Since the Layoffs by Iain Levison (Soho Press 2003)

“How much more time have you got left on benefits? Before the government cuts you off?”

I figure now that we’re going somewhere with this. He’s leading up to something, maybe he’s going to ask me to be one of his henchmen. Hell, I could do that. Drop coke and weed off at people’s doors. Maybe he’ll let me drive one of his SUVs. I could cruise around town and listen to CDs and bring people their daily drug shipments, for which they would exchange their unemployment checks. I don’t have a problem with that. Somebody will be doing it whether I say yes or no. My moral refusal won’t suddenly put a halt to this shattered town’s substance abuse problem. Something like that would tide me over, until the new factory opened. They were already talking about a new factory.

“One year and three months.”

“Then what? You going to starve to death in your apartment?”

“The new factory’ll have opened by then.”
Gardocki shakes his head. “There’s not going to be any new factory. Who the hell would want to open a factory here?”

“I heard Scott Paper was looking at the location.” Tommy had called me up and told me he’d read that in the paper. Big businesses were interested, I knew that. There was a pool of skilled workers, a building already set up to produce machine-tooled parts for tractors. Just a few changes, and it would be up and running, producing something else. We all knew that.

Gardocki laughs again. “Scott Paper.” He shakes his head. “That was a heavy metal factory. You think they’re going to turn it into a paper mill? And go through all that union bullshit again? Nobody wants to deal with unions anymore. They want Mexicans. They want people who’ll appreciate seven dollars an hour, not gripe about seventeen. The factory days here are over, Jake.” He leans back in his chair and lights a cigarette. “What happened to that pretty little girl you were going around with?”

“Fuck you.”

Gardocki adopts an expression of surprise. “Is that off limits?”

“You know my cable’s cut off, but you don’t know my girlfriend moved out?”

“She went off with some used car dealer, huh?” Gardocki is looking sympathetic, so as not to rile me more.

“He was a new car dealer.”

After the factory closed, the car dealerships had left town, too. Jobless people don’t buy a lot of new cars. Kelly had gone with him, to Ypsilanti. Before she left there had been a lot of agonizing, when she went through her touching “What should I do?” phase. Kelly never asked herself what she should do when I was making seventeen dollars an hour. After her seven-dollar-an-hour salary as a receptionist at a car dealership made her the top grosser of the household, I noticed she began asking herself these deep philosophical questions. She told me some salesman was asking her to go to Ypsilanti with him, and whatever should she do? I told her to fuck off, and went and placed a bet on Canadian Football. After she moved out, I never picked up the phone, didn’t return the one letter I got from her and didn’t say goodbye. Someone new would come along, once the new factory opened.

“Jake, I want you to kill my wife.”

I laugh. Then I search Gardocki’s face for signs of humor. But I don’t see any. Gardocki isn’t even looking at me. He is looking at a spot on the wall above my head, expressionless. He smokes his cigarette and stares, waiting for it to sink in.

“I’m not going to kill your wife, Ken.”

Jack Carter and the Law by Ted Lewis (Alfred A. Knopf 1974)

Jimmy is wearing a neat red satin dressing gown but there's nothing neat about his face, foreshortened and distorted in my sights; he looks like an astronaut experiencing twenty Gs. The filth who's shepherding him out is superfluous. Jimmy really doesn't need any guidance, and as he hurries down the garden path away from the flames, to safety, I steady the rifle so that the cross is resting perfectly on the middle of Jimmy's furrowed forehead, and then I pull the trigger three times, and immediately the last bullet leaves the barrel I turn away and run back down the side of the house, and as I pass the open door I glance into the house but there is no sign of the man who'd been putting out the milk bottles. That's the trouble with the world today, I reflect. A lack of public spirit. Nobody seems to be prepared to have a go these days.

The Leader by Gillian Freeman (J. B. Lippincott Company 1965)

"Fox?"

"Who's that? Jessop?"

"Yes. I'm at the house. It's happened."

"You mean Pearman?"

"You were quite right. He's played himself out. He's just taken an overdose. The ambulance is on its way."

"Why didn't you let him die?"

"What's the point? He's nothing. Nothing. Just pathetic. comic. Let them pump him out. Are you listening?"

"Yes."

"Well, we've got quite a salvaging job to do. I want you to handle the press. As soon as the ambulance men remove him, I'm going up to Birmingham. You can report to me there. All they need is the right leader."

The bell on the ambulance, growing louder, stopped outside the house. It was replaced by the urgent ringing of the doorbell. Jessop went to answer it.

Morbid Symptoms by Gillian Slovo (Dembner Books 1984)

Sam and I had originally been matchmade by some shared friends and had spent a pleasant enough evening flirting over a laden dinner table. Nothing else might have happened if we hadn't bumped into each other at one of those CSE conferences where half the people are there to catch up on a year's theory and the other half to recuperate from a year's monogamy. I'd been trying to escape from an over-zealous and badly informed acquaintance, who was giving me a lecture on the mistakes of the Portuguese left. Sam had been so busy choosing between two workshops on widely differing subjects that he'd missed them both. Indecision seemed an underlying theme in Sam's life. A mathematician on the point of getting his PhD he'd got side-tracked down an alley of algebraic topology and couldn't figure out what to do about it. His solution had been - still was - to spend more time in writing poetry than in finishing his thesis.

The Narrowing Circle by Julian Symons (Penguin Classic Crime 1954)

Gross Enterprises occupied a square, ugly office block near Holborn. On the ground floor was Reception, Dispatch and the Research Section. First floor was Crime, second Romance, third Western and fourth Science Fiction. Administration was on the fifth and top floor, and so was Sir Henry Gross's office and flat. I passed old Sir Henry as I went in, teetering uncertainly across the Reception hall to his private lift. Who's Who didn't give his age but he must have been in the seventies, although his lined face and generally papery appearance made him look older. Nobody I knew had much contact with him, not even the Section Editors. I hadn't spoken to him more than half a dozen times in the three years I'd been with the firm. I was never quite sure whether he knew who I was. He said good morning to me politely enough. At least he knew I worked there.

I watched the lift doors close behind him and thought how queer it was that Sir Henry, who was a teetotaller, vegetarian and non-smoker, should be at the top of something like Gross Enterprises. It was a fine example of circumstances taking charge of men, for he had started out with cheapSelf Help and How to Do It books. Probably the change to what you might call rational publishing had been imperceptible even to Gross himself. Now he might think that he ran the machine, but really the machine ran Sir Henry. No doubt he had paid for his knighthood like an honest man. It had been awarded for "services to publishing", which was one of the best jokes on publishing that I had ever heard.

Too Many Crooks Spoil the Caper by Frank Norman (St. Martin's Press 1979)

'That Ed Nelson?' a rough and ready cockney voice wanted to know when I snatched up the phone.

'He's emigrated to Constantinople,' I returned, cheerfully casual.

'Don't muck me about, yuh burk,' the voice snarled savagely. 'This is Ray Williams an' I bleedin' well know that's you.'

'No it isn't,' I shrieked at him. 'I've gone away and I'm never coming back.'

'Awright, Ed.' He chuckled menacingly. 'I enjoy a giggle same as the next bloke - 'ave yuh little joke, lark about all yuh soddin' well like. Go on the telly for all I care, butcha ain't gonna get all that far up the ladder to stardom, ole son. An' I'll tell yuh for why - a stand-up comedian wiv busted kneecaps ain't no good at standin' up no more, geddit?'

I got it but decided to go on playing it dumb. 'What the hell are you on about.' I gulped a lungful of air. 'I don't know any Ray Williams. I reckon you must've dialled the wrong number, sir. There are fourteen other Ed Nelsons in the London telephone directory to my certain knowledge . . .'

'Cut the cackle,' he interrupted. 'Me'ounds are on their way over to see yuh. I've told 'em to batter yuh double-jointed an' slam yuh all over the bloody West End till there ain't nuffink left a yuh boat race 'cept a soggy pulp a crushed strawberries.'

The graphic description got my bottle going two bob, half a crown.

'Leave off, Ray,' I bleated, 'you know you don't mean that.'

'Me, meself personally,' he confided. 'I don't reckon all that punchin' flash gits like you up in the air. But me bruvva Pete's a right terror when 'e's roused, know what I mean? Ain't no reasoning wiv 'im when 'e's got the dead needle like.'

'Any way of calling the hounds off? I inquired meekly. I knew there had to be, otherwise he wouldn't have bothered to phone.

'Jest one.'

'What?'

' 'And over the bird and the Jodhpur diamond,' he replied earnestly. 'Otherwise it's curtains, goddit?'

'I'll do it. I'll do it,' I squealed. 'Give me twenty-four hours, that's all I ask.'

Black Jack by Leon Garfield (Farrar, Straus and Giroux 1968)

There are many queer ways of earning a living; but none so quaint as Mrs. Gorgandy's. She was a Tyburn widow. Early and black on a Monday morning, she was up at the Tree, all in a tragical flutter, waiting to be bereaved. 

Sometimes, it's true, she was forestalled by a wife or mother; then Mrs. Gorgandy curtsied and withdrew - not wanting to come between flesh and flesh.

But, in general, she knew her business and picked on those that were alone in the world - the real villainous outcasts such as everyone was glad to see hanged - to stand wife or mother to in their last lonely movements. And even after.

It was the after that mattered. Many and many were the unloved ones weeping Mrs. Gorgandy had begged strangers to help her cut down as they ticked and tocked in the diabolical geometry of the gallows.

"Oh, sir! The good God'll reward you for your kindness to a mint-new widder! Ah! Careful with 'im, sir! For though 'e's dead as mutton, mortal flesh must be respected! Here's 'is box! Mister Ketch!" (To the hangman.) "Mister Ketch, love - a shilling if you goes past my house with the remains. Seven Blackfriars Lane, love."

Then, her sad merchandise aboard, Mrs. Gorgandy would lift up her skirts and, with a twitter of violet stockings, join her "late loved one" on his last journey but one.

His last journey of all would not yet have been fixed on; Mrs. Gorgandy had yet to settle with any surgeon who'd pay upwards of seven pounds for a corpse in good condition.

And so to the hanging of Black Jack on Monday, April fourteen, 1749.

A vast ruffian, nearly seven foot high and broad to match, who'd terrorized the lanes about Knightsbridge till a quart of rum and five peace officers had laid him low.

"Poor soul!" had sighed Mrs. Gorgandy when she'd learned of Black Jack's coming cancellation. "When there's breath in you, you ain't worth two penn'orth of cold gin; yet your mint-new widder might fairly ask fifteen pound ten for your remainders. And get it, too!"

She must have been at the Tree all night, for first comers saw her already propping up a gallows' post against the rising sun like a great black slug.

"It's me 'usband, kind sir! Wicked, shocking sinner that 'e's been! But me dooty's 'ere to see 'im off and decently bestowed. Will you 'elp a poor widder-to-be, dear sir? For 'ee's that 'eavy, 'ee'd squash me flat! Oo'll 'elp?  Oo'll 'elp?

So she went on while round about her the crowd grew, and soon her sobby voice, though never stilled, was lost in the general hub-bub of Tyburn Monday.

Smith by Leon Garfield (Farrar, Straus and Giroux 1967)

He was called Smith and was twelve years old. Which, in itself, was a marvel; for it seemed as if the smallpox, the consumption, brain-fever, jail-fever and even the hangman's rope had given him a wide berth for fear of catching something. Or else they weren't quick enough.

Smith had a turn of speed that was remarkable, and a neatness in nipping down an alley or vanishing in a court that had to be seen to be believed. Not that it was often seen, for Smith was rather a sooty spirit of the violent and ramshackle Town, and inhabited the tumbledown mazes about fat St. Paul's like the subtle air itself. A rat was like a snail beside Smith, and the most his thousand victims ever got of him was the powerful whiff of his passing and a cold draft in their dexterously emptied pockets.

Only the sanctimonious birds that perched on the church's dome ever saw Smith's progress entire, and as their beady eyes followed him, they chatted savagely, "Pick-pocket! Pick-pocket! Jug him! Jug-jug-jug him!" as if they'd been appointed by the Town to save it from such as Smith.

His favourite spot was Ludgate Hill, where the world's coaches, chairs and curricles were met and locked, from morning to night, in a horrible, blasphemous confusion. And here, in one or other of the ancient doorways, he leaned and grinned while the shouting and cursing and scraping and raging went endlessly, hopelessly on - till, sooner or later, something prosperous would come his way.

All the Sad Young Literary Men by Keith Gessen (Viking 2008)

I found the Mensheviks kind, intelligent, witty. But everything I saw convinced me that, face to face with the ruthlessness of history, they were wrong.

- Victor Serge

Mark's dissertation, in the end, was about Roman Sidorovich, 'the funny Menshevik." Lenin had called him that, menshevitskiy khakhmach, in 1911. Sidorovich was tickled, "I'd rather be menshevitskiy khakhmach" he said (to friends) "than bolshevitskiy palach." I'd rather be the Menshevik funny-man than the Bolshevik hangman. Oops.

They were all in Switzerland then, having fled the scrutiny of the tsar's secret police. In 1917, they all, Lenin and Trotsky and Sidorovich, returned home after the tsar abdicated. Or anyway Mark thought they did. The truth is, Sidorovich was too minor a figure for anyone to have noticed when exactly he returned, what exactly he was wearing, his friends and widow gave contradictory accounts, and his personal papers were confiscated in the 1930s. But Mark thought he could see him in the documentary evidence, cracking jokes. It was in fact the task of his dissertation to prove that many of the anonymously attributed humorous remarks of 1917 ("someone joked," "a wit replied") were attributable to Roman Sidorovich.

In 1920, after securing power, Lenin exiled many of the Mensheviks. The Sidoroviches found themselves in Berlin, where Roman briefly succumbed to the temptation to write humorous book reviews for Rul', the liberal paper associated with, among others, Nabokov's father. In 1926, however, Sidorovich grew bored and depressed and asked to be allowed back into the country. He was allowed. Five years later, he was arrested, and his "humorous remarks," the ones Mark spent all his time authenticating, were spat back at him during his interrogation. It turned out the Bolsheviks had a very good memory for humorous remarks.

"I confessed to the good ones right away," Sidorovich said later.

"Then they tortured me, and I confessed to the bad ones, too.

"Then they tortured me some more," he also apparently said, a few times, "and I blamed the bad ones on my friends."

The record of the interrogation had not survived. But it was known that Sidorovich received a five-year sentence in Verkhne-Udalsk. He returned to Moscow in 1936 and was rearrested in early 1941. He was on his back to Verkhne-Udalsk, or beyond, when the Germans invaded. At this point history lost track of Roman Sidorovich, and so did Mark.

Musclebound by Liza Cody (The Mysterious Press 1997)

I was going to have it out with the driver of the Carlton. I was going to pick him up by the armpits and say, "Oy, pus-bottom, watch where you're going." But by the time I got up off the floor and kicked the chain for tripping me up, I saw the driver wasn't in the Carlton no more. He'd gone inside the booth, and he'd left the driver's door open and his motor running. Which is exactly the same as saying, "C'Mon, Eva, here's a nice red Carlton all warm and ready to take you home."

So I said, "Ta, very much. Sorry I called you a pus-bottom." I jumped in and shoved the stick in first.

At the same time, the driver struck his head out of the booth and shouted something. I didn't catch the exact words because I was too busy revving up and moving out. But what happened next was very weird. As I swung past the booth, the passenger door slammed shut. I hadn't noticed a passenger. And then another man, who I hadn't seen before, walked out from the booth and pointed a stick at me.

I thought. "Why's that dink pointing a stick at me?" And I'd hardly finished thinking that when the passenger-side window shattered. Kerash-kerunch. Glass everywhere. I was so startled I nearly whacked into one of the petrol pumps.

I went nought to sixty, out of the forecourt, right under the nose of a Safeway truck. I was sweating but, do you know, I was half a mile up the road before I realised what shattered the windows.

The dink wasn't pointing a stick at me. He was pointing a sawn-off shotgun. The windows didn't shatter. The dink shot them out.

Can you believe that? Some bastard shot at me. Me. Just for borrowing a Carlton. Who the hell'd do a thing like that?

If he didn't want his motor borrowed, why didn't he just remove the keys like a sensible person?

Shit. He could of killed me. Fancy that. Ex-Wrestler Shot. What a headline that'd make.

Monkey Wrench by Liza Cody (The Mysterious Press 1994)

I only wanted a bunch of bananas. I was on my way to the shop to buy them when I saw a bunch of kids circling and yowling like hyenas. They chanted,

Dirty Dawn
Stinks like a prawn.
She lost her bra
In a punter's car
And she doesn't know where her knickers are.

Dawn is trouble.  She's a mess and a waste of space. She's always on the piss. I crossed over to the other side of the road. If she saw me she'd expect me to get rid of the kids and wheel her home in a barrow. I ducked into Hanif's shop instead.

I took my time behind the shelves. If I stayed there long enough Dawn would pull herself together and shamble off without my help. Helping people always ends in tears. And helping drunks is a total waste of time. They're never grateful, they don't pay their debts and they've got rotten memories. What's the point in being nice to someone who can't remember how nice you've been? Tell me that. The only point in doing someone a favour is if they remember and do you a favour back.

Besides, angry wasps are better-natured than the kids in this part of London. Take a tip from me - if you like a quiet life don't ever get yourself outnumbered by kids. I was a kid once myself so I know how evil they can be once they get into a pack. Normal rules don't apply to a pack, and a little kid who wouldn't do hokey-cokey on his own becomes Conan the Barbarian in a bunch. Come to think of it, that's true of grown-ups as well.

I know about crowds. I should, I'm a wrestler.

Bucket Nut by Liza Cody (Double Day 1992)

There was a little bloke in the aisle screaming his head off. Quite sweet he looked in his grey mackintosh and muffler. His flat cap fell down over one eye.

'Bucket Nut!' he yelled.

I could hear him clearly over the screams and yells. The things they think of to say.

'Shut yer face!' I gave him the finger.

Out of the corner of my eye I saw the Blonde Bombshell stagger to her feet. I turned my back.

There was a little old lady in the second row bouncing up and down with rage.

'You big ugly bully,' she screamed. 'Big ugly . . . trollop!'

'Trollop yerself,' I shouted.

The Blonde Bombshell hit me in the back and I fell against the ropes. The front row came alive, bashing me with shoes, programmes and handbags. I rolled away to the middle of the ring.

The Blonde Bombshell crashed on top and twisted my arm behind my back.

The front row went wild.

'Kill 'er,' they howled. 'Have her rotten arm off.'

The Blonde Bombshell grabbed a handful of hair and pulled my head up off the canvas. She is such a wanker.

'Watchit,' I said. 'Mind me teeth.'

She knew I had the toothache. But she bashed my face into the floor. Silly cow.

Kill Your Friends by John Niven (Harper Perennial 2008)

What do I think? Honestly? I think I would like to see you and the rest of your band die screaming in agony from something like testicular cancer. I think that last week I spent a hundred and eighty pounds on a necktie and lost it a few hours later, drunk in Soho. I think about telling these hopeless, penniless cunts this. But instead, pointlessly, I say, 'Great guitar sound.'

'Yeah,' the manager says, and he starts crapping on about how Doug - or whoever - has been playing guitar since he was a fucking foetus or something. Doug looks up from the floor and smiles bashfully. It's about all I can do not to punch his stupid, talentless face in. To stand up, run the length of the room, and boot him full-force in his pasty, pimply, stinking indie chops. But - ever reasonable - I just nod and listen and say things like 'yeah?' and 'yeah' and 'great' and 'really?' for a long time.

I hate indie music. Until a couple of years ago you didn't really have to think about it. It was just a couple of hundred losers fucking around in Camden. Then a pair of Mancunian losers rock up clutching a Beatles songbook and suddenly you've got to listen to all this shite and take all these meetings in case you miss the next one. It's a fucking nightmare.

Backhand by Liza Cody (Doubleday 1991)

At home, north of Holland Park, Anna walked into a domestic row of gigantic proportions. All the lights in the house blazed. The television was on in the Prices' flat but the shouting came from upstairs in Anna's front room. Bea and Selwyn stood nose to nose in the middle of the Turkish carpet.

'You selfish, opinionated, destructive bastard,' Bea was yelling as Anna opened her door. She had a rolled-up copy of the Kensington Chronicle in her hand, and at every adjective she whacked Selwyn on the arm. His arm was protecting his left ear.

' . . . Bourgeois, small -minded . . . sneaking behind my back . . .  and undermining my position . . .' Selwyn thundered at the same time.

' . . . in the bloody papers, the bloody newspaper.' Whack. 'I've never had my name dragged into the press.' Whack. 'This is the last straw.'

In the background was the unlikely sight of a huge man trying to look inconspicuous: Quex sat in the corner of the sofa pretending to read.

'Home sweet home,' Anna said, but nobody noticed.

'You've no right.' Whack. 'To draw on that account.' Whack. 'That's the house account.' Whack. 'And I'll need every penny . . . '

'I'm not moving to a poky bloody hole in Potters Bar. You're trying to castrate me, woman . . . '

'Bleeding shut up!' Anna shouted.

'I'm stopping the cheque!' Bea screamed. 'I'm warning you!' Whack.

'You're on your own!' bellowed Selwyn. 'What you want is a pet poodle with a pay packet.

The Graduate by Charles Webb (The New American Library 1963)

"Come on in the living room a minute," Mr. Braddock said. "You'll get to bed right after a little food."

Benjamin slid back down the stairs, stood and followed his father slowly into the living room. He dropped down onto the sofa.

"Well now," Mr. Braddock said. "Let's have the report."

Benjamin's head fell back and he closed his eyes again.

"What about the money. Did you cash my check?"

"No."

"Well what happened. Did you get some work?"

"Yes."

"What kind of work was it."

"Dad?"

"Come on, Ben," he said. "I'm interested in this."

Benjamin took a deep breath. "I fought a fire," he said.

"That big fire up there?" his father said. "You fought it?"

"That's right."

"Well that's right up there by Shasta. You must have been right up there in the Shasta country. That's beautiful country."

Benjamin nodded.

"How much did they pay you on a deal like that," his father said.

"Five an hour."

"Five dollars an hour?"

"That's right."

"They give you the equipment and you go in and try to put out the flames."

Benjamin nodded.

"Well what about the Indians. I was reading they transported some Indians up there from a tribe in Arizona. Professional fire fighters. Did you see some of them?"

"I saw some Indians. Yes."

Mr. Braddock shook his head. "That is real exciting," he said. "What else happened."

Benjamin didn't answer.

"You didn't have any trouble getting rides."

"No."

"Well tell me where you stayed."

"Hotels."

Mr. Braddock nodded. "Maybe this trip wasn't such a bad idea after all," he said. "Did you have any other jobs besides the fire?"

"Yes."

"Well what were they."

"Dad, I washed dishes. I cleaned along the road. Now I am so tired I am going to be sick."

"Talk to a lot of interesting people, did you?"

"No."

"You didn't?"

"Dad, I talked to a lot of people. None of them were particularly interesting."

"Oh," his father said. "Did you talk to some of the Indians?"

"Yes Dad."

"They speak English, do they?"

"They try."

"Well what else did you-"

"Dad, the trip was a waste of time and I'd rather not talk about it."

"Oh?" his father said. "Why do you say that."

"It was a bore."

"Well it doesn't sound too boring if you were up there throwing water on that fire."

"It was a boring fire."

It was quiet for a few moments. "Can't you tell me a little more about it?"

"Dad-"

"Let's hear about some of the people you bumped into."

"You want to?"

"Sure," his father said. "What kind of people stopped to give you rides."

"Queers."

"What?"

"Queers usually stopped," he said. "I averaged about five queers a day. One queer I had to slug in the face and jump out of his car."

"Homosexuals?"

"Have you ever seen a queer Indian, Dad?"

"What?"

"Have you ever had a queer Indian approach you while you're trying to keep your clothes from burning up?"

Mr. Braddock sat frowning at him from the chair. "Did that happen?" he said.

"Dad, for what it was worth I did the whole tour. I talked to farmers, I talked to-"

"What would you talk to them about."

"The farmers?"

"Yes."

"Their crops. What else do they know how to talk about."

Gods and Beasts by Denise Mina (Little Brown 2012)

Morrow watched her brother walk into the cafe like a mayoral candidate, waving to other customers, clamping the proprietor's hand in a two-handed shake, nodding to Morrow as he swapped pleasantries with the man's wife.

Danny suggested meeting here because this was how he wanted her to see him: popular, belonging, accepted. The cafe owner looked up to him smiling, slightly awe-struck. Morrow knew then that Danny owned part of this business or had lent the man money. The man didn't like him, he owed him. Maybe didn't register the difference.

It was positive, in a way, that he wanted her to see him as a good guy, instead of in a big car or with totems of his wealth around him, and it was probably a big deal that he came alone, or almost alone. She could see a man sitting in the driver's seat in the big car across the road, but Danny had left him out there.

Still, the cafe business was a cash business, perfect for cleaning up the vast sums of money Danny and his associates were generating every day. The drugs trade was worth more than a billion pounds a year in Scotland. Some said four billion but the source of that number was looking for more funding so she wasn't sure about that. Whatever the absolute number, it was telling that cash businessses were being taken over. Hairdressers, sunbed shops, nail bars, cafes, pubs were being either taken over or opened up to give a credible source for the tidal wave of dirty notes. Some high streets had row upon row of tanning salons right next to each other to account for various people's income. Even nurseries, Morrow had heard, even there the gangs were using businesses and claiming for fifty ghost children attending, all  doing 8-6 every day, all paid for in cash.

Wild Boy: My Life in Duran Duran by Andy Taylor (Grand Central Publishing 2008)

There was worse to come. "New Moon on Monday" was our least favourite video of all. Everybody in the band hates it, particularly the dreadful scene at the end where we all dance together. Even today, I cringe and leave the room if anyone plays the video. We shot it just outside Paris on the third of January 1984, and we were all miserable because we hadn't had a long enough Christmas holiday. Our management had convinced us to theme it on the French Revolution, and it also had historic references to the French Resistance - but, to be honest, it was just a load of gibberish. The set was dark and cold, and we spent most of the day drinking alcohol. By the time we were dancing at the end I was half cut. It is one of the few times I've seen Nick dance (watch his shoulders moving up and down if you ever get another chance to see it!). We were very uncomfortable with the whole thing. After "New Moon on Monday," we all thought, Bollocks - let's do something that's fundamental and solid.

The answer was a spectacular live video in the form of "The Reflex."

Fatale by Jean-Patrick Manchette (NYRB Classics 1977)

"I am unarmed," said Lorque. "I want to talk to you. Listen here, I don't deserve to die. What have I done except follow the natural impulses of the human race? And even that is saying a lot. We are choirboys compared with our ancestors. Does the sack of Cartagena ring any bells with you? Some of Bléville's bold seafarers were there. I'm not talking about the first sack of Cartagena, that was Sir Francis Drake, but the second, when the French did the sacking. What I've done is nothing alongside the sack of Cartagena. Okay, so I worked a bit on the Atlantic Wall, I had to keep a low profile in South America for a while, then I came back and I've been giving employment to workers and making land productive. I've made my pile in the usual way. Just tell me one outrageous thing, one truly criminal thing, in what I've done, in what the baron had in his files, just name one!"

"I haven't read the baron's files," said Aimée. Lorque tensed and listened hard, apparently striving to determine the precise source of the young woman's voice. "I couldn't care less," Aimée observed. "Do you really imagine I'm interested in your crimes and misdemeanors? You must be joking!"

The Good Son by Russel D. McLean (Minotaur Books 2008)

Nearly a week before the night I found myself ready to kill a man in cold blood, I was angling for the security of a job that paid up front.

Which is why I was grateful for the business of any client. Especially the man who huffed his way into the offices of McNee Investigations.

James Robertson stuffed himself into the sixties-style recliner I'd picked up a few weeks earlier at the Salvation Army store on West Marketgait. He was sweating, even though it was a cool day. As if he'd swum across the Tay rather than taking the bridge. The handkerchief tucked into the breast pocket of his suit jacket looked damp.

I offered my hand. His was slick and threatened to slip from my grasp. 

It wasn't his size, even if he was a large man. No, the sweat came from agitation. Robertson was tense, his muscles practically humming they were stretched so taut.

Under Contract by Liza Cody (Charles Scribner's Sons 1986)

"Think of the overtime. I dunno," Anna sighed, "why does everyone slag everyone off so much? I've never come across such a slagging match."

"You've never been security on one of these tours before, have you?" Dave looked down his nose at her. "You'll learn. It's because there's a lot of vultures on only the one carcass - not enough to go round and everyone's hungry."

There was some truth in that, she mused on her reluctant way back to the dressing rooms. Only who were the vultures and what was the carcass? Fame and fortune was the simple answer. But what about Shona who had achieved it? She had stood in front of thousands of screaming, applauding fans and yet she still needed Anna's few distracted words. And now the fans themselves needed to be noticed. Look at me, look at me, no - look at me, seemed to be the cry in every throat. I could look like that if I had the right make-up . . . I could do that, if only someone'd notice me. Fame and fortune were only by-products in the universal need to be seen.