Hannah Green and Her Unfeasibly Mundane Existence
An unpredictable, poignant, and captivating tale for readers of all ages, by the critically acclaimed author of Only Forward.There are a million stories in the world. Most are perfectly ordinary.This one… isn’t.Hannah Green actually thinks her story is more mundane than most. But she’s about to discover that the shadows in her life have been hiding a world where nothing is as it seems: that there's an ancient and secret machine that converts evil deeds into energy, that some mushrooms can talk — and that her grandfather has been friends with the Devil for over a hundred and fifty years, and now they need her help.
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HANNAH GREEN AND HER UNFEASIBLY MUNDANE EXISTENCE
MICHAEL MARSHALL SMITH
HarperVoyager
An imprint of HarperCollinsPublishers Ltd
1 London Bridge Street,
London SE1 9GF
First published in Great Britain by HarperCollinsPublishers 2017
Copyright © Michael Marshall Smith 2017
Michael Marshall Smith asserts the moral right to be identified as the author of this work.
A catalogue record for this book is available from the British Library.
This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.
Source ISBN: 9780008237912
Ebook Edition © July 2017 ISBN: 9780008237936
Version: 2018-09-21
One’s destination is never a place but rather
a new way of looking at things.
—Henry Miller
Big Sur and the Oranges of Hieronymus Bosch
Table of Contents
Imagine, if you will, a watchmaker’s workshop.
In fact, please imagine one whether you wish to or not. That’s where something’s about to happen, something that won’t seem important right away but will turn out to be – and if you’re not prepared to listen to what I’m saying then this whole thing simply isn’t going to work.
So.
Imagine that thing I just said.
If it helps, the workshop is on the street level of an old and crumbling building, in a town some distance from here. With the exception of the workbench it is cluttered and dusty. The watchmaker is advanced in years and does not care about the state of the place, except for the area in which he works.
It is a late afternoon in autumn, and growing dark. Quite cold, too. It is quiet. The workshop is dimly lit by candles, and the watchmaker – you can picture him in the gloom, bent over his bench, if you wish – is wearing several layers of clothing to keep warm. He is repairing a piece he made several decades ago, the prized possession of a local nobleman. It will take him perhaps half an hour, he estimates, after which he’ll lock up his workshop and walk through the narrow streets to his house, where since the death of his wife he lives alone but for an elderly and bad-tempered cat. On the way he will stop off to purchase a few provisions, primarily a bag of peppermints, of which he is extremely fond. The watchmaker. Not the cat.
The timepiece he is working on is intricate, and very advanced for its time, though the watchmaker knows that were he to embark upon crafting something like it now he’d do things quite differently. He has learned a great deal since he made it. He doesn’t make anything new any more, however. He hasn’t in a long while. The story of his life has already been told. He is merely waiting for its final line.
Nonetheless, his eyes remain sharp and his fingers nimble, and in fact it only takes ten minutes before the watch is working perfectly once more. He reassembles it, and polishes the outside with his sleeve. Finished. Done.
He stands with the piece in his hands. He is aware, through his profound understanding of its workings, of the intricate mechanisms involved in its measuring of time, the hidden movements. He feels these as a subtle, almost imperceptible vibration, like the murmur of a tiny animal cupped in his hand, stirring in its sleep.
And he is aware of something else.
Not one thing, in fact, but a multitude – a cloud filling his mind like notes from a church organ, soaring up towards heaven. He is aware of children, and a grandchild. They cannot be his, because he has none: his marriage, though long and comfortable, was without issue. Aware, too, of the people who had come before him, his parents and grandparents and ancestors, aware not merely of the idea of them but their reality, their complexity – as though he has only ever been the soloist in the music of his life, supported upon the harmonies of others.
