Plume
Описание книги
‘Wiles is basically Kafka, if Kafka had spent more time in British hotels and pubs’ David BaddielWill Wiles both re-invents and murders the London novel, in a spectacular act of evil, surgical intensity’ Warren Ellis‘It’s outstanding’ Mail on Sunday, Event MagazineThe dark, doomy humour of Care of Wooden Floors mixed with the fantastical, anarchic sense of possibility of The Way Inn, brought together in a fast moving story set in contemporary London.Jack Bick is an interview journalist at a glossy lifestyle magazine. From his office window he can see a black column of smoke in the sky, the result of an industrial accident on the edge of the city. When Bick goes from being a high-functioning alcoholic to being a non-functioning alcoholic, his life goes into freefall, the smoke a harbinger of truth, an omen of personal apocalypse. An unpromising interview with Oliver Pierce, a reclusive cult novelist, unexpectedly yields a huge story, one that could save his job. But the novelist knows something about Bick, and the two men are drawn into a bizarre, violent partnership that is both an act of defiance against the changing city, and a surrender to its spreading darkness.With its rich emotional palette, Plume explores the relationship between truth and memory: personal truth, journalistic truth, novelistic truth. It is a surreal and mysterious exploration of the precariousness of life in modern London.
Отрывок из книги
For my parents, with love.
‘On Murder Considered as One of the Fine Arts’
.....
I wanted to talk to Eddie, to try to excuse myself from the office until Friday. That was the one advantage of being expected to do two interviews: I could justifiably work from home all this week and perhaps half of next week, in theory using the time to meet the subjects, type up the transcripts and then write the pieces. And other things.
But Eddie was talking with Polly in his ‘office’. This was not truly a separate room, more a stockade in the corner of our open-plan expanse, made more private by metal archive cabinets on one side and chest-high acoustic panels on the other. The publisher – who had a very nice office – had fixed ideas about editors working in the midst of their staff. And so it had been, back in the Errol days: he had a big desk opposite Ilse, right in the middle of the floor, surrounded by his team. By the time I started on the magazine, Eddie had migrated to the corner. The archive cabinets and acoustic panels had appeared during a reorganisation a couple of years ago, a reorganisation made possible by our declining numbers. We would tease Eddie about his fortress, and he would tease back, saying he needed a bit of space to himself, to give him a break from all of us. Then those deep, gentle brown eyes would turn serious, perhaps even a little sorrowful, and he would say that sometimes people, us, came to him with delicate matters, sensitive personal or professional issues, and he wanted us to feel secure in doing that, to have some privacy. Really it was for our benefit, not his. And didn’t we prefer having a bit of distance from our boss? Not having him looking over our shoulder the whole time?
.....