck, coarse reddish hair,
and a moustache of a lighter shade. Blue eyes looked with a curious
childish pathos out of a face tanned by sun and weather. He slouched
slightly in his gait, like the heavy man accustomed to the saddle. This
was Dick Ware, the elder of the brothers and heir to fallen fortunes,
mortgaged house and lands, and he gave the impression of failure, of a
man who, in spite of thews and sinews, had been unable to grapple with
circumstance.

Viviette left Katherine to her needlework, and advanced to meet him. At
her spontaneous act of welcome a light came into his eyes. He removed
from his lips the short corn-cob pipe he was smoking.

"I've just been looking at the new mare. She's a beauty. I know I
oughtn't to have got her, but she was going dirt cheap--and what can a
man do when he's offered a horse at a quarter its value?"

"Nothing, my dear Dick, save pay four times as much as he can afford."

"But we had to get a new beast," he argued seriously. "We can't go about
the country in a donkey-cart. If I hadn't bought one, Austin would, for
the sake of the family dignity--and I do like to feel independent of
Austin now and then."

"I wish you were entirely independent of Austin," said Viviette, walking
with him up the lawn.

"I can't, so long as I stay here doing nothing. But if I went out to
Canada or New Zealand, as I want to do, who would look after my mother?
I'm tied by the leg."

"I'd look after mother," said Viviette. "And you'd write me nice long
letters, saying how you were getting on, and I would send you nice
little bulletins, and we should all be very happy."

"Do you want to get rid of me, Viviette?"

"I want you to have your heart's desire."

"You know what my heart's desire is," he said unsteadily.

"Why, to raise sheep or drive cattle, or chop down trees in the
backwoods," she replied, lifting demure eyebrows. "Oh, Dick, don't be
foolish. See--there's mother just come out."

With a light laugh she escaped and ran up the steps to meet an old lady,
rather infirm, who, with the aid of a stick, was beginning to take her
morning walk up and down the terrace. Dick followed her moodily.

"Good morning, mother," said he, bending down to kiss her.

Mrs. Ware put up her cheek, and received the salute with no great show
of pleasure.

"Oh, how you smell of tobacco smoke, Dick. Where's Austin? Please go and
find him. I want to hear what he has to say about the stables."

"What can he say, mother?"

"He can advise us and help us to put the muddle right," said Mrs. Ware.

These stables had been a subject of controversy for some time. The old
ones having fallen into disgraceful disrepair, Dick had turned architect
and erected new ones himself. As shelters for beasts, they were
comparatively sound; as appanages to an Elizabethan manor-house, they
were open to adverse criticism. Austin, who had come down from London a
day or two before to spend his Whitsuntide holiday at home, had promised
his mother to make inspection and report.

"But what does Austin know about stables?" Viviette asked, as soon as
Dick had slouched away in search of his brother.

"Austin knows about everything, my dear," replied the old lady
decisively. "Not only is Austin a brilliantly clever man, but he's a
successful barrister, and a barrister's business is to know all about
everything. Give me your arm, dear, and let us walk up and down a
little till they come."

Presently Dick returned with Austin, whom he had found smoking a cigar
in a very meditative manner in front of the stables. Dick's face was
gloomy, but Austin's was bright, as he came briskly up and, cigar in
hand, stooped to his mother. She put her arms round his neck, kissed him
affectionately, and inquired after his sleep and his comfort and the
quality of his breakfast.

"Doesn't Austin smell of tobacco smoke, mother?" asked Dick.

"Austin," replied Mrs. Ware, "has a way of smoking and not smelling of
it."

Austin laughed gaily. "I believe if I fell into a pond you'd say I had a
way of coming up dry."

Dick turned to Viviette, and muttered with some bitterness: "And if I
fell into a dry ditch she'd say I came up slimy."

Viviette, touched by pity, raised a bewitching face. "Dry or slimy, you
would be just the same dear old Dick," she whispered.

"And what about the stables?" asked Mrs. Ware.

"Oh, they're not bad. They're rather creditable; but," Austin added,
turning with a laugh to his brother, "the mother will fidget, you know,
and the somewhat--let us say rococo style of architecture has got on her
nerves. I think the whole thing had better come down, don't you?"

"If you like," said Dick gruffly. He had given way to Austin all his
life. What was the use of opposing him now?

"Good. I'll send young Rapson, the architect, along to make a design.
Don't you worry, old chap, I'll see it through."

Young, brisk, debonair, flushed with success and the sense of the
mastery of life, he did not notice the lowering of Dick's brows, which
deepened into almost a scowl when he turned frankly admiring eyes on
Viviette, and drew her into gay, laughing talk, nor did he catch the
hopelessness in the drag of Dick's feet as he went off to gaze
sorrowfully at the fallen pride of his heart, the condemned stables.

But Viviette who knew, as Austin did not, of Dick's disappointment, soon
broke away and joined him in front of the amorphous shed of timber. She
took him by the arm.

"Come for a stroll in the orchard."

He suffered himself to be led through the stable-yard gate. She talked
to him of apple blossoms. He listened for some time in silence. Then he
broke out.

"It's an infernal shame," said he.

"It is," said Viviette. "But you needn't put on such a glum face when
I'm here especially to comfort you. If you're not glad to see me I'll go
back to Austin. He's much more amusing than you."

"I suppose he is. Yes, go back to him. I'm a fool. I'm nobody. No,
don't, Viviette; forgive me," he cried, catching her as she turned away
somewhat haughtily. "I didn't mean it, but things are getting beyond my
endurance."

Viviette seated herself on a bench beneath the apple blossoms.

"What things?"

"Everything. My position. Austin's airy ways."

"But that's what makes him so charming."

"Yes, confound him. My ways are about as airy as a hippopotamus's. Look
here, Viviette. I'm fond of Austin, God knows--but all my life he has
been put in front of me. He has had all the chances; I've had none. With
my father when he was alive, with my mother, it has always been Austin
this and Austin that. He was the head of the school when I, the elder,
was a lout in the lower fourth. He had a brilliant University career and
went into the world and is making a fortune. I'm only able to ride and
shoot and do country things. I've stuck here with only this mortgaged
house belonging to me and the hundred or so a year I get out of the
tenants. I'm not even executor under my father's will. It's Austin.
Austin pays mother the money under her marriage settlement. If things go
wrong Austin is sent for to put them right. It never seems to occur to
him that it's my house. Oh, of course I know he pays the interest on the
mortgage and makes my mother an allowance--that's the humiliation
of it."

He sat with his elbows on his knees and his head in his hands, staring
at the grass.

"But surely you could find some work to do, Dick?"

He shrugged his great shoulders. "They stuck me once in an office in
London. I suffocated and added up things wrong and told the wrong lies
to the wrong people, and ended up by breaking the junior
partner's head!"

"You had some satisfaction out of it, at any rate," laughed Viviette.

A faint reminiscent smile crossed his face. "I suppose I had. But it
didn't qualify me for a successful business career. No. I might do
something in a new country. I must get away from this. I can't stand it.
But yet--as I've told you all along, I'm tied--hand and foot."

"And so you're very miserable, Dick."

"How can I help it?"

Viviette edged a little away from him, and said, rather resentfully:

"I don't call that polite, seeing that I have come back to live with
you."

He turned on her with some fierceness. "Don't you see that your being
here makes my life all the more impossible? How can I be with you day
after day without loving you, hungering for you, wanting you, body and
soul? I've never given a thought to another woman in my life. You're my
heart's blood, dear. I want to hold you so tight in my arms that not the
ghost of another man can ever come between us. You know it."

Viviette shredded an apple blossom that had fallen into her lap. The
fingers that held the petal tingled, and a flush rose in her cheek.

"I do know it," she said in a low voice. "You're always telling me. But,
Dick"--she flashed a mischievous glance at him--"while you're holding
me--although it would be very nice--we should starve."

"Then let us starve," he cried vehemently.

"Oh, no. Oh, most decidedly no. Starvation would be so unbecoming. I
should get to be a fright--a bundle of bones and a rundle of skin--and
you'd be horrified--I couldn't bear it."

"If you would only say you cared a scrap for me it would be easier," he
pleaded.

"I should have thought it would be harder."

"Anyhow, say it--say it this once--just this once."

She bent her head to hide a smile, and said in a voice adorably soft:

"Dick, shut your eyes."

"Viviette!" he cried, with sudden hope.

"No. Shut your eyes. Turn round. Now tell me," she continued, when he
had turned obediently, "just what I've got on. No!" she held him by the
shoulders, "you're not to move."

Now, she was wearing a white blouse and a blue skirt and tan shoes, and
a yellow rose was pinned at her bosom.

"What dress am I wearing?"

"A light-coloured thing," said Dick.

"And what's it trimmed with?"

"Lace," said the unfortunate man. Lace indeed!

"And what coloured boots?"

"Black," said Dick, at a venture.

"And what flower?"

"I don't know--a pink rose, I think."

She started up. "Look," she cried gaily. "Oh, Dick! I'll never marry you
till you have the common decency to look at me--never! never! never! I
dressed myself this beautiful morning just to please you. Oh, Dick!
Dick, you've lost such a chance."

She stood with her hands behind her back regarding him mockingly, as Eve
in the first orchard must have regarded Adam when he was more dull and
masculine than usual--when, for instance, she had attired herself in
hybiscus flowers which he took for the hum-drum, everyday fig-leaves.

"I'm a born duffer," said Dick pathetically. "But your face is all that
I see when I look at you."

"That's all very pretty," she retorted. "But you ought to see more. Now
let us talk sense. Mind, if I sit on that bench again you're to
talk sense."

Dick sighed. "Very well," said he.

That was the history of all his love-making. She drew him on to
passionate utterance, and then, with a twist of her wit and a twirl of
her skirts, she eluded him. When she had thus put herself out of his
reach, he felt ashamed. What right had he, dull, useless, lumbering,
squiredomless squire, to ask a woman like Viviette to marry him? How
could he support a wife? As it was, he lived a pensioner on Austin's
bounty. Could he ask Austin to feed his wife and family as well? This
thought, which always came to him as soon as his passion was checked,
filled him with deep humiliation. Viviette had reason on her side when
she said, "Let us talk sense."

He glowered at his fate, and tugged his tawny moustache for some time in
silence. Then Viviette began to talk to him prettily of things that
made up his country interests, his dogs, the garden, the personalities
of the country-side. Soon she had him laughing, which pleased and
flattered her, as it proved her power over the primitive man. Indeed, at
such moments, she felt very tenderly towards him, and would have liked
to pat his cheeks and crown him with flowers, thus manifesting her
favour by dainty caresses. But she refrained, knowing that primitive men
are too dense to interpret such demonstrations rightly, and limited
herself to less compromising words.

"I am going to tell you a secret," he said at last, in a shamefaced way.
"You mustn't laugh at me--promise me you won't."

"I promise," said Viviette solemnly.

"I am thinking of going in for local politics--Rural District Council,
you know."

Viviette nodded her head approvingly. "A village Hampden--in Tory
clothing?"

"They're running things on party lines down here. The influence of
Westhampton is Radical, and fills the Council with a lot of outsiders.
So they've got together a Conservative Committee, and are going to run a
good strong man for a vacancy. I've given them to understand that I'll
be a candidate if they'll have me. I'd like to be one. It's a rubbishy
thing, dear, but somehow it would give me a little interest in life."

"I don't think it a rubbishy thing at all," said Viviette. "A country
gentleman ought to have a hand in rural administration. I do hope you'll
get in. When will you know that the committee have selected you?"

"There's a meeting this evening. I ought to know to-night or to-morrow
morning."

"Are you very keen on it?"

"Very," said Dick. And he added proudly, "It was my own idea."

"But you're not as keen on that as on going abroad?"

"Ah, that!" said Dick. "That, bar one, is the dearest wish of my heart.
And who knows--it might enable me to carry out the other."

The sound of a gong within the house floated through the still June air.
Viviette rose. "I must tidy myself for lunch."

They walked to the house together. On parting she put out both her
hands.

"Do be reasonable, Dick, and don't look for slights in what you call
Austin's airy ways. He is awfully fond of you, and would not hurt you
for the world."

At the luncheon table, however, Austin did hurt him, in utter
unconsciousness, by his gay command of the situation, his eager talk
with Viviette of things Dick did not understand, places he had not
visited, books he had never read, pictures he had never seen. It was
heartache rather than envy. He did not grudge Austin his scholarship and
brilliance. But his soul sank at the sight of Austin and Viviette moving
as familiars in a joyous world as remote from him as Neptune. Mrs. Ware
kept Katherine Holroyd engaged in mild talk of cooks and curates, while
the other two maintained their baffling conversation, half banter, half
serious, on a bewildering number of topics, and poor Dick remained as
dumb as the fish and cutlets he was eating. He sat at the head of the
table, Mrs. Ware at the foot. On his right hand sat Katherine Holroyd,
on his left Viviette, and between her and his mother was Austin. With
Viviette talking to Austin and Mrs. Ware to Katherine, he felt lonely
and disregarded in a kind of polar waste of snowy tablecloth. Once
Katherine, escaping from Mrs. Ware's platitudinous ripple, took pity on
him, and asked him when he was going to redeem his promise and show her
his collection of armour and weapons. Dick brightened. This was the only
keen interest he had in life outside things of earth and air and stream.
He had inherited a good family collection, and had added to it
occasionally, as far as his slender means allowed. He had read deeply,
and understood his subject.

"Whenever you like, Katherine," he said.

"This afternoon?"

"I'm afraid they want polishing up and arranging. I've got some new
things which I've not placed. I've rather neglected them lately. Let us
say to-morrow afternoon. Then they'll all be spick and span for you."

Katherine assented. "I've been down here so often and never seen them,"
she said. "It seems odd, considering the years we've known each other."

"I only took it up after father's death," said Dick. "And since then,
you know, you haven't been here so very often."

"It was only the last time that I discovered you took an interest an the
collection. You hid your light under a bushel. Then I went to London and
heard that you were a great authority on the subject."

Dick's tanned face reddened with pleasure.

"I do know something about it. You see, guns and swords and pistols are
in my line. I'm good at killing things. I ought to have been a soldier,
only I couldn't pass examinations, so I sort of interest myself in the
old weapons and do my killing in imagination."

"You give a regular lecture, don't you?"

"Well, you know," said Dick modestly, "a lot of them are historical.
There's a mace used by a bishop, an ancestor of ours. He couldn't wield
a sword in battle, so he cottoned on to that, and in order to salve his
conscience before using it he would cry out 'Gare! gare!'--and they say
that's what our name comes from--see? 'Ware--Ware.' He was the founder
of our family--though, of course, he oughtn't to have been. And then we
have the duelling pistols my great-grandfather shot Lord Estcourt with.
They're beautiful things--in the case just as he left it after the duel,
with powder, balls, and caps, all complete. It's a romantic story--"

"My dear Dick," interposed Mrs. Ware, with fragile, uplifted hand,
"please don't offend us with these horrible family scandals. Katharine,
dear, are you going to the vicar's garden party this afternoon? If you
are, will you take a message to Mrs. Cook?"

So Katherine being monopolized, Dick was silenced, and as Austin and
Viviette were talking in a lively but unintelligible way about a thing,
or a play, or a horse called Nietzsche, he relapsed into the heavy,
full-blooded man's animal enjoyment of his food and the sensitive's
consciousness of heartache.

When the ladies had left the table and the coffee had been brought in,
and the men's cigars were lit, Austin said:

"What a magnificently beautiful creature she has grown into."

"Whom do you mean?" asked Dick.

"Why, Viviette, of course. She's the most fascinating thing I've come
across for years."

"Do you think so?" said Dick shortly.

"Don't you?"

Dick shrugged his shoulders. Austin laughed.

"What a stolid old beggar you are. To you, she's just the same little
girl that used to run about here in short frocks. If she were a horse
you'd have a catalogue yards long of her points."

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Elliott Kastner obituary

John Makinson says that if people want to read using new technology, that's what publishers must give them

Penguin this week celebrates its 75th year and is marking the anniversary by repackaging a series of seminal books from the 1960s to the 1980s. Although the company might afford itself a brief look backwards, it feels as though there is little room for nostalgia in book publishing now, as the industry turns its face firmly – and apprehensively – to the future.

Amazon last week announced sales of ebooks on its US site had outnumbered hardbacks for the first time, stunning casual observers, even if it had not been entirely unexpected in the trade.

The launch of the iPad has added a sense of urgency. Where music went first, books are set to follow, although Penguin and other publishers would hope without the same devastating effects. Amazon this week launched a cheaper, more lightweight version of its Kindle ebook reader and a digital store on its UK site, while others, including Google, are muscling in. Digital book sales are still less than 1% of Penguin, but the direction of the market is clear. In the US, digital books already account for 6% of consumer sales.

Penguin chief executive John Makinson says he is a convert. The day after we meet he is on his way to India, as part of David Cameron's delegation, and had loaded titles on to his iPad, including a manuscript by John le Carré and some Portuguese classics (in English) ahead of Penguin launching a range in Brazil. He is also reading Lord Mandelson's diary. It simply makes sense, he says, instead of carting an armful of books in your carry-on luggage.

Innovation

"It does redefine what we do as publishers and I feel, compared with most of my counterparts, more optimistic about what this means for us," he says. "Of course there are issues around copyright protection and there are worries around pricing and around piracy, royalty rates and so on, but there is also this huge opportunity to do more as publishers."

Publishing, he says, must embrace innovation: "I am keen on the idea that every book that we put on to an iPad has an author interview, a video interview, at the beginning. I have no idea whether this is a good idea or not. There has to be a culture of experimentation, which doesn't come naturally to book publishers. We publish a lot of historians, for example. They love the idea of using documentary footage to illustrate whatever it is they're writing about."

The very definition of a book is up for grabs he says, although the company has just published a version of Ken Follett's The Pillars of the Earth for the iPad in the US that might provide clues – and horrify traditionalists. It includes scenes from a TV adaptation embedded in the text, as well as extras including the show's music soundtrack and Follett's video diary during the making of the series.

For now, Makinson says, digital books are expanding the market; hardback sales in the US are up this year, despite the march of ebooks. Piracy is not yet a significant issue and lessons have been learned from the music business.

"You have to give the consumer what the consumer wants – you can't tell the consumer to go away. So we didn't participate in this experiment where a number of publishers deferred publication of the ebook until a certain number of months after the hardcover publication. I thought that was a very bad idea. If the consumer wants to buy a book in an electronic format now, you should let the consumer have it."

He has added confidence, because with tablets such as the iPad, consumers are used to paying a subscription to the wireless operator and for "apps", creating a more benign environment than the wild west of the PC, where users are used to getting everything for free.

Penguin's profits more than doubled to £44m in the first half of the year. The company gained market share, but one reason for the dramatic improvement was the outsourcing of some design and production to India last year; the company now has around 100 designers in Delhi making books for Dorling Kindersley, belying the idea that Britain can at least live off its creative industries. Makinson defends the decision and says DK is now back in profit, which means it can reinvest in Britain: "We can't pretend we can do everything here. In order to be internationally competitive, some work needs to be done in other places."

About 8% of the publisher's sales are from its classics, including Jane Austen and Charles Dickens, and revenues are still growing, despite much of the copyright being in the public domain. It is launching the range in Mandarin, Korean and Portuguese. But it is not all highbrow. What would Penguin's founder, Sir Allen Lane, whose aim was to publish quality paperbacks for the masses, have made of Penguin putting out books "by" Peter Andre or Ant & Dec?

"Allen Lane's view was that we should publish good writing of all kinds for all audiences at affordable prices," Makinson says. "I'm not saying he would necessarily have approved every single publishing decision we take, but would he have approved of Penguin being a very democratic publishing company, publishing for lots of different tastes? I think he would definitely have approved."

Makinson has long been mentioned as a successor to Dame Marjorie Scardino, who runs Pearson, Penguin's parent company. Her departure has been a perennial question, though she has defied the investment community's chattering classes by staying in her post for well over a decade. She has also confounded expectations by keeping Penguin and the Financial Times in a group dominated by educational publishing. Makinson says it now makes more sense than ever for Penguin to remain part of the group, as the digital era draws each division closer.

He says there will still be the need for publishers in the digital world: "I used to have this discussion with [Hitchhiker's Guide to the Galaxy author] Douglas Adams. He created this thing called the digital village, an online publishing platform. Douglas's argument was, 'all of my friends will come along and publish on digital village and you the publishers will be disintermediated, you will be irrelevant'. Well, it hasn't happened. I am not aware of any successful direct to consumer publishing model that exists.

"The reason it doesn't work is that the publishers do actually perform quite a useful service: they edit the book, then they publicise it." In the physical world, they make sure it is stocked in bookshops, he adds.

Clubbable

Makinson, 55, perhaps feels more adaptable than some of his counterparts because he arrived at Penguin as an outsider. A clubbable character, he has taken an unusual career path, from a journalist on the Financial Times, to working for the Saatchis, setting up his own investment consultancy, running the Financial Times and then becoming Pearson finance director, despite having no training as an accountant.

But his passion for books is evident. Five years ago, he and his brother bought a bookshop in the small Norfolk town of Holt. For an out-of-the-way independent, the Holt Bookshop attracts a starry line-up of authors for events, including Stephen Fry, due to talk about his new autobiography, which, perhaps not surprisingly, is published by Penguin.

"We are all terribly sentimental about books," Makinson insists. "It is terribly important to me that we sell lots of wonderful books in my little independent in Norfolk, and when I talk about digital I do sometimes worry that it looks as though I am neglecting all this," he points to the books on the shelves behind him, "which I am not."

CV

Born: 1954, Derby.

Education: Graduated from Cambridge with honours in English and History.

Career: 1976-1979, journalist, Reuters; 1979-1986, journalist, Financial Times; 1986-1989, vice-chairman, Saatchi & Saatchi; 1989-1994, co-founder of capital markets advisory firm Makinson Cowell; 1994-1996, managing director, Financial Times; 1996-2002, finance director, Pearson; 2002-present, chairman and chief executive Penguin Books.

Other interests: chairman of the Institute for Public Policy Research, a director of the National Theatre and of the International Rescue Committee, a humanitarian organisation.

Family: Married with two daughters.


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The nostalgia narrative now aches to a different tune | John Freeman

Late-flowering writer of biographies and children's books

Verily Anderson, who has died aged 95, published more than 30 books – memoirs, biographies, children's stories and work ranging from personal reminiscences to Shakespeare scholarship and 10 Brownie books. She was a late starter: her breakthrough as a writer came in 1956, at the age of 41, when she published Spam Tomorrow, a deft and frequently uproarious account of her wartime experiences on the home front. Critics hailed it as a new kind of memoir, one of the first to explore the lives of women in wartime.

Before the success of Spam Tomorrow, she led a life that was colourful but frequently impecunious. Born in Edgbaston, Birmingham, the fourth of five children of the Rev Rosslyn Bruce and his wife Rachel (nee Gurney), Verily was always certain that she wanted to be a writer. As children, she and her brothers edited and wrote a nursery magazine which they called the News of the World. Verily's haphazard schooling ranged from a few years at Edgbaston high school for girls to being taught at home by her mother, to a brief and unsuccessful stint at the Royal College of Music in London. She said she worked at "100 different jobs" (including writing advertising copy, illustrating sweet papers and working as a chauffeur) before the outbreak of the second world war, when she enlisted with the First Aid Nursing Yeomanry, on the grounds that if there were going to be a war, it would be "less frightening to be in the middle of things".

During the war she met Donald Anderson, a writer who specialised in military history. They married in 1940 and had five children. With his encouragement, she made a precarious living as a freelance writer, while papering her lavatory walls with rejection slips received from publishers for her book projects. Her persistence was at last rewarded with the success of Spam Tomorrow – and a further half-decade on the bestseller lists. These years included a film adaptation of her 1958 memoir, Beware of Children, called No Kidding and starring Leslie Phillips and Geraldine McEwan (1960).

Donald died in 1956, and by the mid-60s Verily was again struggling financially. She was rescued by the actor Joyce Grenfell. They had struck up a friendship when Verily interviewed Grenfell for the BBC. Grenfell was so shocked at the conditions she found Verily living in that she bought her a home in Northrepps, a village in Norfolk, where she stayed for the rest of her life, writing dozens more books (including the critically acclaimed The Northrepps Grandchildren in 1968) and glorying in the role of matriarch to an ever-expanding family of children, grandchildren and great-grandchildren. When Verily married Paul Paget, architect and surveyor to the fabric of St Paul's Cathedral, in 1971, Grenfell was matron of honour.

In 2008 I conducted what turned out to be Verily's last interview. Letting myself in after some fruitless bell-ringing, I followed the sounds of a piano to her study door. "Oh my dear," she said, looking up at my knock. "There you are. Now – shall we have a gin, before we start?"

I had already heard all about Verily through her daughter, my friend the writer Janie Hampton, and so had a good idea what to expect. Janie's main piece of advice on hearing that we were going to meet was: "Whatever you do, don't let her pick you up from the station – she's half-blind." She also said: "Don't eat any of the cake she offers. She's always got some, and it's always about five weeks old."

Verily did have cake and it was past its best – but Verily definitely was not. She regaled me with anecdotes. I came away with the image of a woman with a twinkle in her eye, who after eight decades of writing was still full of energy and enthusing about her latest project. This – a memoir of the time she spent at Herstmonceux Castle, Sussex, in the 1930s and 40s – was completed the day before she died.

Verily is survived by her children, Marian, Rachel, Eddie, Janie and Alexandra, 16 grandchildren, 14 great-grandchildren – and Alfie, her beloved RNIB guide-dog.

• Verily Anderson, writer, born 12 January 1915, died 16 July 2010


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Tom Stoppard returns to BBC with Ford Madox Ford adaptation

The American literary genre of you can't go home again – that fertile ground farmed by Faulkner, Twain and Kerouac – has in the last half-century found a new voice abroad

At six foot, six inches tall, Thomas Wolfe had trouble entering most rooms. But he also had a problem with going back through them, especially if they led to the past. He had told too many truths – and too many lies – about where he came from in North Carolina.

In his posthumous 1940 novel, You Can't Go Home Again, he gave Americans a literary catchphrase for the pain so many of us who wind up far from where we grew up feel acutely.

After all, in the case of many Americans, if you leave the provinces only to return home, you are marked as a failure. At the very least, you run the risk of finding that flight has spoiled any fond memories you managed to smuggle out.

Think of the successful ad-man hero of John Updike's The Farm, who returns to his family's crumbling Pennsylvania farm for an emotionally fraught visit, or Quentin Compson of William Faulkner's Absalom, Absalom, shivering in his dorm room at Harvard, who begins his defence of the American south with the ringing endorsement, "I don't hate it ... I don't hate it."

This thread of conflicted nostalgia is strongest in America's most autobiographical novelists, especially the ones who had to leave to write but continuously dial back the past in their work: writers such as Jack Kerouac, who frantically travelled America, but wrote most of his later books about Lowell, while living with his mother in Queens and Florida.

Then there's Mark Twain, whose autobiography appears in the new issue of Granta, who rose out of Missouri and saw the world, but settled in Hartford, Connecticut in a white mansion that everyone around him could see looked exactly like a river steamboat.

But like so many things America feels it has invented, from democracy to baseball, the you-can-never-go-home again narrative is hardly unique to it. In fact, in the last half-century (and especially in the last 20 years, as diaspora writers from the Dominican Republic to Nigeria to India and Pakistan have emerged as some of our most vigorous storytellers), nostalgia – which is a combination of "returning home" and "ache" – has taken on a different texture.

In Granta's new issue, there's a story by the Sudanese writer Leila Aboulela, about a young man who has come to London from Khartoum to study mathematics. His mother, who worries he will never return, arranges for him to marry a devout Muslim wife – a move which backfires when she comes to London and reminds him of everything he left behind. Chimamanda Adichie, meanwhile, has a story about a Nigerian "big man" whose life is turned upside down when his ex-girlfriend announces she has come back to Lagos. As he speculates about the reasons for her return, Adichie's hero worries whether he has sacrificed something essential in his rise to the top.

In stories like these, not to mention the novels of Monica Ali or Kiran Desai or Uzma Aslam Khan, the export duty to elsewhere is high. The past isn't just the past – it's another country. And for reasons political and personal, there is no going back.


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