9 March 2025

Bookbinding then and now

 

This is how books were made when the contents were seen as precious and worthy of handing down to succeeding generations. The process is obviously expensive, and is now mostly the domain of restorers and hobbyists rather than publishers.

Until about 1960, sewn binding was the norm for textbooks and those novels falling outside the category of pulp fiction, which was and is issued with ‘perfect binding’, using glue to hold the spine of the book together. Pulp books, typically with paper covers, were regarded as disposable, and if they fell to pieces after a while (which they do, when the glue dries out) nobody would very much care.

A sewn book, especially in hard covers, remains open and can be read hands-free. It has a much longer life than a perfect-bound book; I have handled an original copy of the first volume of Spenser’s Faerie Queene, published in 1590 and still perfectly intact.

In 1935 the founders of Penguin Books decided to adopt perfect binding in order to make books of a better quality affordable. Perfect binding has gradually become more and more widespread, to the detriment of reading, because it is difficult to keep a perfect-bound book open. Various reading-stands and other devices are available, but these are at best a bodge. Perfect binding for a textbook is something of a disaster.

Traditional publishers are in business to make a profit. Perfect binding becomes the norm; typefaces get smaller; the paper is of lower and lower quality; and the books become more expensive. The majority of titles published in paper are failures, financially speaking, so it behoves the publisher to cut corners wherever he can: he depends on a few best-sellers to keep the money rolling in.

One of the reasons I do not issue my novels in paper is that the quality of print-on-demand books is appallingly low. They are produced as cheaply as possible and deliver a horrible reading experience. An ebook is much nicer (and even cheaper), will not fall to pieces, and can be read hands-free. What’s more, the publisher, if he knows his business, can format the content to make it as least as attractive as that of a printed book, the bonus for the reader being that he can alter the typeface, margins and leading to his liking.

If moreover he owns an ereader with a leather cover, all his reading on that device will be of leather-bound books …

11 February 2025

Reformatting paragraphs in Project Gutenberg ebooks

I would be the last person to criticise the vast repository of public domain literature at Project Gutenberg. However, some titles there are formatted in a way I don’t much like. Paragraphs may either be block formatted (as in this post) or have white space between each pair of indented paragraphs.

The fix is simple and needs only a modicum of computer skills.

There are two basic file formats for ebooks. The industry standard is epub; the Amazon Kindle uses mobi. (The latter is an older format, but readable by all Kindle devices.) An epub is just a zip file containing text and the instructions for displaying it. The innards of an epub are complicated; luckily we do not have to delve into them too deeply.

If you use a Kindle, there is an extra step involved to convert your newly tweaked epub to mobi (more of which later).

Sigil is a free-to-use application for editing epub files. The left-hand column shows all the files contained in the epub. The middle column shows the editable material (whether the text of the book or the instructions for its display). The right-hand column, when preview mode is selected, shows how the text will look on an ereader; it can also display the Table of Contents.

Click to enlarge

The files we are interested in are in the folders ‘Text’ and ‘Styles’. As one would expect, ‘Text’ contains the text of the book. It is formatted as HTML – a file extracted from this folder will display in any browser, but use only that browser’s defaults for text size, heading style, etc.

The instructions for displaying the text in an ereader reside in the ‘Styles’ folder. The file or files there are in CCS (cascading style sheet) format. We need to edit part of a style sheet in order to modify the appearance of the text.

Having downloaded your epub from Project Gutenberg, load it into Sigil. Open the ‘Text’ folder. Click on one or more of the files there to make its content appear in the Preview window on the right. If the formatting of the paragraphs is not to your taste (in this example, there is extraneous space between them), open the ‘Styles’ folder and find the style sheet which defines the properties of paragraphs – Styles/OEBPS/0.cc in this case.

In HTML, paragraphs are enclosed by the <p> tag. The statement we are looking for is this one:

It causes the text to be indented by 1 em. The ‘em’ is a printer’s measure adopted for CSS; you may find ‘px’ (pixels) used instead. Here the top (‘margin-top’) and bottom of the paragraph are respectively to have an inserted space of 0.25 em. By changing these values to 0em, the extraneous white space between paragraphs will disappear.

The margin property is explained here; you may find ‘margin-top’, ‘margin-right’, ‘margin-bottom’ and ‘margin-left’ abbreviated, as the article explains.

Kindle users will need to convert the epub file to the mobi format. This is easily done with Kindle Previewer (Windows and Mac) or calibre (Windows, Mac, Linux).

8 January 2025

Removing a stuck seatpost

Warning: what follows is of no interest to anyone who isn’t a bike nerd!

A seatpost is not something you normally think of as needing maintenance, any more than you would consider ‘maintaining’ the seat tube it fits in, except of course for the occasional clean. And if only one person ever uses the bike there is no obvious reason to fiddle with it.

However, and this is especially the case where the seatpost is made of steel and the frame of aluminium, leaving its seatpost untouched for years can render a bike worthless to anyone else who doesn’t have the same inside-leg measurement as the previous rider.

The seatpost is in pretty close contact with the tube. What happens is that moisture invariably gets between them; oxidation takes place, and post and tube become bonded. In severe cases, there is no way, short of superhuman ingenuity and perseverance, of getting the post out.

A specimen horror story starts at the 14’16” mark.

The problem has been solved – except for terminal cases – by the ever-ingenious Phil Vandelay:

Unless you have access to Herr Vandelay’s wonderful machine, bike mechanics suggest periodic (say every 2-3 years) removal of the seatpost and lubricating it with a decent grease. This will save you a lot of trouble if ever you want to share your bike or sell it.

6 January 2025

On the raising of hats

As a collector of curious books, some years ago I bought a second-hand copy of The Pocket Book of Etiquette edited by Carlton Wallace (Evans Brothers Ltd, London, 1956; cover price five shillings (25p)).

Much of the advice is still sound, especially those parts about treating others with kindness and consideration. Some of it, however, is so outdated that it is almost comical. Consider the following strictures, given under the heading Personal behaviour and the sub-heading Gentlemen:

On meeting any lady in any public or private place, the rule is that the first approach should always be left to the lady. If the lady shows recognition and the gentleman is wearing a hat, he must raise it. He does not offer to shake hands; but will shake hands if the lady wishes it.

Whenever one is in company with others and a hat is being worn, the hat must be raised when one of the others is—

a lady to whom another gentleman raises his hat; and

a gentleman who raises his hat to any other person, whether that person is known personally or not.

The hat may be raised to any other gentleman who is elderly, a senior, or of special distinction, and must always be raised in response to a salute from anyone wearing uniform.

The hat should also be raised to small girls, whether walking alone or with males. In this case the gentleman makes the first approach.

It is not necessary to stand with the head uncovered when talking to a lady in the open, but it is usual to do so if the conversation is held in any public place under cover (e.g. a shop).

Whenever any circumstances have arisen which call for the raising and immediate replacement of the hat, and there has been a pause for conversation, the hat is always raised again at parting.


When the hat is raised, it is lifted from the head for perhaps six inches or so, replaced after about a second or after shaking hands. When it is removed, it is lifted from the head and held by the side at the length of the arm. The left hand is used where possible, leaving the right free for shaking hands.

I was aged six when this book was published. It is sobering for me to realise quite how much England has changed: and not always for the better.

4 January 2025

Idealism is so 2008

I published the following piece on my (now defunct) website, which I set up to distribute my books on the shareware principle, with, these days, predictable results. Since then the situation has only got worse. The agglomeration of publishing firms has continued; agents may or may not deign to reply to an enquiry; and between them Amazon and Apple have got the ebook market pretty well sewn up and can do as they please with recommendation algos and all the rest of it. Then of course piracy has continued to flourish. And as a final nail in the coffin of a print author’s income, the UK government has long since raised the VAT rate from 17.5 to 20%!

Anyhow, I though this might be of some historical interest, so here it is.

————————————————

Research published in 2007 by ALCS (the Authors’ Licensing and Collecting Society) reveals that British authors are struggling to survive.

According to the press release, ‘the typical UK author earns 33% less than the national average wage. If this trend in earnings continues will creators be able to continue contributing 8% of GDP in the UK? If we value our creative industries so highly, can the nation afford to let this decline in authors’ earnings continue?’

Moreover, ‘the top 10% of authors earn more than 50% of total income. In other equally skilled professions the bottom 50% of workers earn nearly 40% of total income. Only 20% of writers earn all their income from writing; 60% of professional writers need another job to survive.’

Why should writers be so badly paid? Why should such steep obstacles be put in the way of the small pool of talent on which rests the entire publishing industry?

Consider the hypothetical case of Jane, a young British author who has just written her first marketable novel. The book will have taken at least 1,000 hours of her time, perhaps twice or three times as much. To develop her craft she is likely to have written other novels already.

She has at last, after months or years of rejection, found a literary agent willing to take her on. (She knows it is pointless to submit a book directly to a publisher.)

The agent secures a deal with Quiggins & Craggs, a London publishing house. They offer an advance of £3,000 on a hardback edition, with a royalty rate on full-price sales of 10%. What this means is that, each time a book is sold at the cover price (let us say £15.99), Jane will be credited with £1.599. From this her agent deducts 15% in commission and charges 17.5% Value Added Tax on that commission, leaving Jane with £1.317 for every copy sold in this way. In order to earn her £3,000 advance, she must sell 1,876 copies at full price.

With the end of the Net Book Agreement and the rise of discounting by bookstores and supermarkets, fewer and fewer sales are being made at full price. Instead authors receive a percentage, typically 10%, of the price received by the publisher. Bookstores have a markup of at least 33%. The supermarkets and big chains get more.

Nevertheless, Jane’s talent is noticed by the critics, she gets some publicity, and the book sells comparatively well: perhaps 900 copies in all. She still owes Quiggins & Craggs £2,070. The hardback edition has little chance of recouping this, mainly because the shelf-life of a hardback novel by a new or middling writer is so short. Three weeks or a fortnight after publication day, unsold copies will be returned to the warehouse.

On the strength of her debut, Quiggins and the agent between them sell the paperback rights to Barabbas Books for £6,000. Jane’s standard contract with Quiggins requires her to share the proceeds of rights sales equally, so she is due another £3,000, less the £2,070 she owes them, making £930. Her agent sends her a cheque for £766. Jane’s earnings from her novel so far total £3,237. Assuming she has spent only 1,000 hours on it, her gross hourly pay for writing her book is something in the order of £3.25 – and she has been successful.

To quote ALCS again: ‘The first ten years are the toughest of a writer’s life. The typical earnings of a British writer aged between 25 and 34 are only £5,000 – a third less than their counterparts’ in Germany. This age bracket takes in those repaying student loans, starting out on their careers, getting on the property ladder and starting a family. Where’s the incentive to keep writing at this level of return?’

The only incentive to continue is the basic urge, in born writers, to tell a story. Jane is cursed with that urge, as well as blessed with the talent to fulfil it. Let us hope that she breaks through the ranks of also-rans: in the February 2008 distribution of UK Public Lending Right, which totalled £6.66m spread among 23,942 recipients, 359 authors received between £5,000 and £6,600 (the maximum payable); 17,923 received between £1 and £99.99.

I shall not continue with this depressing analysis of a British author’s earning capacity. By now you will have got the picture.

The word ‘author’ comes from the Latin word ‘auctor’, meaning an originator, causer, doer; the originator of an undertaking; the producer of a work of art; a writer. ‘Auctor’ in turn comes from the verb ‘augere’, to make, increase, cause to grow, fertilise; to strengthen; to enrich; to honour.

Without the author, there would be no publishing industry – no Quiggins or Craggs, no Barabbas, no agent, no hard-nosed buyer from a bookshop chain. Book-printers and binders and their suppliers would have to find other jobs to do. The government would be deprived of income; the Gross Domestic Product would not be swelled by publishers’ overseas earnings: the film rights, the TV rights, the Harry Potter merchandise and all the rest of it.

A book needs an author and a reader. Everyone in between is secondary, yet the reader must buy their groceries and pay their taxes. That is why Jane’s book costs so absurdly much in the shops; that is why Jane is living in poverty.

Another way


The physical distribution of paper books and their promotion comprise the beginning and end of the grip exerted by publishers on their authors. It is easy enough to get your book printed and bound, but another matter entirely to get it noticed by critics and stocked by bookshops.

The internet has already spawned quasi-conventional publishing companies, distributing text in electronic form and providing their authors with fee-collection services. Some authors are getting online for themselves and using various tactics to promote and market their work. But so far the results have been patchy.

It is inconvenient to read a long text on a computer screen; that’s one of the reasons why paper still dominates the publishing industry. Texts can be read on most PDAs, newer mobile phones and some iPods, but paper is easier on the eye.

The advent of E Ink heralds the beginning of a fundamental shift in the publishing industry. Print will become less important; digital text more so. E Ink produces a flicker-free display which is every bit as legible as a printed page. It is used in devices like the Sony Reader, Amazon Kindle and iRex iLiad. Such ebook-readers can store hundreds or even thousands of titles, doing away with the need for bookshelves. Some allow you to resize, reorientate, search, or annotate the text. Just as digital music-players have matured and become cheaper and universal, so will ebook-readers. The $100 price-point cannot be far away.

$100 will buy three or four hardbacks like Jane’s. At Project Gutenberg and elsewhere, there are thousands of public-domain etexts which can be downloaded for nothing. Once cheap ebook-readers become available, the market in paper-based editions of Jane Austen or Charles Dickens will all but collapse.

But what of copyright works? How can living authors be rewarded; how can they be encouraged to go on writing?

Some conventional publishers are selling their titles in electronic as well as paper form. Since the old model still prevails, the prices are high. To prevent unauthorized copying, these commercial ebooks are protected by digital rights management.

A protected ebook is normally device-specific. When your current ebook-reader is superseded, or fails, your library may become inaccessible, even though you have already paid for its contents.

A potential buyer of a paper-based book can pick it up and look through the pages. You can’t do that with a protected ebook. You might be able to see an excerpt, but otherwise you must buy such an ebook sight unseen. Would-be readers need to be able to browse: it’s an essential part of the choosing process.

Once a conventional book has been purchased, it becomes part of your household and anyone can read it. Your children grow up with books around and get into the habit of reading them. The same cannot be said of protected ebooks. DRM depletes the value of content of all kinds. For new writing and the spread of literacy, it is a disaster.

Reader and writer alike seem to be faced with an intractable problem. On the one hand, paper-based publishing is expensive and inefficient and keeps most authors in a state which is not conducive to creative work. On the other, we have the problem of deriving revenue from electronic books.

You’re probably familiar with the idea of shareware. Certain computer programmers allow their software to be freely copied and distributed. If users derive value from it, they are asked to make a modest payment. The main disadvantage is that some users do not pay. Nevertheless, those who do enable the shareware market to function. At least the programmers get a chance. In many cases they and their customers build up a happy and successful relationship.

Why do shareware users pay? Just to qualify for upgrades and technical support? Or to do the right thing?

I am sure that the majority of paying shareware users are actuated by conscience. The relationship between an author and a satisfied reader is even more personal than that between a programmer and a computer user. If computer software can be sold on the shareware principle, why not books? What is a book, if not software for the mind?

I suggest that new books should be released as unprotected electronic texts to be freely downloaded, copied, and read. The terms of use should be left to the authors, but most will need remuneration in order to go on writing.

The model I have adopted myself harks back to the age of artistic patronage and subscription. An 18th-century writer might have had a wealthy patron, or he might have produced a new work on the promise of payment from a list of subscribers; or both. In either case, the readers had a close connection with the writer and the book. I ask for payment of a one-time fee from those readers who have enjoyed or gained value from any of my novels.

The fee is related to the length of the work. The Tide Mill, my newest, is about 126,000 words long and I ask for £1.25 ($2.50). My first published novel, The Stone Arrow, is shorter, at about 71,000 words, and the fee for that is 85p ($1.70).

This is the shareware principle, adapted a little for novels. I not only let people duplicate and share my texts, I encourage it, because that way I might find new readers. The books are issued under a Creative Commons licence; I retain the copyright and remain free to license such rights as any third party wishes to acquire.

My blog lets readers post reviews, comments and questions; readers can also subscribe at no cost to a service which sends them all new blog-posts, so keeping them informed of developments.

I don’t expect to make a fortune from this, but the sort of people who enjoy novels like mine tend to be thoughtful and – dare I say it? – respectable. I trust them. They are likely to understand that the relationship between a writer and his reader is not purely creative: the writer must pay his bills like anybody else.

Whatever the returns from this model, they can hardly be more wretched and unfair than those from the present one.

The future


E-publishing by individual writers is the future of the book trade, certainly as far as fiction is concerned. Tens or even hundreds of thousands of titles will be offered by their eager authors, many of whom, alas, will be short of talent. The role of critics will be central. I foresee Web sites devoted to reviews and reader-rating, with features such as ‘if you liked that title, try one of these’. By this Darwinian process, good books will rise to notice. They need not be commercial, or popular, or constrained by genre. Quality will be the only criterion.

If talented authors are allowed to earn their living in this way, readers too will benefit immensely, obtaining the latest and best work for a fraction of the present price. There is no reason why paper editions should not also be produced, but their publishers will at last be relegated to their proper place in the scheme of things. There will be a place too for agents, to promote subsidiary rights.

Finally


The space between author and reader is at present not just populated by others: it is moderated by them. At every stage, from agent to publisher to bookstore, judgements are imposed on a writer’s work. Unseen and unaccountable decisions are taken as to what one may or may not read.

Freedom of speech is the fundamental freedom. Without it all other freedoms are compromised. I should be free to say whatever I like, as long as you have the identical right – even to the extent of publicly proving me stupid, evil, or just plain wrong. That is how the arts, how sciences and democracies flourish.

It has always been hard for a writer to break into print, but at least in the past the decisions to accept or reject were taken mainly on cultural grounds. Today other influences are at work. In all parts of the media, the role of accountants has grown: witness, in publishing, the trend towards selling many copies of just a few titles. Accountants are not really the best people to decide on artistic merit. Nor are those whose judgement is clouded by some fashionable political belief. A young editor at a publishing house, fresh from university and with little experience of the world, is ill equipped to exercise the power of life or death over a submitted manuscript.

The information revolution is gathering pace. Change is coming for the publishing trade.

For open-minded readers and their long-suffering, exploited, and penurious writers, it cannot come soon enough.

Richard Herley, 8 February 2008


1 October 2024

British Mammals


Colin Forrest is 23, a postgraduate student at Bristol University. When he abruptly ends his relationship with his Albanian girlfriend, her three brothers come over from Tirana, minded to undo the dishonour that has befallen their sister. Their matrimonial persuasiveness includes a sawn-off shotgun …

He flees to the other side of the country and a summer job as a groundsman at Bubthorpe Pines, a private resort on the Norfolk coast. The owner has a daughter named Amy. Colin has vehemently forsworn getting tangled up again, but the instant he sets eyes on her his fate is sealed.

Amy has other ideas, so too the head groundsman, whose expletive-laden vocabulary is not for the faint of heart. Nor does it help that the resort is understaffed and heading for a financial meltdown. But at least, Colin tells himself, he is a hundred and fifty miles from Bristol. More. And there are nearly seven months to go before his contract ends in October.


 

British Mammals: First chapter

It all began with Yllka’s moustache. Colin had never noticed it till that evening, eight weeks earlier. Some men, he understood, were turned on by a woman’s facial hair, but in him those faint bristles had produced an alarming and opposite effect, for they had revealed not only that her femininity was incomplete but that she, just like himself, was nothing but a sort of ape.
     How he hadn’t noticed it before he still could not tell. Some trick of the restaurant lighting may have been responsible. His sentimental view of her had been destroyed, revealed for what it was: part of the subterfuge mindlessly used on gullible males by DNA in order to secure the furtherance of itself.
     Decelerating sections of Sheringham had been passing him by and now the train was coming to a halt. His back was to the engine, assuming there was an engine at both ends. At Cromer the train had pulled in and reversed out, changing the direction of travel. Colin did not like going backwards: there had been too much of that in his life already. But, since there had been only two stops remaining, he had not bothered to change his seat, even though by then the carriage had been all but empty.
     The change of direction had annoyed him, because at Norwich he had dragged his case all the way along the platform, planning to be near the front of the train when it arrived, so now he had the same distance to drag it again, made even worse by the weather, because the predicted drizzle was still falling.
     It had started somewhere around Wroxham, darkening his mood yet more. What he was doing was a mistake. The next six months would be useless and counter-productive. Had he an ounce of courage he would have faced up to the brothers like a man or, at the very least, sought the aid of the police. Not that Colin had much faith in the state these days, or authority in general, including even the train company, and it was with something like gratitude that he had found the carriage comfortable and the service punctual.
     The train came to rest and the doors slid open. He struggled into his heavy backpack, then grabbed hold of his even heavier suitcase and lifted it out on the platform.
     The air felt much colder than it had in Bristol; he had never been as far north or, indeed, east as this. He could see no ticket office or a waiting room other than a modestly sized glass shelter at the distant end of the platform. Preceded by the other passengers, he pulled his wayward case towards the shelter, which had of course filled by the time he reached it.
     About half an hour remained before the bus was due. Colin kept on, hoping for space in what had looked on Google Street View like a brick-built bus shelter. Failing that, he would wait in a café. According to his researches there were several cafés near by, though he could ill afford what they would charge him.
     The end of the platform sloped down to a short roadway which, with a row of five endways-parked cars on the left and the sides of buildings on either hand, was terminated and crossed by a busy road.
     It was then that he noticed an attractive – from the rear, at least – young woman waiting to cross, sheltering under a little pink umbrella. She may have been a fellow passenger, alighting from what had become the front of the train, and looked quite out of place among the human wreckage on view. She was slender and not too tall, her dark hair in a style whose name he did not know but found appealing. Most noticeable, perhaps, apart from her figure, was her self-assured and natural posture. Her snowy jeans and lightweight, rose-pink rain-jacket not only fitted her but seemed newly laundered and pressed. A bulky linen shopping bag hung from her right hand.
     At a lull in the traffic she started across the carriageway, keeping straight on into Station Approach, towards a tiny park on the left-hand corner and thence the former Sheringham Station. During his preparation for this journey, Colin had read about the Poppy Line, an old railway restored by enthusiasts. A steam locomotive was facing this way, silent and unmoving, perhaps gathering its strength before Easter and the arrival of holidaymakers in bulk.
     By the time he was able to cross, the girl had got a fair way ahead. He saw her umbrella disappearing into what had to be the bus shelter.
     Though he told himself that her face was bound to be a disappointment, Colin was a sucker for brunettes and, despite everything troubling him, could not suppress a tingle of anticipation that she might be waiting for the very bus he needed to catch. He might even be able to sit near or even beside her – perhaps, even, make her acquaintance!
     ‘Absolutely not,’ he breathed. What would be the use of that? In the first place he was in no position to ask a girl out to dinner or anywhere else, for he would have no transport at Bubthorpe and, besides, very little money, since his board and lodging were part of his pay. And in the second place, just how masochistic could a young fellow be? Was he a glutton for punishment, he asked himself, as he dragged his thumping and rumbling suitcase along this wet Sheringham pavement? Did he want to leap from the frying-pan into the fire? What other clichés could he dredge up to quash the idea of getting himself embroiled with another female?
     And yet, could he deny that even a glimpse of this one had suggested that youth and hope were not entirely dead in his breast? Could he deny that already the prospect of a hypothetical second chance had raised a faint, pre-dawn glow along the tenebrous horizon of his mood?
     Yes. He could. He actually shook his head a little at his own idiocy as he came level with the shelter, which was about twenty-five feet long, its front partly enclosed by a knee-high wall. The interior had been decorated – a pale-blue ceiling and the upper part of the walls yielded to a field of crude poppies, while the rear wall featured a mural of a locomotive much like the one he had just been looking at. This had to be part of the old station, now taken over by the Poppy Line.
     The girl had perched on the bench, which was little more than a stingily narrow shelf along the back, high enough so that her legs were straight. Her furled brolly lay on top of the bag cradled in her lap. And yes, he uneasily observed, she was by no means bad-looking. Very pretty, in fact.
     She was staring at the concrete floor. Colin got the impression that she was eavesdropping on the other two occupants, a pair of elderly, comfortably built women on her right. Despite her efforts to keep her expression neutral, it seemed she was finding their conversation amusing.
     Her brown eyes assessed him briefly and without enthusiasm as he entered. She was extremely pretty, yes, but there was more, far more: the sympathetic set of her features spoke directly to his heart, and he realised to his consternation that he was looking, without question, into the face of the most perfect girl he had ever seen. Perfect for him, that was. In a kind of daze, aware that something profound had just been done to him, Colin made his way to the far end.
     He felt not just dazed but shaken. When he had sat down he saw that she was again intent on the gravel-speckled concrete of the floor, almost as if searching there for meaning.
     ‘I don’t like to coo,’ one of the old ladies was saying, ‘but if you hent got a computer you gen’rally have to. In Tesco’s specially. Never mind about Lloyd’s Pharmacy. Shocking in there, sometimes it is.’ Her accent was one Colin had never heard before, with the faintest terminal rise, a throwback to the days when television had not done so much to erase regional differences, and he soon realised he was listening to a pair of authentic Norfolk natives.
     ‘I won’t go inter Lloyd’s fie can help it. I’ve never been one for cooing.’
     ‘It’s British, though, isn’t it?’
     ‘What, cooing?’
     ‘Lord help anyone who jumps a coo.’
     He risked another glance at the girl’s profile and detected the merest trace of a smile. Afraid that she would notice him looking, he quickly turned away, but a panic-stricken thought that he might be waiting in the wrong place made him blurt out, to the three of them, ‘Excuse me, please, is this the stop for Wells-next-the-Sea?’
     The girl said nothing; barely even looked up, but beyond her, the nearer of the ladies, kindly, with glasses, said, ‘You’re all right here, my love. You want the Coasthopper.’
     ‘Thanks.’
     ‘Says “CH1” on the … what do you call it?’
     ‘The display,’ the other one said. ‘The lit-up thing on the front.’
     Colin thanked the pair and resumed his silence. He considered taking out his phone but the battery was getting low. Instead he gazed about, at the traffic and passers-by, studiously avoiding looking the girl’s way. Straight ahead, across the road, he could see a second-hand clothing and furniture store called Colour Me, to the right of it the Lotus House Chinese takeaway, then Zahra’s Indian Cuisine offering also, cosmopolitanly, kebabs and pizza; then came a nominally British café. Besides people, cars and vans were constantly passing, some turning into or out of a side-street almost opposite, somewhat to the left.
     While pretending to find all this interesting, he was becoming ever more acutely aware of the girl’s presence. It was as if she were generating some sort of field to which he was responding, like it or not, at a cellular level; as if all his mitochondria, or whatever they were, were becoming aligned in one direction, to his right, to the place where she was so neatly and self-containedly waiting for a bus. Not the CH1, he fervently hoped.
     The urge to stare at her, to feast his eyes and gather more information – was she wearing a wedding ring? she was bound to be! – was becoming overwhelming, but he made himself think yet again of Yllka, of the sawn-off shotgun, of the debacle in the square and his hair’s-breadth escape from death. He made himself think of the way their last evening had ended, of her bitter reproof and the grotesque distortion of her tear-stained features. Was not this girl’s upper lip also, when seen in the appropriate light, unlikely to be glabrous? Might she also turn out to be bonkers? In any case a young woman as desirable as that was certainly taken by now. Did her other half too have a taste for extreme and irrational violence; might he too be an Albanian steeped in an atavistic tradition of honour and blood-feuds? Did he too have brothers and did they own shotguns, sawn off or otherwise? How many Albanians were there in Norfolk? Impossible to guess: their numbers were burgeoning and they seemed to be everywhere.
     A middle-aged couple entered the shelter and occupied the space on the bench between Colin and the girl, for which he was grateful.
     He felt more tired than ever, having been awake since five. Besides which, he had been sleeping badly for weeks. The Z-bed in the Lankesters’ flat was far from comfortable but, more importantly, there had been and still was too much on his mind. Despite fears for his luggage, he had managed to doze off for a while on the Bath to Paddington leg, and he had also snatched a few minutes between Liverpool Street and Norwich.
     Perched here, in this brick shelter in this bustling seaside town, he realised his exhaustion had caught up with him. The last thing he wanted to do was board a bus, two buses, actually, and be driven umpteen miles along the coast. Or perhaps he wanted even less to be faced with all the unfamiliarity that lay in store. What he craved was his own bed in his own little flat, but he had not dared to set foot there for nearly a month.
     More prospective passengers arrived, and he saw from his watch that the bus was due in twelve minutes. By the time it arrived, a yellow single-decker, a dozen or so people had gathered. Those on the bench arose, including the girl, which meant that she also was for the CH1. Colin’s heart sank, though not without giving an involuntary leap on the way down. He shouldered his backpack yet again and grasped the handle of his roll-along case.
     Several people got off, each one thanking the driver. Those about to get on had formed an orderly and even courteous coo. Male pensioners, with a gracious sweep of the hand, indicated their reluctance to board ahead of equally elderly females. The girl too hung back, perhaps conscious of her youth and agility, so that she was the last but one aboard, just in front of Colin. This close to her he became aware of her fragrance and could admire without restraint the vitality and abundance of her hair.
     He was unable to overhear which destination she wanted; she swiped a card, received her ticket, and moved aside.
     Feeling dizzy once more, Colin said, ‘Wells-next-the-Sea, please,’ and swiped his own card. ‘What should I do with my luggage?’
     The driver was a man of about forty, noticeably stubbled, with blond eyelashes, thinning fair hair and a capacious paunch straining the fabric of his sweater. He pointed over his left shoulder. ‘On the rack, sir. Either one. Or both.’
     Then Colin saw that the girl was no more than three feet away. She had hoisted herself into a single seat at the very front, raised up, just rear of the door. This protected her from being sat next to and gave her a view through the windscreen. She caught Colin looking at her and averted her eyes.
     He knew then that she had divined all his thoughts about her and regarded them as a negligible part of the cargo of lechery that surely burdened her wherever she went. And he knew that those thoughts were not reciprocated in the least. Matters might have been different had he been setting out in a Ferrari; or not. He would never know, because he had perforce to sit somewhere further back and, long before they reached the town of Wells-next-the-Sea, she would have alighted in some chocolate-box village and returned to the wisteria-clad cottage she shared with the jammy sod who had snagged her.
     Having heaved his case onto the right-hand rack, behind the driver’s partition, Colin dumped the backpack on the other, just behind the girl, found himself a pair of vacant seats in the middle of the bus, on the off side, and slid into the one by the window. The driver had considerately been waiting for this and drew away at last.
     Colin was beginning to perceive that social norms here were rather different from those in London, or Bristol, which is where he had started his journey this morning. The exception was the disdain visited on him by the girl, but he had already forgiven her for that. She could not help looking as she did, any more than he could help being a prey to his hormones, and beauty could be regarded as a sort of handicap: after a while even the most sincere flattery becomes irksome, if not obnoxious.
     Her bag, once again cradled on her lap, looked as if it might contain books. If so, he was half expecting her to take one out and read it, but she just sat there watching the view ahead. Her right hand only was visible, so he still could not determine whether she was wearing an engagement or wedding ring.
     He turned away yet again, not wishing his interest in her to be observed by other passengers.
     It was hard to see clearly through the wetted grime on his window. The bus negotiated a narrow bridge, came to what he took to be the coast road, and turned right. It soon left the town and its golf course behind. The view now was mostly of broad, arable fields delineated by trim hedges. Colin had always thought of Norfolk as table-flat, but it wasn’t in these parts: there were definite hills and vales, though modest. Coming to a gentle summit, he saw a distant strip of grey, grim sea, the same he had glimpsed from the train.
     On open stretches of road the bus rattled and jolted along at speed. Most of the bus stops passed by unheeded, but at the approach to one, in a nameless village, the bell rang. Above the windscreen a sign lit up: Bus Stopping. Colin had again, surreptitiously, been studying the girl and half hoped, half feared, that it was she who had rung the bell, but no. A very old man alighted, spryly enough, and the bus moved on.
     The local vernacular architecture was new to him. Flint cobbles faced most of the walls; roofs tended to be finished with dull-orange pantiles. Many of the houses and cottages appeared to be Georgian, though plenty were not.
     The coast road was in places narrow, occasionally very narrow and twisting besides, and he became impressed by the driver’s skill and patience. A duck pond went by. The view to the right now was of extensive marshland, with what looked like a shingle ridge in the distance, beyond which had to be the sea.
     To keep his mind off the girl, Colin read all the notices. These seats were reserved for the disabled; you must neither smoke nor distract the driver; this was the emergency exit. He mentally corrected the errors in grammar and spelling, but even as he did so his eyes kept returning to her, for she was still there, immovable in her seat, coming into a place called Morston, and then also at the next village, its name unnoticed, where the road narrowed even more.
     There were no footways here. Between high flint walls the bus met a big lorry heading east. The crisis was solved by expert co-operation: the side of the lorry passed exceedingly close to Colin’s window.
     Somehow that made him feel better. Perhaps he had been fated to land like this in the middle of nowhere, to abandon his thesis and the academic life. Perhaps it would all turn out to the good. The brothers, unable to locate him, might eventually give up and turn their attention to the next suitor who had ‘dishonoured’ their sister, which was to say, treated her with at least as much respect as was usual in a modern British love-affair.
     The girl was still in her seat when the bus arrived in Wells-next-the-Sea, its terminus. This bus company operated only part of the way, so he had to change here for Bubthorpe. She got down before anyone else. So that he would not obstruct them with his luggage, Colin let all the others leave before him. As he passed the driver he followed the local custom by saying, ‘Thank you.’
     ‘Have a good one.’
     ‘And you. The King’s Lynn bus, please. Where does it go from?’
     ‘Just here.’
     ‘Thanks.’
     She was waiting for that one too.

* * *

Rosalind was beginning to wonder whether her prospective visitor had got lost, for he was already half an hour late. Then Gildersleeve tapped, as obsequiously as ever, on the sitting room door and entered.
     ‘Yes?’ Rosalind said, looking up from the latest issue of The World of Interiors.
     He came further into the room. ‘There is a gentleman to see you, madam. Mr Beardsley.’
     ‘I’m expecting him. Show him in, and then bring tea and biscuits. And some of those fairy cakes.’
     ‘Very good, madam.’ Gildersleeve slowly turned, and in his creaking fashion made his way out into the private reception hall, so called to distinguish it from the much grander reception hall in the body of the house.
     Rosalind had met Mr Beardsley once before, at Gawkrodger Associates’ offices in Norwich. He was exceptionally ingratiating, even for one in his line of business, and no more than thirty, wearing today a well-tailored lounge suit, dark grey, in a costly worsted cloth. He reeked not only of greed but aftershave or something like it, and his mousy hair had been larded with some sort of gel that made it almost spiky. The pallor of his complexion spoke of a life spent under artificial light.
     Having apologised for his lateness, blaming his satnav, Beardsley obeyed her unspoken instruction to seat himself in an armchair next to an occasional table on which a cup and saucer could be set. He reached down, opened his briefcase, and drew out a prospectus.
     ‘This is the final version, as agreed,’ he said, handing it to her.
     Rosalind put on her spectacles again to examine the document, a single piece of glossy card, folded down the middle to A4. It described the scheme in glowing terms and bore a plan of the proposed development as well as an aerial photograph of Knapp’s Field and part of the village. She did her best again to restrain a cynical smile as she re-read the part about ‘working with local people’. The areas for housing had purposely been left blank, so that the mooted number of dwellings could not be ascertained.
     A copy was to be sent at the beginning of April to every household in the village. ‘We’ve booked the Village Hall for the eleventh,’ he said. ‘A Tuesday. Two of our best people will be there, and we’ll have an exhibition demonstrating other Fallowfield projects in East Anglia.’
     ‘You must expect a hostile reception, if indeed you get one at all. Most of them will boycott you.’
     ‘We understand that. But we need to get as many on board as we can before the Parish Council meeting on the fourteenth. It’s bound to be on the agenda. Anyhow, we’ll put the pre-planning application in late on the same day so they don’t get wind of it till the following week. No point hanging about.’ He cleared his throat. ‘I asked to see you this afternoon, Mrs Catton-Bullinger, not only to bring you the prospectus, but also because Fallowfield are minded to increase the number. As the landowner and someone in tune with the village, they would like your input on that.’
     ‘My input is that we should build as many as we can get away with. I thought they said no more than thirty-five would pass the planners, so they’d ask for fifty and come down.’
     ‘They’re now thinking forty and fifty-seven.’
     ‘Fifty-seven? That’s far too steep. They’ll dismiss the whole thing out of hand.’
     ‘We are of the same view. Another three is all the site will bear, given the location and the current climate.’
     ‘They’re the developers and you’re the planning consultants, Mr Beardsley. I leave it to your collective better judgement. Although after the last couple of times …’
     ‘If I may remind you, those applications were made by other firms. We and Fallowfield have a more, what shall we say, synergistic approach?’ Beardsley paused. ‘There’s something else I have to raise with you.’
     ‘Oh?’
     ‘Those other applications have queered the pitch, so to speak. The District Council may even reject the pre-planning application as soon as the consultation period is over. There’s not much research they’ll need to do. They can just repurpose the other rejections. And we aren’t at all happy about the pre-existing level of hostility in the village.’
     ‘Neither am I.’
     ‘They seem exceptionally well organised. Their leader is a retired solicitor and knows his stuff.’
     ‘Mr Partridge.’
     ‘Indeed. We’ve managed to get hold of some of the circulars they sent round last time. I don’t think we can count on much apathy from the population at large. We can expect lots of objection letters, and that of course would be reflected in the deliberations of the Planning Committee. Fallowfield are wondering what the view of the Parish Council will be. As you know, it carries weight with the District Council and can to some extent counteract the objections of what we can portray as a vocal and unreasonable minority.’
     ‘As a matter of fact the chairman of the Parish Council is in hot water at the moment. Misuse of parish funds may be involved, in the form of overpriced and untendered-for contracts handed out to his friends and family. Mr Gowan will be lucky to avoid prosecution. His case is before the District Council. They may send it on to the DPP. At the very least he is likely to be debarred from public office for five years.’
     ‘Is there a replacement?’
     ‘Mr Broadribb is the vice chairman.’
     ‘And?’
     ‘He may be just as flexible.’
     ‘Ah,’ said Beardsley.
     He looked up: the door had swung back and Gildersleeve incrementally appeared, bent over a trolley.
     When Rosalind had got rid of Gawkrodger’s man she felt no optimism for the success of the scheme. The weather reflected her mood: although the drizzle had ceased a while ago, the sky was still grey. The drab view from the window, across the lawns to the twelve empty chalets, reminded her that the miseries of another season were about to begin.
     The slender hope she had invested in Mr Beardsley and his principals was her only bulwark against eventual ruin. Her husband had refused to listen to her advice so persistently and for so long that she no longer even bothered to lecture him about Knapp’s Field.
     As if summoned by the very negativity of her thoughts, Mungo inopportunely put his head round the door. ‘Has he gone?’
     ‘Yes. All you had to do was look out of your office window and you’d have seen that his car was no longer there.’
     ‘What car?’
     ‘The one he must have come in. From Norwich.’
     ‘Oh, he came from Norwich, did he?’ Mungo glanced with displeasure at Beardsley’s empty cup and side-plate, for Beardsley had occupied ‘his’ chair. As if to make the point, he sat down on the sofa, directly facing Rosalind. ‘I wasn’t in the office.’
     There was no reply to that worth making.
     ‘So what is the upshot?’
     ‘The prospectus will be going out now, and the pre-planner goes in on the fourteenth of next month. Fallowfield want more houses. Three more, we thought, was possible.’     He frowned. ‘Really, my dear, you know as well as I do what’s going to happen. It’ll be turned down like the others, and we’ll be in even worse odour than before.’
     ‘There is a chink of light. I understand that Broadribb is likely to be the new chairman.’
     ‘Who?’
     ‘Maurice Broadribb. The timber merchant. At East Rudford. You know. Broadribb’s. On the industrial estate.’
     ‘He’s already the chairman, surely, if that is his business.’
     ‘The chairman of the Parish Council. He is already the vice chairman.’
     ‘Does he live in the village, then?’
     ‘Of course he lives in the bloody village, Mungo.’
     ‘And what about him?’
     ‘I’m pretty sure he’s amenable to persuasion.’
     Mungo grunted, then got up and yanked the bell-pull. A few of the housekeeping staff had already reported for duty, but it was again Gildersleeve who appeared. Mungo ordered tea for himself – Rosalind wanted no more – and when Gildersleeve had departed he said, ‘Do you happen to know where Benny’s got to?’
     ‘No idea. Unless they’re running today.’
     ‘I do wish that boy would attend more to his duties.’
     This was another subject Rosalind was tired of. Benedict would no more make a suitable manager than Mungo himself. Indeed, he would almost certainly be worse. As for Mungo’s other child, Rosalind grudgingly conceded that she had the makings of a manager, were she to have had the slightest interest in the family concern. Instead she sat at her computer all day long writing romantic fiction which, it had to be said, seemed profitable, for she had just bought herself a new car and, unlike Benedict, refused to take a penny of the allowance Mungo kept offering her.
     Rosalind was uncomfortably aware that her dislike of her stepdaughter owed something to jealousy. Beyond that, the two of them were chalk and cheese. One of Rosalind’s many desires was that the wretched girl should leave home and go to live, for preference, on another continent, if not another planet. That was looking increasingly unlikely, for she showed no more interest in men than she did in the administration of the Pines.
     ‘Perhaps,’ Mungo said, ‘Amy will know where he is.’
     ‘Amy has gone out for the day.’
     ‘Where to?’
     ‘I cannot say. I saw her walking up the drive first thing this morning. Where she went after that is a subject for speculation. London, I would guess.’
     ‘Oh. What does she do there?’
     ‘You’re her father. You ought to know. Shopping in Bond Street, no doubt. God knows how much she spends on herself. She’s always wearing something new, and as for her shoes … I had no idea that the trash she spews out could make so much money.’
     ‘She’s a very successful author,’ Mungo said weakly.
     Rosalind snorted.
     ‘I say, I do wish you wouldn’t speak about her in that fashion. Amy is my own flesh and blood, after all.’
     ‘Your daughter, Mungo, is nothing but a self-absorbed little hussy, and the sooner you realise that the better.’