Missing by Cath Staincliffe (Allison & Busby 2007)

People disappear every day. Most of them choose to. Have you ever been tempted? Slip on a coat, pick up your bag and walk, or drive, or run. Turn your back on home, family, friends, work.

Why do people do it? Because they can? Because staying feels harder than leaving? Because they are angry or desolate or simply, deeply, mind-numbingly bored with the life they have? Because their heart is breaking and their mind fragmenting? And the grass is greener, the flowers smell sweeter. And if they stay they might be truly lost.

Back in June, the same week that I'd just found one person, two more went missing. None of them related. The only connection was me; Sal Kilkenny, my job; private investigator. And finding people seemed to be the flavour of the month.

The Deportees and Other Stories by Roddy Doyle (Jonathan Cape 2007)

I'm not telling you her name. And that means I can't use my own name either. Because, how many Nigerian girls is the average Irish teenager going to be hanging around with, even here in multicultural, we-love-the-fuckin'-foreigners Dublin? If I give my name, I might as well give hers. So, no.

So, there we are, myself and my Nigerian friend, and we're walking through the shop, being tailed by the Feds. And meanwhile, our friend, who's in a—

And now, there's another problem. There's a fella in a wheelchair in the story. How many male teenagers in the greater Dublin area share their leisure time with young men in wheelchairs and Nigerian women?

Our friend is in a wheelchair, but he doesn't need it. It's his brother's. His brother is in McDonald's, waiting for us. He doesn't have much of a choice, because we have his wheelchair. And he needs it, badly. There's a ginormous milkshake cup in front of him. It's empty. The shake's in him, and he's bursting. He's full of vanilla and the jacks is down the back, miles – sorry, kilometres away.

And his brother has his wheelchair. He's in the same shop as us – that's me and the Nigerian bird. And while the Feds follow me because (a) I'm with a black person, and (b) I'm wearing a hoodie, he's robbing everything he can stretch to, because (a) he's in the wheelchair, and (b) he's wearing glasses. And no one follows him. In fact, everyone wants to help him.

It's an experiment. Market research. I'll explain in a minute.

His brother is sliding towards the jacks when we get back to McDonald's. He's halfway there and, so far, €8.56 has been thrown at him.

Let me explain.

We aren't robbing the stuff because we want it, or just for the buzz. No. We are a mini-company. Three of us are in Transition Year, in school. The brother who actually owns the wheelchair isn't. He's in Sixth Year. We used to call him Superman, but he asked us to stop after Christopher Reeve died; it was upsetting his ma whenever she answered the landline. 'Is Superman there?' So, fair enough; we stopped.

Anyway, as part of our Transition Year programme, me and Ms Nigeria and not-Superman's brother had to form a mini-company, to help us learn about the real world and commerce and that. And we didn't want to do the usual stuff, like making sock hangers and Rice Krispie cakes. So, we sat at a desk and, watched closely by our delightful teacher, Ms They-Don't-Know-I-Was-Locked-Last-Night, we came up with the idea, and the name.

Black Hoodie Solutions.

(from 'Black Hoodie')

Cupid's Dart by David Nobbs (Arrow Books 2007)

I travelled on the same train today, exactly a year after our first meeting. A year! Was it really only a year ago? Has only a fifty-sixth of my life passed since that day which changed everything? It seems a lifetime ago, and yet it also seems like yesterday. I mentioned that to Lawrence. 'That's women for you,' he said. 'That's what they do to you.' I don't think he likes women - but then, if I was married to Jane, I don't think I would like women either.

I say 'the same train'. I mean, of course, the train that left Manchester and was due at London Euston at the same time on the same day as that train a year ago. It wasn't the same train at all. Well, it might have been, I didn't check the carriage numbers or the name on the engine, such trivia have never interested me, but I think it extremely unlikely. Anyway, I don't give a damn about these linguistic minutiae. Not any more. Not after her.

The Ghost by Robert Harris (Simon & Schuster 2007)

I opened the envelope and took out the photocopies of Lang’s membership card and the articles about the London elections. I slid them across to her. She crossed her legs at the ankles, leaned forward to read, and I found myself staring into the surprisingly deep and shadowy valley of her cleavage.

“Well, there’s no arguing with that,” she said, putting the membership card to one side. “That’s his signature, all right.” She tapped the report on the canvassers in 1977. “And I recognize some of these faces. I must have been off that night, or campaigning with a different group. Otherwise I would have been in the picture with him.” She looked up. “What else have you got there?”

There didn’t seem much point in hiding anything, so I passed over the whole package. She inspected the name and address, and then the postmark, and then glanced across at me. “What was Mike up to, then?”

She opened the neck of the envelope and held it apart with her thumb and forefinger, and peered inside cautiously, as if there might be something in the padded interior that could bite her. Then she upended it and tipped the contents out over the table. I watched her intently, as she sorted through the photographs and programs, studied her pale, clever face for any clue as to why this might have been so important to McAra. I saw the hard lines soften as she picked out a photograph of Lang in his striped blazer on a dappled riverbank.

“Oh, look at him,” she said. “Isn’t he pretty?” She held it up next to her cheek.

“Irresistible,” I said.

She inspected the picture more closely. “My God, look at them. Look at his hair. It was another world, wasn’t it? I mean, what was happening while this was being taken? Vietnam. The cold war. The first miners’ strike in Britain since 1926. The military coup in Chile. And what do they do? They get a bottle of champagne and they go punting!”

“I’ll drink to that.”

Sweet Money by Ernesto Mallo (Bitter Lemon Press 2007)

Miranda, get your stuff!

Mole is sitting on the cot that won’t be his much longer, waiting to hear those words he’s dreamt about every single one of the one thousand four hundred and sixty-one nights he’s spent in that cell block. Now that the moment has arrived it feels unreal, and he’s afraid. Inside, you know when you’ve got to be on guard, when you might be attacked. Outside, you never know where it might be coming from, or what might go wrong. Chance is a bank robber’s worst enemy.

An air of mourning hangs over the Devoto Prison cell block. It’s always like that when a popular prisoner is released – wonderful, yes, but, on this side of the bars, not as cheerful as one might imagine. Prison promotes criminal behaviour, but it also leaves you numb. The same routine, day in and day out, slows down the reflexes, clouds the understanding, and, at the same time, provokes anger. Experienced criminals know how risky it is to go right back into action. It’s all too common for an ex-con to end up dead shortly after getting out.

Mole is a rich inmate. He is guaranteed a supply of goods and money from the outside. If you’ve got money, you can get virtually anything you need in prison. Miranda knows how to mete out his generosity; he shares his wealth only with the cell block’s leader, The Prick. He lets him carry out the distribution however he sees fit and take credit for it. Everyone knows where the goods are coming from, but Mole would never tell. Discretion is a cardinal virtue among prisoners. That’s how you garner respect. The Prick protects him and lets him have his very own prison bitch. If you’ve got a little smarts and you command a lot of respect, you can stay out of trouble, mostly. Anyway, riots are the most dangerous. That’s when anything can happen, but the chances of getting killed during a riot are probably not much different from those of getting run over by a bus or having a flowerpot fall on your head.

In a few short minutes those words will echo down the corridor: Miranda, get your stuff! Then he will begin the four hundred-yard trek that separates him from the street. He’ll stand up, pick up his bag – already packed – and walk down the aisle between the two rows of beds, without looking at or talking to anybody. Whatever he’s not taking with him has already been given away: this is the legacy he leaves. A few hours earlier he said goodbye to everyone he had to say goodbye to. Since then, he’s been slowly turning into a ghost. When you leave, you become the object of envy; when you walk out that door, you are the embodiment of everyone’s desire. That’s why you don’t leave the goodbyes till the last moment.

In the bed next to his, Andrés, who’s been his bitch for a while, is lying face down, stifling the cries that press on his throat like a tie tied too tightly around his neck. Andrés loves Mole, but the sorrow he feels is not only of lost love. Miranda was good and generous to him, he always treated him considerately, he never hit him or gave him to others. A lot of guys on the block want him, but nobody ever dared. He’s a green-eyed blond from Corrientes province, a guy who looks a lot like a girl. He’s got all the mannerisms of a young lady, he cooks like a dream and he refers to himself as a “she” in a sweet Guarani accent. He’s been inside since he was eighteen. His mother died when he was eleven, and the guy who claimed to be his father started taking advantage of him right away. One night, while the man was sleeping, Andrés tied his arms and legs to the bedposts and woke him up. He cut his penis off at the base and sat there watching him bleed to death. Then he turned himself in to the cops. At the trial, his lawyer – appointed by the court to defend the poor and the dispossessed – was too poor and too dispossessed and took the easy way out: he had him sign a confession, dictated to and written down with a large dose of animosity by the faggot-hating clerk at the police station. Nor did he bother to appeal the verdict that found Andrés guilty of first-degree murder or the sentence of life imprisonment. Miranda bought him from someone named Villar. After the transaction, Miranda made sure – without anybody finding out – that the seller got moved to a different block, just in case. A little later Villar got sick and died. Word had it that pancreatic cancer did him in.

Now Andrés is crying silently. He knows that as soon as Mole walks out that door, there will be a struggle over who gets him next. Two or three candidates are in the running, none of whom he likes. The future holds grief and suffering. Miranda tried to get involved, but The Prick advised him to keep his own counsel, to let things take their own course. He’s not a man to ignore good advice and, anyway: Who wants trouble when you’re about to get out, right? They said goodbye in a hidden corner of the prison yard. For the first and only time, Miranda let Andrés kiss him quickly on the lips… But no tongue action, okay… and that was the only time Andrés said to him: I love you and I’m going to miss you. Aw, man, don’t go there. Miranda patted him on his head as if he were forgiving a naughty little boy then turned his back on him. Andrés stood there for a long time watching him through the bars. Andrés’s whole body was shaking, anticipating his absence. The night before is always worse than the execution, dying much worse than death.

The Descendants by Kaui Hart Hemmings (Random House 2007)

I look around the airport. I keep thinking I’ll see Brian or at least someone I know. It’s hard to go anywhere here without running into someone you know; you can’t get lost on an island. I wonder if we should move, head for the hills of Arkansas or some ridiculous place.

Sure enough, I hear, “Yo, Matt King!” and cringe, recognizing the voice of one of my cousins. I don’t know which one. I don’t even know all of their names—they all look the same, like chestnut horses. I turn to see Ralph, aka Boom—God knows what that’s supposed to mean. All of the cousins have nicknames with mysterious origins that imply something rowdy or nautical. Ralph is wearing an outfit almost identical to mine: khakis and a Reyn’s Spooner, rubber slippers and a briefcase, the briefcase proving he has some responsibilities in the world. I don’t know what he does. I don’t know what any of them do. To their credit, the cousins are not greedy or gaudy or ostentatious. Their sole purpose in life is to have fun. They Jet Ski, motocross, surf, paddle, run triathlons, rent islands in Tahiti. Indeed, some of the most powerful people in Hawaii look like bums or stuntmen. I think of our bloodline’s progression. Our missionary ancestors came to the islands and told the Hawaiians to put on some clothes, work hard, and stop hula dancing. They make some business deals on the way, buying an island for ten grand, or marrying a princess and inheriting her land, and now their descendants don’t work. They have stripped down to running shorts or bikinis and play beach volleyball and take up hula dancing.

The Notorious Byrd Brothers by Ric Menck (Continuum Books 2007)

I'm not sure of the exact reason Gary Usher chose "Artificial Energy" as the first track on The Notorious Byrd Brothers, but it sure sounds like that's exactly where it belongs. A few swift cracks of the snare drum and the arrangement instantly springs to life. It feels as if the band are so charged up they can hardly wait to count the song off and go. The instrumental approach is hard and aggressive, and stylistically it relates to the recently released "Lady Friend" in that a horn section is featured. But while "Lady Friend" comes off sounding all strident and regal, "Artificial Energy" has a darker edge. This is mostly due to the song's lyrical imagery, which deals with the horrors of amphetamine use. Strangely, whereas their 1966 single "Eight Miles High" was banned because it supposedly contained overt drug references, no one batted an eyelash when the Byrds actually did write an honest-to-God drug song.

In "Artificial Energy" the song's protagonist takes his "ticket to ride" (okay, there's a drug reference and a Beatles reference all rolled into one), and sits alone waiting for it to take effect. Slowly he feels an "artificial energy" welling up inside, but as the drug takes hold something horrible happens. Instead of achieving some kind of enlightenment, our hero ends up losing control and, in the song's stark final imagery, kills a homosexual and winds up being thrown in jail.

Provided You Don't Kiss Me: 20 Years with Brian Clough by Duncan Hamilton (Harper Perennial 2007)

He wasn't satisfied with the eulogies written about Taylor. Not because each one did not describe him generously, but because in Clough's eyes none did Taylor sufficient justice or apportioned enough credit for the work he had done in the partnership. It was as if he'd become the guardian of Taylor's posthumous reputation.

'Your obit on my mate was crap, utter crap,' he yelled at me, his face flushed, the voice rising in protest. 'You're all the same, you journalists - crap. Every paper missed the point, the real story. No one showed him the way he was. No one managed to give him the send-off he deserved. He was funny - you know that. He was intelligent - you know that too. He had a football brain - everybody could see it. And he was my mate. And we had some great times. And now . . .'

Clough slumped into a chair. He seemed to be stringing together in his mind all the bright days he had shared with Taylor.

'What a waste,' he said after a long pause. 'All those years when we could have been sitting together having a beer. All those years when he could have come, as an honoured guest, to watch us play. All those years without the laughter he was capable of providing. No one - absolutely no one - has made me laugh like him. I always missed that, and now . . . he's gone. I can hear his voice . . . telling joke after joke. But all we did at the end was slag one another off. Oh, fuck.' He shook his head slowly, his eyes staring at the floor.

Boombox by Gabriel Cohen (Academy Chicago Publishers 2007)

"are there any other black executives in your office?" she asks.

He pauses for a moment. "There's one other vice-president. To tell you the truth, though" - he grins, almost in apology - "I don't like him much."

Emboldened by the wine, by their growing intimacy, she asks, "Do you ever feel lonely at work?"

He looks sad all of a sudden. "You know," he says wistfully, "down where I come from, we have a saying: In the South, black folks can get as close as they want to white folks, but just don't try to move high in their world. In the North, you can get as high as you want, as long as you don't get close."

That seems to sum things up. She looks frankly at him, and he returns the look. In all her nervous thoughts about what might happen when two people come together, this is something she has overlooked: a chance to be understood.

Believe in the Sign by Mark Hodkinson (Pomona 2007)

Back then mums and dads didn't go in for quality time or anything so fey with their kids. They lived their lives (whatever that involved) and you were left to yours. You could play football in the street. Or lie flat on a railway sleeper floating through a culvert on the canal. Or you could follow the motorway for miles on the other side of the fence, passing through factory units and farm yards. Or you could see who could jump furthest down concrete steps on the stairwells at Ashfield Valley flats, carrying the whimpering victor home later. Or you could get out your bike and ride to Hollingworth Lake where the tougher kids, knees knocking, chins trembling, waded out into the icy blue, fearful of gigantic child-eating pikes.

Learning to Drive: And Other Life Stories by Katha Pollitt (Random House 2007)

I should say that it was only for me that Marxism seemed over. Surely, I would tell G. at least once a week, it had to count for something that every single self-described Marxist state had turned into an economically backward dictatorship. Irrelevant, he would reply. The real Marxists weren't the Leninists and Stalinist and Maoists - or the Trotskyists either, those bloodthirsty romantics - but libertarian anarchist-socialists, people like Anton Pannekoek, Herman Gorter, Karl Korsch, scholarly believers in true workers' control who had labored in obscurity for most of the twentieth century, enjoyed a late-afternoon moment in the sun after 1968 when they were discovered by the New Left, and had now once again fallen back into the shadows of history, existing mostly as tiny stars in the vast night of the Internet, archived on blogs with names like Diary of a Council Communist and Break Their Haughty Power. They were all men. The group itself was mostly men.

This was, as Marxists used to say, no accident. There was something about Marxist theory that just did not appeal to women. G. and I spent a lot of time discussing the possible means for this. Was it just that women don't allow themselves to engage in abstract speculation, as he thought? That Marxism is incompatible with feminism, as I sometimes suspected? Or perhaps the problem was not Marxism but Marxists: in its heyday men had kept a lock on it as they did on everything they considered important; now, in its decline, Marxism had become one of those obsessive lonely-guy hobbies, like collecting stamps or 78s. Maybe, like collecting, it was related , through subterranean psychological pathways, to sexual perversions, most of which seemed to be male as well. You never hear about a female foot fetishist, or a woman like the high-school history teacher of a friend of mine who kept dated bottles of his own urine on a closet shelf.

Then We Came to the End by Joshua Ferris (Bay Back Books 2007)

We believed that downturns had been rendered obsolete by the ingenious technology of the new economy. We thought ourselves immune from things like plant closings in Iowa and Nebraska, where remote Americans struggled against falling-in roofs and credit card debt. We watched these blue-collar workers being interviewed on TV. For the length of the segment, it was impossible not to feel the sadness and anxiety they must have felt for themselves and their families. But soon we moved on to weather and sports and by the time we thought about them again, it was a different plant in a different city, and the state was offering dislocated worker programs, readjustment and retraining services, and skills workshops. They'd be fine. Thank god we didn't have to worry about a misfortune like that. We were corporate citizens, buttressed by advanced degrees and padded by corporate fat. We were above the fickle market forces of overproduction and mismanaged inventory.

What we didn't consider was that in a downturn, we were the mismanaged inventory, and we were about to be dumped like a glut of imported circuit boards. On the drive home we puzzled over who was next. Scott McMichaels was next. His wife had just had a baby. Sharon Turner was next. She and her husband had just purchased a house. Names - just names to anyone else, but to us they were individuals who generated our greatest sympathy. The ones who put their things in a box, shook a few hands, and left without complaint. They had no choice in the matter, and they possessed a quiet resignation to their ill-timed fates. As they departed, it almost felt to us like self-sacrifice. They left, so that we might stay. And stay we did, though our hearts went out to them. Then there was Tom Mota, who wanted to throw his computer against the window.

I Love You, Beth Cooper by Larry Doyle (Ecco Books 2007)

Rich had had a much less tragedy-free life. We needn't go into the details, since it's a long, sad and ultimately unoriginal story, but as a result Rich had developed a coping mechanism by which all of the terrible things that happened to him were merely wacky complications that would, before the movie of his life was over, be resolved in an audience-pleasing happy ending. He occasionally worried his life might be an independent film, or worse, a Swedish flick, but he chose to behave as if the movie he lived was a raucous teen comedy and he was somebody like Ferris Bueller or Otter from Animal House, or, worst-case scenario, that guy who fucked a pie.

'77 Sulphate Strip by Barry Cain (Ovolo Books 2007)

The Jam

Royal College of Art, London

It's a godawful small affair . . .

Stage as long as Platform six at Victoria station. Baggageless porters The Jam 40 feet apart and monitorless. Full house. Lights! The Tyla Gang before and the Cimarrons after.

An artless audience at the Royal College of Art show their appreciation of the white-soul boys up there on the stage with the huge Union Jack backdrop depicting the three moods The Jam take you through at a gig - red hot expanding into white heat, contracting into teenage blue.

In case you’ve forgotten, guitarist Paul Weller, bassist Bruce Foxton and drummer Rick Buckler are The Jam. They are not, I repeat not a recycled Who. They write concise, contemporary songs like ‘ln The City’, ‘Bricks & Mortar' and 'I’ve Changed My Address’ enhancing the overall effect with a shrewd selection of old material 'Batman’, ‘So Sad About Us’ and ‘Midnight Hour'. The result? A well-equipped show; incisive, dynamic, piebald. Black suits, white lights, black ties, white shirts, black thoughts, white rock. They won't blow it now.

The Jam always come across as much younger than other bands, like Brian Kidd in a team of Bobby Charltons. They have the pace and the sneer - Paul Weller could hardly be described as ‘this smiling man’. He drinks but refuses to take drugs on the grounds that they are immoral, debilitating and, well, uncool. Drug-induced confidence is unnecessary for the cool dude that's Paul Weller. But he gets more hangovers that way.

Paul is cool because he's a man with a genuine talent who hasn't quite realised it yet. And that's when the good stuff comes.

No One Belongs Here More Than You by Miranda July (Scribner 2007)

I am not the kind of person who is interested in Britain's royal family. I've visited computer chat rooms full of this type of person, and they are people with small worlds, they don't consider the long term, they aren't concerned about the home front; they are too busy thinking about the royal family of another country. The royal clothes, the royal gossip, the royal sad times, especially the sad times, of this one family. I was only interested in the boy. The older one. At one time I didn't even know his name. If someone had shown me a picture, I might have guessed who he was, but not his name, not his weight or his hobbies or the names of the girls who attended that co-ed university of his. If there were a map of the solar system, but instead of stars it showed people and their degrees of separation, my star would be the one you had to travel the most light-years from to get to his. You would die getting to him. You could only hope that your grandchildren's children would get to him. But they wouldn't know what to do; they wouldn't know how to hold him. And he would be dead; he would be replaced by his great -grandson's beautiful strapping son. His sons will all be beautiful and strapping royalty, and my daughters will all be middle-aged women working for a local nonprofit and spearheading their neighborhood earthquake-preparedness groups. We come from long lines of people destined never to meet.

(From the short story, Majesty)

Fresh by Mark McNay (MacAdam Cage 2007)

Fresh chickens to be sold in butchers and supermarkets for the ease of the purchasing public. Fresh chickens you assume have been killed recently. You picture a redbrick farmyard with purple foxgloves growing in a corner. The healthy smell of shite. An old 1950s tractor quietly rusting on flat tyres, only useful to the robins that nest under the seat. The farmer's wife comes out of the door, pulls a chicken from the ground it was idly pecking, and twists its neck with her fat powerful hands. She sits on a stool, places the quivering bird on her lap, and plucks it while it's warm. She sings a song of somebody's lover lost in a foreign war. She stuffs hand-stitched pillows with the feathers and sells them on the local market on a Wednesday afternoon. The plucked and dressed chiken is trussed ready to be hung that afternoon in the butcher's and you walk in and buy a bird whose pulse has barely died in its throat.

The fresh chickens Sean handles are driven to the factory in shoebox-sized containers packed on the trailer of an articulated truck. The driver flicks a roll-up butt out of the window and calls for Rab, who sidles out of his hut and guides the lorry into the loading bay. Strong forearms reach into the shoeboxes and drag their prey into the artificial light and hang them by the ankles on a hook. They fly along, upside down, flapping their wings, trying to escape, shitting down their chests, squawking and pecking at their mates. The hooks drag them into a tank of water where an electric current stops their hearts moments before rubber wheels grind the feathers from their skin.