Discover millions of ebooks, audiobooks, and so much more with a free trial

Only $11.99/month after trial. Cancel anytime.

King Rat
King Rat
King Rat
Ebook366 pages5 hours

King Rat

Rating: 3.5 out of 5 stars

3.5/5

()

Read preview

About this ebook

Award-winning author China Miéville began his astounding career with King Rat—now in a new Tor Essentials edition—a mix of a young man's search for identity with a pulse-pounding story of revenge and madness.

With a new introduction by Tim Maughan, author of Infinite Detail.

Something is stirring in London's dark, stamping out its territory in brickdust and blood. Something has murdered Saul Garamond's father, and left Saul to pay for the crime.

But a shadow from the urban waste breaks into Saul's prison cell and leads him to freedom: a shadow called King Rat. King Rat reveals to Saul his own royal heritage, a heritage that opens a new world for him, the world below London's streets.

With drum-and-bass pounding the backstreets, Saul must confront the forces that would use him, the ones that would destroy him, and those that have shaped his own bizarre identity.

Tor Essentials presents new editions of science fiction and fantasy titles of proven merit and lasting value, each volume introduced by an appropriate literary figure.

At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

LanguageEnglish
Release dateOct 6, 2000
ISBN9781466826021
King Rat
Author

China Miéville

China Miéville lives and works in London. He is a three-time winner of the prestigious Arthur C. Clarke Award and has also won the British Fantasy Award twice. The City & The City, an existential thriller, was published to dazzling critical acclaim and drew comparison with the works of Kafka and Orwell and Philip K. Dick. His novel Embassytown was a first and widely praised foray into science fiction.

Read more from China Miéville

Related to King Rat

Related ebooks

Horror Fiction For You

View More

Related articles

Related categories

Reviews for King Rat

Rating: 3.5295138567708335 out of 5 stars
3.5/5

576 ratings29 reviews

What did you think?

Tap to rate

Review must be at least 10 words

  • Rating: 2 out of 5 stars
    2/5
    The radio existed to communicate. But here it was failing, it had gone rogue, it had forgotten its purpose like the piano, and the people could not reclaim the city.

    A few weeks ago I listened to a London Review podcast of Miéville
    reading a story about the immolation of animals. It was certainly the New Weird, the images clung to me, no doubt enhanced by his nuanced delivery. Miéville said he found the story a child of Austerity. I liked that. I suppose a YA audience would like the milieu of King Rat, whereas I did not. I hated the book. It is lad lit expressing daddy issues. It is a clumsy reworking of a few myths with the virtual art of Drum and Bass spot-welded on board to provide urban edge. I read this as a part of a group read but I was afraid to spoil the collective mood with my face-palming and kvetching. I expected much more from that strangely talented author.
  • Rating: 3 out of 5 stars
    3/5
    This urban grunge fantasy is Mieville's debut novel and the first of his works I've read. This is a riff on the Pied Piper of Hamlin and is imaginative and fast-paced. The language is delightful as is the imagery. The plot, however, is entirely predictable and there is one clear flaw in the plot, having to do with the protagonist's ability to resist the Rat Catcher's tune when no one else can. Still, it's a fun and fast read, and shows Mieville's developing talent. I'll read more of his work.
  • Rating: 4 out of 5 stars
    4/5
    Saul Garamond's father dies and he finds himself in a shadow London where he is half-rat, half-man, and hunted by a mysterious Piper. Mièville relishes the wastegrounds and unloved places of London, which form the backdrop to this tale.
  • Rating: 4 out of 5 stars
    4/5
    A quicker read than Mieville's later books - less complex, but has a great tone and feel... The Pied Piper of Hamelin meets "Neverwhere"...
  • Rating: 3 out of 5 stars
    3/5
    Mieville is one of my top 5 authors but almost entirely because of his Bas-Lag novels. The others I've found cool and fun but not as good. This one was no exception. It was dark, gritty, disgusting, violent and original but not totally my kind of thing. I loved Lop Lop.I didn't fully understand the entire music angle until the end so it felt like it was just added because he was into that kind of music (Jungle). I was also never sure how Anansi's powers worked.
  • Rating: 3 out of 5 stars
    3/5
    King Rat is festering with atmosphere and drowns you in a cacophony of Jungle Bass and Drum. It takes you to London’s underside, it’s stinking bowels, and gives life to the world below. It does all this in a very good way. I swear. King Rat is my first taste of Mieville and I’m still not sure if it was the best place for me to start, but it certainly isn’t a bad place to start. This is his debut novel and does not seem to be as widely read or recommended. I have also heard that it is a bit different from the rest of his novels. Since I obviously have not read the others, I can’t comment on that myself. But I can share what I thought of King Rat.My largest comment is that I love his atmospheric descriptions. You could just feel the malodorous sludge coagulating and dripping, see the colors and wonders (and horrors) of the city of London, and most importantly, you could hear and feel and practically live the rhythms of the Jungle Bass and Drum music that is prominently featured in the story. Within all of this (and keep in mind, his descriptions work way better than my feeble attempts), I could see brilliance that I am sure is carried over to his other works. In these descriptions, I could easily understand the fan base he has acquired.Now, before anything else, I want to be clear that for a first novel, this really is a great debut. However, I also felt at times some of his scenes drug on for entirely too long. There is a bike ride that is so detailed I think it would put my GPS turn-by-turn directions to shame for being so simple and minimalistic. I think every turn and street name needed was in the book in addition to what felt like an inordinate number of landmarks along the way. It was not a huge deal, but it did pull me out of the story a bit, it seemed to go beyond what was a descriptive setting to an info dump of how to get from point X to point Y in London and everything you might see in between.I also found the accent/dialogue from one of the characters (Anansi) a bit grating and kind of hard to read. I think if I was familiar with the accent he was trying to get across, it would have flowed much better, but since I wasn’t it just read very awkward. Luckily, he did not have much to say. And sometimes, it was short, and I didn’t have a problem. But if he had a paragraph worth of dialogue, chances are, I had to slow down my reading, and would get pulled out a bit to wonder what he was really supposed to sound like versus my awkward attempt at it. But, minor complaint. Really.So, while I didn’t find this book without faults (at least for me as a reader), it was certainly still a positive reading experience. If your in the mood to explore the world below London (and have already read Neverwhere by Neil Gaiman), then definitely give this one try. Especially if you enjoy an atmospheric, descriptive book.
  • Rating: 4 out of 5 stars
    4/5
    Let’s head back to London again, where all the best magic hides in its gritty underbelly. Saul Garamond is wrongly imprisoned for the death of his father, but is released by a mysterious stranger who claims to be the king of rats. He tells Saul that he is half-rat on his mother’s side, and that his father was killed by the Rat Catcher who can make rats dance to his music, and wants Saul dead because he can resist, being half-human. Drum n bass music, cockney rhyming slang and lush descriptions of London provide edgy details for this updated version of the Pied Piper of Hamelin.
  • Rating: 3 out of 5 stars
    3/5
    Decent early Mieville, showing the germ of what would become the species of Bas-Lag. Tries a little too hard in places, especially with the whole jungle / drum 'n' bass scene, and sometimes you can perceive the ghost of James Herbert in there, but overall enjoyable and entertaining.
  • Rating: 3 out of 5 stars
    3/5
    Nowhere near the wild imagination of his later works but still better than most urban fantasy out there.
  • Rating: 3 out of 5 stars
    3/5
    This book takes place in present day London and for that reason alone I got a kick out of it because I happened to be in London as I read it. I hadn't been in London since I was five so it was kind of cool to see bits and pieces of London by day and then read about Saul and King rat exploring those very same locales, albeit from a far different perspective, at night. In fact, at one point, as I was reading in my hotel room on High Holborn, Saul and King Rat ran right past my window in the book (page 98). That was pretty cool.
  • Rating: 4 out of 5 stars
    4/5
    Some time back, I read an essay (or website, or something; it was a long time ago) about the human propensity toward "it's like ... but not" comparisons. We need to compare everything against others of its type; nothing can be evaluated in a vacuum.

    With that in mind, King Rat is like Neverwhere, but not. It's like War For the Oaks, but not. It's like so much gritty urban fantasy, but still brings its own flavor. It's got the other-world-a-half-step-from-this-one motif, it's got the musician threads, it's got the slacker protagonist suddenly in a position of power and/or leadership. Despite all this, it doesn't feel like a knock-off or in any way derivative. It's a dark, engrossing story, with excellent pacing and good character development. There are a few instances of Cockney rhyming slang, which I just can't make any sense of, but they're not that frequent and they don't detract.
  • Rating: 4 out of 5 stars
    4/5
    Début novel from China Miéville takes the reader on a dark fairy tale of a story. Neverwhere crossed with the Brother's Grimm if you will with a setting of London's underground both physically and metaphorically speaking. Saul wakes up to the police hammering at his door and is immediately treated like a criminal upon their entry. What's he supposed to have done? Just the small matter of killing his father! Broken out of jail by a mysterious figure who claims to be king of the rats as well as being Saul's uncle, he is taken in and has his mysterious heritage explained to him as well as the fact that someone wants him dead. As Saul's abilities begin to burgeon he finds out that he wasn't rescued for purely sentimental reasons after all and his uncle wants to use him as a weapon against an old adversary and to win back the respect of his disaffected subjects.The vivid pictures that the author paints bring to life a darker and more mysterious London as we clamber over the rooftops and through the sewers with a drum and bass soundtrack playing in our ears. I'm sure a previous knowledge of that particular music scene would add greatly to the story's appreciation but unfortunately it's one that passed me by. It's not something that detracts from the narrative though so don't be put off with that little snippet. Those with a nervous disposition may however be deterred by some of the more gruesome scenes or disturbing events in the book (especially the climactic scene). Excellent first novel that should be enjoyed for what it is and not compared too critically with the author's later works.
  • Rating: 4 out of 5 stars
    4/5
    Good, solid first effort.
  • Rating: 4 out of 5 stars
    4/5
    A sequel to the Pied Piper of Hamelin, only set in London's Drum and Bass scene. Good fun, nice to see Shy FX get a namecheck! Reminded me of Deadmeat, by Q, but i guess that is showing my age...
  • Rating: 5 out of 5 stars
    5/5
    If China Mieville had written only King Rat and had not gone on to write Perdido Street Station, he might have become known as one of those enigmatic, brilliant, reclusive one hit wonder authors. King Rat is good enough that if he had not written anything else, his place in the pantheon of great fantasy writers would have been assured. I am also very glad that there is more to read by China Mieville and he is not a one hit wonder.This King Rat bears more resemblance to Shakespeare’s King Lear, with Mieville’s deep probing of familial relationships and characters going mad, than the Clavell novel of the same name. Mieville’s King Rat is a loose modernized sequel to the classic Pied Piper of Hamlin story, wherein the Rat Catcher is still around and is looking for the One That Got Away.The story is modernized by being set in a contemporary London and an emphasis on contemporary club music that is integral to the plot. The Pied Piper is named Peter and this name kept nibbling at me in relation to obscure music. Delving back into my disc collection, I came up with an obscure jazz disc called Wireless with lots of flute and a track spoofing the Pied Piper story. One of the musicians credited on the album is Peter York, a former member of the Spencer Davis Group. The liner notes are in German, a language I do not read well enough to decipher if Peter York is the flutist, but with China Mieville’s apparent knowledge of music, it is entirely possible there is a connection here.As a fantasy, this falls into the same realm as Gaiman’s Neverwhere: Urban Fantasy. The action takes place in this world’s London, but in places that are largely unknown, unlooked for or over looked. I’ve not been to London, but having the story set in a real city, I was drawn that much more deeply into the tale. In classic fairy tale fashion, the final showdown between good and evil is an epic battle. You think you know there was a decisive victory, but just enough doubt is left that you keep wondering if the boogey man will jump out at you some time in the future.I am going for a full five stars on this. The contemporary plot makes the reading that much more enjoyable, the dynamics between the characters and the pure joy of the language all push this into the ground breaking category for me.
  • Rating: 5 out of 5 stars
    5/5
    What a bizarre mix of demented fairly tale and urban suspense. Although it starts off as a somewhat ordinary mystery novel, it soon veers off into a fantastic, albeit quite gruesome, story about an ancient struggle come to its fruition in modern-day (ground, air, and downbelow) London. Not only does the plot rip you along on a mad and furious ride, but Miéville's vernacular is simply breathtaking. He can really somersault his vocabulary to fit the mood and meaning of his text, and then throw in an array of Cockney rhyming slang to make the image complete. I am in awe.
  • Rating: 2 out of 5 stars
    2/5
    Obviously a first/early novel, but obviously Miéville all the same. The setting requires a bit more suspension of disbelief than his later works, but there are a few scenes of solid New Weird payoff.
  • Rating: 4 out of 5 stars
    4/5
    I'm really enjoying Miéville's first book – it's one of his most readable. I've read most of his other novels, and you can draw a clean line between this one and, say, The City and The City. The environment is a major character: rough, dirty streets and sewers, and in them, a sort of fairy tale takes place. The kid who meets the Rat King and his friends sounds like a child's story, but it's much more interesting than that.
  • Rating: 3 out of 5 stars
    3/5
    I read this book imagining the graphic novel it was meant to be. From the first page, the text and description felt like it should be framed. The letters angled up in corners, the action outlined in thick black. It's rare to find a book so visual.King Rat, a dark revisiting of the Pied Piper, includes the rat king as well as several other mythic characters: Anansi the spider king. Loplop the bird king. And the halfbreed man who causes all the trouble. The setting in modern London's dreary streets, thumping with Drum and Bass, is key to the Piper's plans.Not a pleasant book. People die in extremely nasty ways. No one is very nice. The humans aren't really important, and so there's a bit of a difficulty at times in hanging on to a character (who survives for long) that you can become attached to. Still, it's quick read and I found it lots of fun (in a dark and nasty sort of way) to visit this reimagining of a fairy tale that always struck me as far less pleasant than the illustrations that accompanied it in my children's fairy tale book.
  • Rating: 3 out of 5 stars
    3/5
    Early one morning, Saul is woken by the heavy boots of policemen in his house, there to take him in for questioning regarding the mysterious death of his father (who has jumped, or been hurled, through the front window). In the police cell, he feels that his life has already descended into his worst nightmare, but then a mysterious stranger appears in his cell. King Rat is boastful and menacing ('I know when your ships are sinking'), but he springs Saul and introduces him to a parallel world alongside the London that he has always known. Saul is exhilarated at first, but soon it becomes clear that King Rat's grand plan is to use him in a complicated and dangerous act of revenge, and he realises that nowhere is safe for him any more.There are several good things about this book. I love the Dickensian/cockney mashup of the way King Rat speaks: 'By a river we found us a town, not too gentry a gaff, mind, but with silos that fair creaked at the seams'. I like how so much of the book is set in the unprepossessing suburbs on London - places that only people will live in the city will know. The atmosphere is just menacing and horrible enough. And the story is inventive.I wasn't too keen, though, on the scenes set in the human London - this was where the book felt more like a first novel. Saul's mates are all really into jungle music (it is the early '90s, after all) and talk much too much about how important it is in their lives, and of course how rubbish all the other sub-genres of music are. This was kind of boring, and also made the book feel very dated.
  • Rating: 3 out of 5 stars
    3/5
    Over the past years I've heard plenty a good thing about China Mieville and his novels. Most popular seems to be his Perdido Street Station yet, as I usually do, I picked Mr Mieville's first novel to begin with: King Rat.Overall I was disappointed with this offering but I can see how this being his first novel it would be unfair to gauge all of his writing solely by this book. There were some strong scenes in the story and the imaginative quality showed potential but I was most aggravated by the style of writing. The many long and over-detailed descriptions found in this book were boring and held little meaning to me. All they did was make me frustrated. It seems that every third sentence had italics on some word and the relationship between the main character and his "mentor" started interesting but fumbled into strangeness about one-third of the way into the story. The characterizations in general I found rather dull and I had trouble actually believing I was reading about a London I know.I would be happy to give Perdido Street Station a try but I would not recommend this novel to fantasy readers. There are many better urban fantasy novels to read.
  • Rating: 3 out of 5 stars
    3/5
    I wish I hadn't known this was Mieville's first novel, because I can't tell if my opinions were unfairly influenced. For example, I could say, "For a first novel, it's pretty good" or, "Some of the seeds of Mieville's later greatness can be found here." As with The City and The City, I am amazed at Mieville's ability to write something impossible and make it seem inconsequential. He's a rat AND a man, and all the problems you might think of such a person going through life with such a double role are nonexistent. And, without any magical explanations. Mieville just writes it into being. Reminded me of the Secret Life of Moscow and Neverwhere. I found the overall end of the book fine, but the past few paragraphs seemed tacked on and didn't have enough support from the rest of the book.
  • Rating: 4 out of 5 stars
    4/5
    Saul's father has been murdered and he's been framed as the murderer. When he is sprung from jail by a mysterious stranger claiming to be both a rat and his uncle, the mystery increases. And when a stranger arrives playing a flute that can control anyone who hears it, that's when Saul knows he's in way over his head.I really enjoyed this book. It was fascinating to read an urban fantasy take on the Pied Piper legend. This was dark and gritty with quite a few terrifying scenes and I never found the book short of action. I never wanted to put the book down, even when my eyes were drooping from exhaustion.The only part I didn't like about the book was it quite easy to predict the ending. I figured out fairly early what the Piper was going to do to attempt to defeat Saul. This predictability was more than countered by the high energy and horribleness of the final battle. And the scene with the children (that's all I'm going to say to avoid spoilers) when the wall split open almost made me cry.All in all, I highly recommend this book if you have a strong stomach ;-)
  • Rating: 4 out of 5 stars
    4/5
    You can just imagine China and his mates out at a Jungle club night dancing like crazy and afterwards imagining how the Pied Piper could use that rhythmic music to control the population. Briliiant. I'm a Londoner and this is my town.
  • Rating: 3 out of 5 stars
    3/5
    King Rat was a fast read, but once the Pied Piper of Hamelin story clarified, it ran along rather predictably. The book does delve into the world clearly enough, and takes the reader into the world of Drum and Bass music sympathetically.
  • Rating: 4 out of 5 stars
    4/5
    It could be argued effectively that King Rat is little more than a retelling of Neil Gaiman's Neverwhere, only much darker and without the clever repurposing of Tube station names. And yet, I enjoyed it just as much as most anything Gaiman -- my favorite living author -- has done. Why? Good question. (Maybe it was because I was on vacation in London at the time?)
  • Rating: 5 out of 5 stars
    5/5
    Well, as part of my documented addiction to books, I was looking at an interview with Neal Stephenson, on Slashdot, and he listed the books he was reading. One of them that I noticed (After S. Agnon, which was cool, since I read some stuff in the original by him in Ulpan,) was "King Rat", by China Mieville. Wow. In addition to being an interesting book, it is amazingly well written in the literary sense, with absolutely stunning prose that almost, but not quite, overwhelms the dramatic tension and makes one slow down to savour it.In any case, the book was definitely a top ten for the year, if not top three. I would recommend it to anyone who enjoys fantasy (or Science Fiction, at least in the Neal Stephenson sense of the phrase.) The ideas were very new, and the plot was both compelling and interesting. Five thumbs up.
  • Rating: 3 out of 5 stars
    3/5
    Not as good as Bas Lag. Wanted to be American Gods Neverwhere. Maybe it was, but it seemed – I don't know – thinner?
  • Rating: 3 out of 5 stars
    3/5
    Can the half man half rat save London's funky underground scene from the Pied Piper? Of course he can. An imaginative story, but not great literature.

Book preview

King Rat - China Miéville

part one

glass

one

The trains that enter London arrive like ships sailing across the roofs. They pass between towers jutting into the sky like long-necked sea beasts and the great gas-cylinders wallowing in dirty scrub like whales. In the depths below are lines of small shops and obscure franchises, cafés with peeling paint and businesses tucked into the arches over which the trains pass. The colors and curves of graffiti mark every wall. Top-floor windows pass by so close that passengers can peer inside, into small bare offices and store cupboards. They can make out the contours of trade calendars and pin-ups on the walls.

The rhythms of London are played out here, in the sprawling flat zone between suburbs and center.

Gradually the streets widen and the names of the shops and cafés become more familiar; the main roads are more salubrious; the traffic is denser; and the city rises to meet the tracks.

At the end of a day in October a train made this journey toward King’s Cross. Flanked by air, it progressed over the outlands of North London, the city building up below it as it neared the Holloway Road. The people beneath ignored its passage. Only children looked up as it clattered overhead, and some of the very young pointed. As the train drew closer to the station, it slipped below the level of the roofs.

There were few people in the carriage to watch the bricks rise around them. The sky disappeared above the windows. A cloud of pigeons rose from a hiding place beside the tracks and wheeled off to the east.

The flurry of wings and bodies distracted a thickset young man at the rear of the compartment. He had been trying not to stare openly at the woman sitting opposite him. Thick with relaxer, her hair had been teased from its tight curls and was coiled like snakes on her head. The man broke off his furtive scrutiny as the birds passed by, and he ran his hands through his own cropped hair.

The train was now below the houses. It wound through a deep groove in the city, as if the years of passage had worn down the concrete under the tracks. Saul Garamond glanced again at the woman sitting in front of him, and turned his attention to the windows. The light in the carriage had made them mirrors, and he stared at himself, his heavy face. Beyond his face was a layer of brick, dimly visible, and beyond that the cellars of the houses that rose like cliffs on either side.

It was days since Saul had been in the city.

Every rattle of the tracks took him closer to his home. He closed his eyes.

Outside, the gash through which the tracks passed had widened as the station approached. The walls on either side were punctuated by dark alcoves, small caves full of rubbish a few feet from the track. The silhouettes of cranes arched over the skyline. The walls around the train parted. Tracks fanned away on either side as the train slowed and edged its way into King’s Cross.

The passengers rose. Saul swung his bag over his shoulder and shuffled out of the carriage. Freezing air stretched up to the great vaulted ceilings. The cold shocked him. Saul hurried through the buildings, through the crowds, threading his way between knots of people. He still had a way to go. He headed underground.

He could feel the presence of the population around him. After days in a tent on the Suffolk coast, the weight of ten million people so close to him seemed to make the air vibrate. The tube was full of garish colors and bare flesh, as people headed to clubs and parties.

His father would probably be waiting for him. He knew Saul was coming back, and he would surely make an effort to be welcoming, forfeiting his usual evening in the pub to greet his son. Saul already resented him for that. He felt gauche and uncharitable, but he despised his father’s faltering attempts to communicate. He was happier when the two of them avoided each other. Being surly was easy, and felt more honest.


By the time his tube train burst out of the tunnels of the Jubilee Line it was dark. Saul knew the route. The darkness transformed the rubble behind Finchley Road into a dimly glimpsed no-man’s-land, but he was able to fill in the details he could not see, even down to the tags and the graffiti. Burner. Nax. Coma. He knew the names of the intrepid little rebels clutching their magic markers, and he knew where they had been.

The grandiose tower of the Gaumont State cinema jutted into the sky on his left, a bizarre totalitarian monument among the budget groceries and hoardings of Kilburn High Road. Saul could feel the cold through the windows and he wrapped his coat around him as the train neared Willesden station. The passengers had thinned. Saul left only a very few behind him as he got out of the carriage.

Outside the station he huddled against the chill. The air smelled faintly of smoke from some local bonfire, someone clearing his allotment. Saul set off down the hill toward the library.

He stopped at a take-away and ate as he walked, moving slowly to avoid spilling soy sauce and vegetables down himself. Saul was sorry the sun had gone down. Willesden lent itself to spectacular sunsets. On a day like today, when there were few clouds, its low skyline let the light flood the streets, pouring into the strangest crevices; the windows that faced each other bounced the rays endlessly back and forth between themselves and sent it hurtling in unpredictable directions; the rows and rows of brick glowed as if lit from within.

Saul turned into the backstreets. He wound through the cold until his father’s house rose before him. Terragon Mansions was an ugly Victorian block, squat and mean-looking for all its size. It was fronted by the garden: a strip of dirty vegetation frequented only by dogs. His father lived on the top floor. Saul looked up and saw that the lights were on. He climbed the steps and let himself in, glancing into the darkness of the bushes and scrub on either side.

He ignored the huge lift with its steel-mesh door, not wanting its groans to announce him. Instead he crept up the flights of stairs and gently unlocked his father’s door.

The flat was freezing.

Saul stood in the hall and listened. He could hear the sound of the television from behind the sitting room door. He waited, but his father was silent. Saul shivered and looked around him.

He knew he should go in, should rouse his father from slumber, and he even got as far as reaching for the door. But he stopped and looked at his own room. He sneered at himself in disgust, but he crept toward it anyway.

He could apologize in the morning. I thought you were asleep, Dad. I heard you snoring. I came in drunk and fell into bed. I was so knackered I wouldn’t have been any kind of company anyway. He cocked an ear, heard only the voices of one of the late-night discussion programmes his father so loved, muffled and pompous. Saul turned away and slipped into his room.


Sleep came easily. Saul dreamed of being cold, and woke once in the night to pull his duvet closer. He dreamed of slamming, a heavy beating noise, so loud it pulled him out of sleep and he realized it was real, it was there. Adrenaline surged through him, making him tremble. His heart quivered and lurched as he swung out of bed.

It was icy in the flat.

Someone was pounding on the front door.

The noise would not stop, it was frightening him. He was shaking, disorientated. It was not yet light. Saul glanced at his clock. It was a little after six. He stumbled into the hall. The horrible bang bang bang was incessant, and now he could hear shouting as well, distorted and unintelligible.

He fought into a shirt and shouted: Who is it?

The slamming did not stop. He called out again, and this time a voice was raised above the din.

Police!

Saul struggled to clear his head. With a sudden panic he thought of the small stash of dope in his drawer, but that was absurd. He was no drugs kingpin, no one would waste a dawn raid on him. He was reaching out to open the door, his heart still tearing, when he suddenly remembered to check that they were who they claimed, but it was too late now, the door flew back and knocked him down as a torrent of bodies streamed into the flat.

Blue trousers and big shoes all around him. Saul was yanked to his feet. He started to flail at the intruders. Anger waxed with his fear. He tried to yell but someone smacked him in the stomach and he doubled up. Voices were reverberating everywhere around him, making no sense.

… cold like a bastard…

… cocky little cunt…

… fucking glass, watch yourself…

… his son, or what? High as a fucking kite, must be…

And above all these voices he could hear a weather forecast, the cheery tones of a breakfast television presenter. Saul struggled to turn and face the men who were holding him so tight.

What the fuck’s going on? he gasped. Without speaking, the men propelled him into the sitting room.

The room was full of police, but Saul saw straight through them. He saw the television first: the woman in the bright suit was warning him it would be chilly again today. On the sofa was a plate of congealed pasta, and a half-drunk glass of beer sat on the floor. Cold gusts of air caught at him and he looked up at the window, out over houses. The curtains were billowing dramatically. He saw that jags of glass littered the floor. There was almost no glass left in the window-frame, only a few shards around the edges.

Saul sagged with terror and tried to pull himself to the window.

A thin man in civilian clothes turned and saw him.

Down the station now, he shouted at Saul’s captors.

Saul was spun on his heels. The room turned around him like a funfair ride, the rows of books and his father’s small pictures rushing past him. He struggled to turn back.

Dad! he shouted. Dad!

He was pulled effortlessly out of the flat. The dark of the corridor was pierced by slivers of light spilling out of doors. Saul saw uncomprehending faces and hands clutching at dressing-gowns, as he was hauled toward the lift. Neighbors in pajamas were staring at him. He bellowed at them as he passed.

He still could not see the men holding him. He shouted at them, begging to know what was going on, pleading, threatening and railing.

"Where’s my dad? What’s going on?"

Shut up.

What’s going on?

Something slammed into his kidneys, not hard but with the threat of greater force. Shut up. The lift door closed behind them.

"What’s happened to my fucking dad?"

As soon as he had seen the broken window a voice inside Saul had spoken quietly. He had not been able to hear it clearly until now. Inside the flat the brutal crunch of boots and the swearing had drowned it out. But here where he had been dragged, in the relative silence of the lift, he could hear it whispering.

Dead, it said. Dad’s dead.

Saul’s knees buckled. The men behind him held him upright, but he was utterly weak in their arms. He moaned.

Where’s my dad? he pleaded.

The light outside was the color of the clouds. Blue strobes swirled on a mass of police cars, staining the drab buildings. The frozen air cleared Saul’s head. He tugged desperately at the arms holding him as he struggled to see over the hedges that ringed Terragon Mansions. He saw faces staring down from the hole that was his father’s window. He saw the glint of a million splinters of glass covering the dying grass. He saw a mass of uniformed police frozen in a threatening diorama. All their faces were turned to him. One held a roll of tape covered in crime scene warnings, a tape he was stretching around stakes in the ground, circumscribing a piece of the earth. Inside the chosen area he saw one man kneeling before a dark shape on the lawn. The man was staring at him like all the others. His body obscured the untidy thing. Saul was swept past before he could see any more.

He was pushed into one of the cars, light-headed now, hardly able to feel a thing. His breath came very fast. Somewhere along the line handcuffs had been snapped onto his wrists. He shouted again at the men in front, but they ignored him.

The streets rolled by.


They put him in a cell, gave him a cup of tea and warmer clothes: a gray cardigan and corduroy trousers that stank of alcohol. Saul sat huddled in a stranger’s clothes. He waited for a long time.

He lay on the bed, draped the thin blanket around him.

Sometimes he heard the voice inside him. Suicide, it said. Dad’s committed suicide.

Sometimes he would argue with it. It was a ridiculous idea, something his father could never do. Then it would convince him and he might start to hyperventilate, to panic. He closed his ears to it. He kept it quiet. He would not listen to rumors, even if they came from inside himself.

No one had told him why he was there. Whenever footsteps went by outside he would shout, sometimes swearing, demanding to know what was happening. Sometimes the footsteps would stop and the grill would be lifted on the door. We’re sorry for the delay, a voice would say. We’ll be with you as soon as we can, or Shut the fuck up.

You can’t keep me here, he yelled at one point. What’s going on? His voice echoed around empty corridors.

Saul sat on the bed and stared at the ceiling.

A fine network of cracks spread out from one corner. Saul followed them with his eyes, allowing himself to be mesmerized.

Why are you here? the voice inside whispered to him nervously. Why do they want you? Why won’t they speak to you?

Saul sat and stared at the cracks and ignored the voice.

After a long time he heard the key in the lock. Two uniformed policemen entered, followed by the thin man Saul had seen in his father’s flat. The man was dressed in the same brown suit and ugly tan raincoat. He stared at Saul, who returned his gaze from beneath the dirty blanket, forlorn and pathetic and aggressive. When the thin man spoke his voice was much softer than Saul would have imagined.

Mr. Garamond, he said. I’m sorry to have to tell you that your father is dead.

Saul gazed at him. That much was obvious surely, he felt like shouting, but tears stopped him. He tried to speak through his streaming eyes and nose, but could issue nothing but a sob. He wept noisily for a minute, then struggled to control himself. He sniffed back tears like a baby and wiped his snotty nose on his sleeve. The three policemen stood and watched him impassively until he had controlled himself a little more.

What’s going on? he croaked.

I was hoping you might be able to tell us that, Saul, said the thin man. His voice remained quite impassive. I’m Detective Inspector Crowley, Saul. Now, I’m going to ask you a few questions…

What happened to Dad? Saul interrupted. There was a pause.

He fell from the window, Saul, Crowley said. It’s a long way up. I don’t think he suffered any. There was a pause. Did you not realize what had happened to your dad, Saul?

"I thought maybe something … I saw in the garden … Why am I here?" Saul was shaking.

Crowley pursed his lips and moved a little closer. "Well, Saul, first let me apologize for how long you’ve been waiting. It’s been very hectic out here. I had hoped someone might come and take care of you, but it seems no one has. I’m sorry about that. I’ll be having a few words.

As to why you’re here, well, it was all a bit confused back there. We get a call from a neighbor saying there’s someone lying out front of the building, we go in, there you are, we don’t know who you are … you can see how it all gets out of hand. Anyway, you’re here, long and short of it, in the hope that you can tell us your side of the story.

Saul stared at Crowley. "My side? he shouted. My side of what? I’ve got home and my dad’s…"

Crowley shushed him, his hands up, placating, nodding.

I know, I know, Saul. We’ve just got to understand what happened. I want you to come with me. He gave a sad little smile as he said this. He looked down at Saul sitting on the bed; dirty, smelly, in strange clothes, confused, pugnacious, tear-stained and orphaned. Crowley’s face creased with what looked like concern.

I want to ask you some questions.

two

Once, when he was three, Saul was sitting on his father’s shoulders, coming home from the park. They had passed a group of workmen repairing a road, and Saul had tangled his hands in his father’s hair and leaned over and gazed at the bubbling pot of tar his father pointed out: the pot heating on the van, and the big metal stick they used to stir it. His nose was filled with the thick smell of tar, and as Saul gazed into the simmering glop he remembered the witch’s cauldron in Hansel and Gretel and he was seized with the sudden terror that he would fall into the tar and be cooked alive. And Saul had squirmed backwards and his father had stopped and asked him what was the matter. When he understood he had taken Saul off his shoulders and walked with him over to the workmen, who had leaned on their shovels and grinned quizzically at the anxious child. Saul’s father had leaned down and whispered encouragement into his ear, and Saul had asked the men what the tar was. The men had told him about how they would spread it thin and put it on the road, and they had stirred it for him as his father held him. He did not fall in. And he was still afraid, but not as much as he had been, and he knew why his father had made him find out about the tar, and he had been brave.


A mug of milky tea coagulated slowly in front of him. A bored-looking constable stood by the door of the bare room. A rhythmic metallic wheeze issued from the tape-recorder on the table. Crowley sat opposite him, his arms folded, his face impassive.

Tell me about your father.


Saul’s father had been racked with a desperate embarrassment whenever his son came home with girls. It was very important to him that he should not seem distant or old-fashioned, and in a ghastly miscalculation he had tried to put Saul’s guests at their ease. He was terrified that he would say the wrong thing. The struggle not to bolt for his own room stiffened him. He would stand uneasily in the doorway, a grim smile clamped to his face, his voice firm and serious as he asked the terrified fifteen-year-olds what they were doing at school and whether they enjoyed it. Saul would gaze at his father and will him to leave. He would stare furiously at the floor as his father stolidly discussed the weather and GCSE English.


I’ve heard that sometimes you argued. Is that true, Saul? Tell me about that.


When Saul was ten, the time he liked most was in the mornings. Saul’s father left for work on the railways early, and Saul had half an hour to himself in the flat. He would wander around and stare at the titles of the books his father left lying on all the surfaces: books about money and politics and history. His father would always pay close attention to what Saul was doing in history at school, asking what the teachers had said. He would lean over his chair, urging Saul not to believe everything his history teacher told him. He would thrust books at his son, stare at them, become distracted, take them back, flick through the pages, murmur that Saul was perhaps too young. He would ask his son what he thought about the issues they discussed. He took Saul’s opinions very seriously. Sometimes these discussions bored Saul. More often they made him feel uneasy at the sudden welter of ideas, but inspired.


Did your father ever make you feel guilty, Saul?


Something had been poisoned between the two of them when Saul was about sixteen. He had been sure this was an awkwardness that would pass, but once it had taken root the bitterness would not go. Saul’s father forgot how to talk to him. He had nothing more to teach and nothing more to say. Saul was angry with his father’s disappointment. His father was disappointed at his laziness and his lack of political fervor. Saul could not make his father feel at ease, and his father was disappointed at that. Saul had stopped going on the marches and the demonstrations, and his father had stopped asking him. Every once in a while there would be an argument. Doors would slam. More usually there was nothing.

Saul’s father was bad at accepting presents. He never took women to the flat when his son was there. Once when the twelve-year-old Saul was being bullied, his father came into the school unannounced and harangued the teachers, to Saul’s profound embarrassment.


Do you miss your mother, Saul? Are you sorry you never knew her?


Saul’s father was a short man with powerful shoulders and a body like a thick pillar. He had thinning gray hair and gray eyes.

The previous Christmas he had given Saul a book by Lenin. Saul’s friends had laughed at how little the aging man knew his son, but Saul had not felt any scorn—only loss. He understood what his father was trying to offer him.

His father was trying to resolve a paradox. He was trying to make sense of his bright, educated son letting life come to him rather than wresting what he wanted from it. He understood only that his son was dissatisfied. That much was true. In Saul’s teenage years he had been a living cliché, sulky and adrift in ennui. To his father this could only mean that Saul was paralyzed in the face of a terrifying and vast future, the whole of his life, the whole of the world. Saul had emerged, passed twenty unscathed, but his father and he would never really be able to talk together again.

That Christmas, Saul had sat on his bed and turned the little book over and over in his hands. It was a leather-bound edition illustrated with stark woodcuts of toiling workers, a beautiful little commodity. What Is To Be Done? demanded the title. What is to be done with you, Saul?

He read the book. He read Lenin’s exhortations that the future must be grasped, struggled for, molded, and he knew that his father was trying to explain the world to him, trying to help him. His father wanted to be his vanguard. What paralyzes is fear, his father believed, and what makes fear is ignorance. When we learn, we no longer fear. This is tar, and this is what it does, and this is the world, and this is what it does, and this is what we can do to it.


There was a long time of gentle questions and monosyllabic answers. Almost imperceptibly, the pace of the interrogation built up. I was out of London, Saul tried to explain, I was camping. I got in late, about eleven, I went straight to bed, I didn’t see Dad.

Crowley was insistent. He ignored Saul’s plaintive evasions. He grew gradually more aggressive. He asked Saul about the previous night.

Crowley relentlessly reconstructed Saul’s route home. Saul felt as if he had been slapped. He was curt, struggling to control the adrenaline which rushed through him. Crowley piled meat on the skeletal answers Saul offered him, threading through Willesden with such detail that Saul once more stalked its dark streets.

What did you do when you saw your father? Crowley asked.

I did not see my father, Saul wanted to say, he died without me seeing him, but instead he heard himself whine something inaudible like a petulant child.

Did he make you angry when you found him waiting for you? Crowley said, and Saul felt fear spread through him from the groin outward. He shook his head.

Did he make you angry, Saul? Did you argue?

I didn’t see him!

Did you fight, Saul? A shaken head, no. Did you fight? No. Did you?

Crowley waited a long time for an answer. Eventually he pursed his lips and scribbled something in a notebook. He looked up and met Saul’s eyes, dared him to speak.

I didn’t see him! I don’t know what you want … I wasn’t there! Saul was afraid. When, he begged to know, would they let him go? But Crowley would not say.

Crowley and the constable led him back to the cell. There would be further interviews, they warned him. They offered him food which, in a fit of righteous petulance, he refused. He did not know if he was hungry. He felt as if he had forgotten how to tell.

I want to make a phone call! Saul called as the men’s footsteps died away, but they did not return and he did not shout again.

Saul lay on the bench and covered his eyes.

He was acutely aware of every sound. He could hear the tattoo of feet in the corridor long before they passed his door. Muffled conversations of men and women welled up and died as they walked by; laughter sounded suddenly from another part of the building; cars were moving some way off, their mutterings filtered by trees and walls.

For a long time Saul lay listening. Was he allowed a phone call? he wondered. Who would he call? Was he under arrest? But these thoughts seemed to take up very little of his mind. For the most part he just lay and listened.

A long time passed.


Saul opened his eyes with a start. For a moment he was uncertain what had happened.

The sounds were changing.

The depth seemed to be bleeding out of all the noises in the world.

Saul could still make out everything he had heard before, but it was ebbing away into two dimensions. The change was swift and inexorable. Like the curious echoes of shrieks which fill swimming pools, the sounds were clear and audible, but empty.

Saul sat up. A loud scratching startled him: the noise of his chest against the rough blanket. He could hear the thump of his heart. The sounds of his body were as full as ever, unaffected by the strange sonic vampirism. They seemed unnaturally clear. Saul felt like a cut-out pasted ineptly onto the world. He moved his head slowly from side to side, touched his ears.

A faint patter of boots sounded in the corridor, wan and ineffectual.

Enjoying the preview?
Page 1 of 1