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!"

In the Pleasure Groove: Love, Death, and Duran Duran by John Taylor (with Tom Sykes) (Dutton 2012)

Steve Jones is open about the influence Thunders's playing style had on him. In the documentary The Filth and the Fury, there is a hilarious sequence where film of the two guitarists is intercut, showing quite clearly just how much of Thunders's attitude Steve knocked off.

Something similar could be done with me. I would learn to take Thunders's signature slurs and guitar runs and transpose them to bass, along with the accompanying sneers. The first time I saw the Thunders's magic was on-stage at Birmingham  University. The opening act was a band I had not heard  of before, The Police. At that time I would sneak a cassette recorder into every gig I went to, and I set the machine to record when they began to play, even though I had no idea who they were. It was quite possible a band you had never heard of yesterday could become your favourite band tomorrow.

The singer with The Police also played bass, which struck me as quite clever and quite "un-punk." After the second number, he struck up a rapport with the audience of mostly students. A little too familiar, I remember thinking at the time, not knowing then that Sting had been a teacher and spoke "student" way better than he would ever speak "punk."

Sting: We've got the Heartbreakers coming on next.
(Cheer from me and one or two others)
Sting: They can't play, you know.
Me: Fuck off!
Sting: Who said "Fuck off'?
Me: I did. (all of this going down onto the cassette tape)
Sting: It's true. They're great guys but they can't play.
Me: Fuck off, you wanker!
Sting: You'll see. This next song is called "Fall Out"! 1 2 3 4 . . .

He was wrong about the Heartbreakers. They were awesome that night. At the BBC in 1993, filming "Ordinary World" for Top of the Pops, I was standing next to Sting watching a playback of our performance on a monitor. I thought to myself, I've got to tell him about that night, but before I opened my mouth he half-turned to me and said, "I wish I'd written that song."

Let's leave it at that then, I thought.

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.

Proud Beggars by Albert Cossery (NYRB Classics 1955)

All this wasn't serious. El Kordi would have liked a people who measured up to him: sad and animated by vengeful passions. But where to find them? 

His young blood boiling with impatience, he dreamed of being a man of action. This ridiculous job, which he did for starvation wages, wasn't designed to quench his thirst for social justice. He was so disgusted by it that most of the time he farmed it out to his more unfortunate colleagues - married men and fathers of numerous children - for a moderate payment. Thus, at the end of each month a paradoxical spectacle took place: the colleagues who had done some work for El Kordi came to collect their meager fees in a line before his desk. At such moments, El Kordi assumed the irritated air of a boss paying his workers. All the same, with the little money left over, he managed to survive. He led a life of extreme poverty, but decent and, he thought, very dignified. Keeping up appearances was his constant worry. For example, when he was obliged to live on boiled beans, he would tell his grocer that he was sick of eating chicken and that a common dish would surely excite his jaded appetite. The grocer wasn't fooled, but honor was saved.

Taft 2012 by Jason Heller (Quirk Books 2012)

CLASSIFIED

Secret Service Incidence Report

WHG20111107.027

Agent Ira Kowalczyk

At approximately 1042, an oversized mammalian figure covered in mud appeared behind the White House South Lawn Fountain, approaching the press conference in progress on the lawn. It was unclear to me for several seconds whether the intruder was a man or a large animal as it lurched toward the crowd while moaning loudly. As the closest perimeter guard, I drew my firearm and ordered the intruder to halt while the executive guard secured POTUS. The intruder bellowed louder and attempted to proceed past the South Lawn Fountain in the direction of POTUS and the press corps. I discharged my weapon once, striking the intruder in the leg, and he collapsed against the fountain. I approached and saw that the water from the fountain, along with the morning drizzle, was washing the mud from the intruder’s body. He was a very large man, over 6 feet tall, probably 300 pounds, wearing a formal tweed suit. He had white hair and a handlebar mustache. My first thought was that he looked like some sort of deranged presidential history buff dressed up as William Howard Taft.

From Taft: A Tremendous Man, by Susan Weschler:

I’ll never forget the moment I first saw him on the television screen. Not a picture—him. There was no mistaking him. I’d been studying the history of the man who owned that plump, jowled, puffy-eyed face my entire professional life:

Taft.

William Howard Taft. Twenty-seventh president of the United States. Weighed in at 335 pounds. Worked with unceasing devotion to the job for four years—but was so honest a politician, he ended up infuriating every single interest group that had ever supported him. Lost his 1912 reelection bid in a miserable, crushing defeat. And then just disappeared the morning of March 5, 1913, the day his successor, Woodrow Wilson, was inaugurated. Taft was never seen or heard from again; his last known words, spoken right outside the White House just hours before Wilson took the oath of office, were: “I’ll be glad to be going. This is the loneliest place in the world.” After that sad utterance, Taft never showed up for the ceremony. Or anything else. Ever.

Which meant the chaotic footage they kept replaying on CNN couldn’t be real. Couldn’t be him. How could he be here now, a century later, stumbling mud-covered into the midst of an unsuspecting White House press conference?

And yet that was clearly no fake girth, no Halloween mask. It was either the oddest terrorist attack in history, the stupidest reality-show prank imaginable … or it was Taft.

The Woman who Went to Bed for a Year by Sue Townsend (Penguin 2012)

Eva was surprised but pleased that Alexander was here. She said, ‘Cutest?’ That’s not a word you use.’

‘But they are cute, Mum. And they’re so clever! They know reams of poetry and all the capital cities of the world. Alex is so proud of them. And I love his name —Alexander. He really is Alexander the Great, isn’t he, Mum?’

Eva agreed. ‘Yes — but Alexander is forty-nine years of age, Brianne.’

‘Forty-nine? That’s the new thirty!’

‘You once ranted that nobody over twenty-five should be allowed to wear jeans, or dance in public.’

‘But Alex looks so good in jeans, and he did A level maths, Mum! He understands nonhomogeneous equations!’

‘I can tell you’re fond of him,’ said Eva.

‘Fond?’ said Brianne. ‘I’m fond of Grandma Ruby, I’m fond of whiskers on kittens and bright copper kettles, but I’m passionately in fucking love with Alex Tate!’

Eva said, ‘Please! Don’t swear.’

‘You’re such a fucking hypocrite!’ yelled Brianne. ‘You swear! And you’re trying to spoil my relationship with Alex!’

‘There’s nothing to spoil. You’re not Juliet. This is not a Montague and Capulet situation. Does Alex even know you love him?’

Brianne said, defiantly, ‘Yes, he does.’

‘And?’

Brianne lowered her eyes. ‘He doesn’t love me, of course. He hasn’t had time to get to know me. But when I saw him struggling with that bookcase in Leeds, I knew immediately that he was the person I’ve been waiting for since I was a kid. I always wondered who it would be. Then he knocked on my door.’

Eva tried to hold Brianne’s hand, but she pulled it away and put it behind her back.

Eva asked, ‘And he was kind to you?’

‘I rang him three times on his mobile when he was on the motorway. He told me to go out more and meet people of my own age.’

Eva said, gently, ‘He is right, Brianne. His hair is grey. He has more in common with me than with you. We’ve both got Morrissey’s second solo album.’

Brianne said, ‘I know that. I know everything there is to know about him. I know his wife died in a car crash and that he was driving. I know that Tate was his family’s slave name. I know how much he earned in the noughties. And I know how much tax he paid. And which school his children go to, and what their grades are. I know his previous romantic history. I know he’s overdrawn by £77.15 and that he doesn’t have an agreed overdraft facility.’

‘And he told you all this?’

‘No, I’ve hardly spoken to him. I doxed him.’

What’s “doxed”?’

‘It’s like talking to Neanderthal woman! I’ve read every document about him. If there’s info I want, I can find it on the net. I’ve mapped the story of his life, and one day I’ll be part of it.’

'To Hell with Culture': Anarchism in Twentieth Century British Literature edited by H.Gustav Klaus and Stephen Knight (University of Wales Press 2005)

Anarchism, Litvinoff recalls, in his lovely East End picaresque autobiography Journey Through a Small Planet, was in his blood, was of the very atmosphere in the streets where he lived, in the whole quarter. He never forgot childhood stories of anarchist leaflet campaigns against the imperialist First World War, of followers of Tolstoy and Kropotkin chasing army recruiters away from Bloom’s corner at the end of Brick Lane – men who met to argue about the wisdom of political bombing at the Jubilee Street Arbeter Fraint house, the socialist/anarchist club for Jewish immigrants. In his autobiography he would go on to write marvellous, nostalgic stories about his childhood among Yiddish-speaking immigrant leftists in the broad church of radical East End politics (people like Mendel Shaffer’s atheist father, who joined the Anarchists and the Communists and the Buddhists and the Socialist Zionists); stories of his own youthful scuffles with Oswald Mosley’s fascists on their incursions into the East End in the early Thirties; and about his craving for the ‘female nood’ which took him to the art classes at the Bethnal Green Men’s Institute, in company with his vegetarian friend Morry Spitzer, who worked in his his father’s kosher butcher shop (an aesthetic pursuit, says Litvinoff, that was all part of being a ‘boisterous guerilla’), and about his profound distress over the unwanted pregnancy of Fanya Ziegelbaum, lovely seamstress, whom he kissed under the Whitechapel railway arches (dark place of dybbuk talk and rumours about Jack the Ripper): Fanny Ziegelbaum, deserted by Herschel Rosenheim of the New York Yiddish Theatre, who was playing Hamlet at the Whitechapel Pavilion – Rosenheim, red-haired, Chicago-gangster-voiced, his Yiddish Hamlet a far cry from that of Mr Parker, Litvinoff’s English teacher.

From Valentine Cunningham's 'Litvinoff’s Room: East End Anarchism'.

Standing in Another Man's Grave by Ian Rankin (Orion Books 2012)

“Bert Jansch was dead, too. Rebus had seen him play a few solo gigs in Edinburgh down the years. Jansch had been born in the city but made his name in London. After work that evening, alone in his flat, Rebus played a couple of Pentangle albums. He was no expert, but he could tell Jansch’s playing from the other guitarist in the band, John Renbourn. As far as he knew, Renbourn was still around – maybe living in the Borders. Or was that Robin Williamson? He had taken his colleague Siobhan Clarke to a Renbourn/Williamson concert once, driving her all the way to Biggar Folk Club without telling her why. When the two musicians stepped on to the stage – looking as though they’d just roused themselves from armchairs by a roaring fire – he’d leaned in towards her.

‘One of them played Woodstock, you know,’ he’d whispered.”

Jaggy Splinters by Christopher Brookmyre (Hachette Digital 2012)

The Ball

There is a variety of types of ball approved for Primary School Football. I shall describe three notable examples.

1) The plastic balloon. An extremely lightweight model, used primarily in the early part of the season and seldom after that due to having burst. Identifiable by blue pentagonal panelling and the names of that year’s Premier League sides printed all over it. Advantages: low sting factor, low burst-nose probability, cheap, discourages a long-ball game. Disadvantages: over-susceptible to influence of the wind, difficult to control, almost magnetically drawn to flat school roofs whence never to return.

2) The rough-finish Mitre. Half football, half Portuguese Man o’ War. On the verge of a ban in the European Court of Human Rights, this model is not for sale to children. Used exclusively by teachers during gym classes as a kind of aversion therapy. Made from highly durable fibre-glass, stuffed with neutron star and coated with dead jellyfish. Advantages: looks quite grown up, makes for high-scoring matches (keepers won’t even attempt to catch it). Disadvantages: scars or maims anything it touches.

3) The ‘Tube’. Genuine leather ball, identifiable by brown all-over colouring. Was once black and white, before ravages of games on concrete, but owners can never remember when. Adored by everybody, especially keepers. Advantages: feels good, easily controlled, makes a satisfying ‘whump’ noise when you kick it. Disadvantages: turns into medicine ball when wet, smells like a dead dog.

(from 'Playground Football')

Unknown Pleasures: Inside Joy Division by Peter Hook (Simon & Schuster 2012)

I’ve always read the Manchester Evening News cover to cover, ever since I was a kid. Don’t ask me why. Same with watching Coronation Street; it’s just something I’ve always done. Home is Becky and the kids, Corrie and the MEN.

Reading the small ads in the MEN was how I found out that the Pistols were playing at the Lesser Free Trade Hall, 50p a ticket.

Now my mates – and I mean this in the nicest possible way – have always been dead normal, so they weren’t interested. But I’d been going to gigs with Terry and Bernard and (apart from the infamous toothache incident) having a laugh, so I phoned Bernard up.

‘The Sex Pistols are on – do you want to go and see them?’

He went, ‘Who?’

I said, ‘Oh, it’s this group. They have fights at every gig and it’s really funny. Come on, it’s only 50p.’

‘Yeah, all right, then.’

Terry was up for it too, so it ended up being me, him, Barney and Sue Barlow, who was Barney’s fiancé. I think they’d met at Gresty’s house when he was sixteen or so. They’d been going out for a few years and used to fight like cat and dog. With the possible exception of Debbie and Ian, they had the most tempestuous, argumentative relationship I’ve ever known in my life. And they ended up getting married . . .

So that was it anyway, the group of us who went and saw the Sex Pistols at Lesser Free Trade Hall. A night that turned out to be the most important of my life – or one of them at least – but that started out just like any other: me and Terry making the trip in Terry’s car; Barney and Sue arriving on his motorbike; the four of us meeting up then ambling along to the ticket office.

There to greet us was Malcolm McLaren, dressed head to toe in black leather – leather jacket, leather trousers and leather boots – with a shock of bright-orange hair, a manic grin and the air of a circus ringmaster, though there was hardly anyone else around. We were like, Wow. He looked so wild, from another planet even. The four of us were in our normal gear: flared jeans, penny collars and velvet jackets with big lapels, all of that. Look at the photographs of the gig and you can see that everybody in the audience was dressed the same way, like a Top of the Pops audience. There were no punks yet. So Malcolm – he looked like an alien to us. Thinking about it, he must have been the first punk I ever saw in the flesh.

Wide-eyed we paid him, went in and down the stairs into the Lesser Free Trade Hall (the same stairs I’d laid down on many years before). At the back of the hall was the stage and set out in front of it were chairs, on either side of a central walkway, just like it was in 24 Four Hour Party People – although I don’t remember many sitting down like they are in the film. I don’t think there was a bar that night, so we just stood around, waiting.

The support band were called Solstice, and their best number was a twenty-minute cover version of ‘Nantucket Sleighride’. The original, by Mountain, was one of my favourite records at the time so we knew it really well, and we were like, ‘This is great. Just like the record.’

Still, though, nothing out of the ordinary. Normal band, normal night, few people watching, clap-clap, very good, off they went.

The Sex Pistols’ gear was set up and then, without further ceremony, they came on: Johnny Rotten, Glen Matlock, Steve Jones and Paul Cook. Steve Jones was wearing a boiler suit and the rest of them looked like they’d just vandalized an Oxfam shop. Rotten had on this torn-open yellow sweater and he glared out into the audience like he wanted to kill each and every one of us, one at a time, before the band struck up into something that might have been ‘Did You No Wrong’ but you couldn’t tell because it was so loud and dirty and distorted.

I remember feeling as though I’d been sitting in a darkened room all of my life – comfortable and warm and safe and quiet – then all of a sudden someone had kicked the door in, and it had burst open to let in an intense bright light and this even more intense noise, showing me another world, another life, a way out. I was immediately no longer comfortable and safe, but that didn’t matter because it felt great. I felt alive. It was the weirdest sensation. It wasn’t just me feeling it, either – we were all like that. We just stood there, stock still, watching the Pistols. Absolutely, utterly, gobsmacked.

I was thinking two things. Two things that I suppose you’d have to say came together to create my future – my whole life from then on.

The first was: I could do that.

Because, fucking hell, what a racket. I mean, they were just dreadful; well, the sound was dreadful. Now the other band didn’t sound that bad. They sounded normal. But it was almost as though the Pistols’ sound guy had deliberately made them sound awful, or they had terrible equipment on purpose, because it was all feeding back, fuzzed-up, just a complete din. A wall of noise. I didn’t recognize a tune, not a note, and considering they were playing so many cover versions – the Monkees, the Who – I surely would have recognized something had it not sounded so shit.

So, in fact, sound-wise it was as much the sound guy who inspired us all as it was the Sex Pistols, who were, as much as I hate to say it, a pretty standard rock band musically. I’m not saying it’s a bad thing that they played straightforward down-the-line rock ‘n’ roll, but it didn’t make them special.

No. What made them special, without a shadow of a doubt, was Johnny Rotten. The tunes were only a part of the package – and probably the least important part of it, if I’m honest. Close your eyes and like I say you had a conventional pub-rock band with a soundman who either didn’t have a clue or was being very clever indeed. But who was going to close their eyes when he, Johnny Rotten, was standing there? Sneering and snarling at you, looking at you like he hated you, hated being there, hated everyone. What he embodied was the attitude of the Pistols, the attitude of punk. Through him they expressed what we wanted to express, which was complete nihilism. You know the way you feel when you’re a teenager, all that confusion about the future that turns to arrogance and then rebellion, like, ‘Fuck off, we don’t fucking care, we’re shit, we don’t care’? He had all of that and more.

And, God bless him, whatever he had, he gave a bit of it to us, because that was the second thing I felt, after I can do that. It was: I want to do that. No. I fucking need to do that.

Tony Wilson said he was there, of course, but I didn’t see him, which is weird because he was very famous in Manchester then; he was Tony Wilson off the telly. Mick Hucknall was there, and Mark E. Smith and everyone, but of course we didn’t know anybody – all that would come later. The only people we knew there were each other: me and Terry, Barney and Sue. I don’t know what Sue made of it all, mind you; I’d love to know now. But me, Barney and Terry were being converted.

The Pistols were on for only about half an hour and when they finished we filed out quietly with our minds blown, absolutely utterly speechless, and it just sort of dawned on me then – that was it. That was what I wanted to do: tell everyone to Fuck Off.

Doors Open by Ian Rankin (Orion 2008)

Mike saw it happen. There were two doors next to one another. One of them seemed to be permanently ajar by about an inch, except when someone pushed at its neighbour. As each liveried waiter brought trays of canapés into the salesroom, the effect was the same. One door would swing open, and the other would slowly close. It said a lot about the quality of the paintings, Mike thought, that he was paying more attention to a pair of doors. But he knew he was wrong: it was saying nothing about the actual artworks on display, and everything about him.

Mike Mackenzie was thirty-seven years old, rich and bored. According to the business pages of various newspapers, he remained a “self-made software “mogul’, except that he was no longer a mogul of anything. His company had been sold outright to a venture capital consortium. Rumour had it that he was a burn-out, and maybe he was. He’d started the software business fresh from university with a friend called Gerry Pearson. Gerry had been the real brains of the operation, a genius programmer, but shy with it, so that Mike quickly became the public face of the company. After the sale, they’d split the proceeds fifty-fifty and Gerry then surprised Mike by announcing that he was off to start a new life in Sydney. His emails from Australia extolled the virtues of nightclubs, city life and surfing (and not, for once, the computer kind). He would also send Mike JPEGs and mobile-phone snaps of the ladies he encountered along the way. The quiet, reserved Gerry of old had disappeared, replaced by a rambunctious playboy—which didn’t stop Mike from feeling like a bit of a fraud. He knew that without Gerry, he’d have failed to make the grade in his chosen field.

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.

Juliet, Naked by Nick Hornby (Penguin Books 2009)

When Ros stopped by to find out whether they’d made any progress with the photographs, Annie still had the website up on her computer.

“Tucker Crowe,” said Ros. “Wow. My college boyfriend used to like him,” she said. “I didn’t know he was still going.”

“He’s not, really. You had a college boyfriend?”

“Yes. He was gay, too, it turned out. Can’t imagine why we broke up. But I don’t understand: Tucker Crowe has his own website?”

“Everyone has their own website.”

“Is that true?”

“I think so. Nobody gets forgotten anymore. Seven fans in Australia team up with three Canadians, nine Brits and a couple of dozen Americans, and somebody who hasn’t recorded in twenty years gets talked about every day. It’s what the Internet’s for. That and pornography. Do you want to know which songs he played in Portland, Oregon, in 1985?”

“Not really.”

“Then this website isn’t for you.”

“How come you know so much about it? Are you one of the nine Brits?”

“No. There are no women who bother. My, you know, Duncan is.”

What was she supposed to call him? Not being married to him was becoming every bit as irritating as she imagined marriage to him might be. She wasn’t going to call him her boyfriend. He was forty-something, for God’s sake. Partner? Life partner? Friend? None of these words and phrases seemed adequately to define their relationship, an inadequacy particularly poignant when it came to the word “friend.” And she hated it when people just launched in and started talking about Peter or Jane when you had no idea who Peter and Jane were. Perhaps she just wouldn’t ever mention him at all.

“And he’s just written a million words of gibberish and posted them up for the world to see. If the world were interested, that is.”

She invited Ros to inspect Duncan’s piece, and Ros read the first few lines.

“Aaah. Sweet.”

Annie made a face.

“Don’t knock people with passions,” said Ros. “Especially passions for the arts. They’re always the most interesting people.”

Everyone had succumbed to that particular myth, it seemed.

“Right. Next time you’re in the West End, go and hang out by the stage door of a theater showing a musical and make friends with one of those sad bastards waiting for an autograph. See how interesting you find them.”

Crying Out Loud by Cath Staincliffe (Severn House Publishers 2011)

Strangeways is just north of the city centre, a couple of minutes’ drive from Victoria train station. The tall watchtower is Italianate in style, a landmark I could see as I drove closer. It’s a familiar feature of the city skyline. The building is Victorian Gothic – red and cream brick, and the main entrance boasts two rounded towers and steeply pitched roofs. The prison was designed by Alfred Waterhouse, the same man who had done Manchester’s town hall. Strangeways is a panopticon design: the wings run off from the central vantage point – like spokes from a wheel.

They don’t actually call it Strangeways any more; it was renamed HMP Manchester in the wake of the riots that destroyed most of the original buildings. The worst riots in the history of the penal system. On April Fool’s Day, 1990 it all kicked off. A group of prisoners had decided to accelerate their protest against inhuman conditions: the rotten food, men held three to a cell (cells twelve foot by eight and built for one), the degrading business of slopping out, the lack of visits, of free association, the racism and brutality of many guards. The ringleader, Paul Taylor, spoke after Sunday morning’s chapel service and when guards intervened, the prisoners got hold of some keys. Taylor escorted the chaplain to safety and then declared it was time for some free association. It lasted for twenty-five days. The leaders of the riot spent much of the time up on the high rooftops, communicating with the press and waving clenched fists for the photographers on board the helicopters swooping above them. Iconic images.

I remember the sense of dread and panic as the early reports came in: stories of prisoners being torn apart, of twenty dead, of people burnt alive, of hundreds of inmates breaking into the segregation unit where the paedophiles and informers were held, hauling them into kangaroo courts where summary justice was doled out, victims castrated and dismembered in orgies of operatic violence. The men on the roof had hung out a home-made banner: a sheet with the words No Dead daubed on it. Among the clamour of moral outrage and lurid speculation one or two more measured accounts were heard; the local journalists built up a rapport with the protesters and made every effort to give an accurate account of events. There was great sympathy for the prisoners’ cause in the city and beyond. And the eventual truth was that two men had died. Both in hospital, not in the prison: a prison warder who had suffered a heart attack and a man on remand for sex offences who had been beaten. No one ever stood trial in either case. The prison was effectively destroyed and when it was rebuilt along with the new name there was a change in conditions.

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.”

Maigret at the Crossroads by Georges Simenon (Penguin Books 1931)

When Maigret came back into the kitchen, Monsieur Oscar was ostentatiously rubbing his hands.

‘You know, I must say that I’m enjoying this… Because I know the ropes, of course. Something happens at the crossroads …There are only three sets of people living here… Naturally you suspect all three… Yes, you do! Don’t play the innocent… I saw straight away that you didn’t trust me and that you weren’t keen on having a drink with me… Three houses… The insurance agent looks too stupid to be capable of committing a crime… The lord of the manor is a real gent…So there’s nobody left but yours truly, a poor devil of a workman who’s managed to become his own boss but doesn’t know how to behave in polite society… A former boxer!… If you ask them about me at the Police Headquarters, they’ll tell you that I’ve been picked up two or three times in raids, because I used to enjoy going to the rue de Lappe to dance a Java, especially in the days when I was a boxer… Another time I gave a poke in the kisser to a copper who was annoying me…Bottoms up, Chief-Inspector!’

‘No, thanks.’

‘You aren’t going to refuse! A blackcurrant liqueur never hurt anybody… You know, I like to put my cards on the table… It got on my nerves seeing you snooping round my garage and looking at me on the sly… That’s right isn’t it, ducks? Didn’t I say as much to you last night?… The Chief-Inspector’s there! Well, let him come in! Let him rummage around all over the place!… Let him search me! And then he’ll have to admit that I’m a good chap as honest as the day is long… What fascinates me about this story is the motors… Because when all’s said and done, it’s all a matter of motors…’

Pet Shop Boys, Literally by Chris Heath (Da Capo Press 1990)

Someone mentions the reviews. Neil says it was stupid to invite the press to an added, unsold-out show. 'They all had to gleefully mention it wasn't full, but no matter. It was a major PR mistake but to be honest,' he laughs, 'tough bananas.'

'A lot of people went home very happy and that's what counts,' says Carroll. 'It's very expensive. They make a choice sometimes between buying the tickets and paying their bills. It's a great honour.'

This is said with such honesty and feeling that you can sense everyone present drawing breath, taking stock, storing this away.

Neil reflects on the Daily Telegraph's comments. 'It was written from Olympian heights. It was so patronizing. They're jealous. And of course the reason is because I'm a journalist . . .'

'Tossbag,' mutters Danny, succinctly.

Carroll begins once more. She says that these people are stupid, that they've no idea why people do these things. They're always looking for stupid motives. 'They think you do it for the money or something. The reasons are obvious,' she declares. 'You do it for entertainment and self-expression.'

This statement, casually tossed out to a half-drunk, back-of-the-bus rabble, makes a lasting impression.

Maigret and the Yellow Dog by Georges Simenon (Harcourt Brace 1931)

“Yes. We have to go around the harbor. It should take half an hour.”

The fishermen were less interested than the townsfolk in the drama going on around the Admiral Café. A dozen boats were making the most of the lull in the storm and sculling out to the harbor mouth to pick up the wind.

The policeman kept looking at Maigret like a pupil eager to please his teacher. “You know, the mayor played cards with the doctor at least twice a week. This must have given him a shock.”

“What are people saying?”

“That depends. Ordinary folks—workers, fishermen aren’t too upset… In a way, they’re even kind of glad about what’s happening. The doctor, Monsieur Le Pommeret, and Monsieur Servières aren’t very well thought of around here. Of course, they’re important people, and nobody would dare say anything to them. Still, they overdid it, corrupting the girls from the cannery. And in the summer it was worse, with their Paris friends. They were always drinking, making a racket in the streets at two in the morning, as if the town belonged to them. We got a lot of complaints. Especially about Monsieur Le Pommeret, who couldn’t see anything in a skirt without getting carried away… It’s sad to say, but things are slow at the cannery. There’s a lot of unemployment. So, if you’ve got a little money… all those girls…”

“Well, in that case, who’s upset?”

“The middle class. And the businessmen who rubbed shoulders with that bunch at the Admiral Café… That was like the center of town, you know. Even the mayor went there…”

The Old Dark House by J. B. Priestley (Harper and Brothers Publishers 1928)

'Why, am I bitter?'

'I think you are,' she told him. She appealed to the Wavertons.

'I know what you mean,' said Margaret. 'It's not perhaps the exact word but it will do.' Then she addressed herself to Penderel: 'Yes, you are bitter, you know.'

'Of course you are, Penderel,' said Philip heartily. 'You're one of the worst post-War cases I know, a thundering sight worse than I am. Come on, admit it. You're the sort of bloke they denounce in little talks in Bright Sunday Evening Services.' He grinned and pointed his pipe stem across the table. 'Stand up to your question and explain the wormwood.'

Penderel made a little comical grimace. 'Well, I never knew I was so obvious. I suppose I shall have to explain myself. I went into the War when I was seventeen, ran away from school to do it, enlisting as a Tommy and telling them I was nineteen. I'm not going to talk about the War. You know all about that. It killed my father, who died from over-work. It killed my elder brother, Jim, who was blown to pieces up at Passchendaele. He was the best fellow in the world, and I idolised him. It was always fellows like him, the salt of the earth, who got done in, whether they were British or French or German or American. People wonder what's the matter with the world these days. They forget that all the best fellows, the men who'd have been in their prime now, who'd have been giving us a lead in everything, are dead. If you could bring 'em all back, fellows like Jim, hundreds and hundreds of thousands of 'em, you'd soon see the difference they'd make in the place. But they're dead, and a lot of other people, very different sort of people, are alive and kicking. Well, I saw all this, took an honours course in it, you might say, for it was the only education I got after the fifth form.

Head Case by Liza Cody (Bantam Books 1985)

"Were you supposed to teach her to paint - as well as the history stuff?"

"That was the general idea." Lynne frowned, remembering. "It was quite ridiculous. The poor girl simply froze the minute I put a pencil in her hand. She didn't do a thing, so finally I showed her slides instead. A waste of time, as in the end we both agreed."

"Why did she freeze?"

"She didn't say. But after watching her a while I thought it was because she didn't know how to get it right."

"But, surely," Anna said curiously, "that's what you were there to show her."

"Ah, well . . . " Lynne smiled. "Perhaps that's where she knows more about it than you or I do. You see, I can show her something: how to look, or how to use a line, or how to catch reflected light, but I can't show her how to get it right. There's no such thing really. You can break every rule in the book and still, if you're lucky, make something beautiful. The only thing you can't do is get it right. Well, you can, but it's such a subjective right that it hardly exists."

"Which might be exciting or scary, depending on your point of view," Anna suggested.

"It's a funny business, this" Lynne said, nodding. "You can get really old people, in their eighties say, who the rest of the world would call great and you can see they're still learning: still trying and failing at things they couldn't master when they were eighteen. You have to be very persistent or very passionate or maybe a bit dim. I don't know."

"Thea isn't dim."

"No." Lynne agreed. "But I thought she was frightened."

"What of?"

"She didn't say. Maybe nothing specific. I was just rather sorry for her."

"That's funny," Anna said thoughtfully. "Everyone else seems to envy her."