Plume
The 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.
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4th Estate
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London SE1 9GF
This eBook first published in Great Britain by 4th Estate in 2019
Copyright © Will Wiles 2019
Cover design by Luke Bird
Cover illustration © Blue Jean Images / Alamy
Will Wiles 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
Information on previously published material appears here.
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, down-loaded, 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: 9780008194413
Ebook Edition © March 2019 ISBN: 9780008194420
Version: 2019-03-25
For my parents, with love.
‘People begin to see that something more goes into the composition of a fine murder than two blockheads to kill and be killed — a knife — a purse — and a dark lane. Design, gentlemen, grouping, light and shade, poetry, sentiment, are now deemed indispensable to attempts of this nature.’
‘On Murder Considered as One of the Fine Arts’
Thomas De Quincey
Contents
Copyright
Dedication
Epigraph
Chapter One
Chapter Two
Chapter Three
Chapter Four
Chapter Five
Chapter Six
Chapter Seven
Chapter Eight
Chapter Nine
Chapter Ten
Chapter Eleven
Chapter Twelve
Acknowledgements
About the Author
Also by Will Wiles
About the Publisher
We want beginnings. We want strong, obvious beginnings. Start late, finish early, that’s the advice from people who write magazine features. Ditch the scene-setting, background-illustrating and throat-clearing and get stuck in. It’s not a novel.
Lately, however, I’ve been fixated on beginnings, and their impossibility. I trace back and back through my life, trying to find the day, the hour I started to fail. Whenever I alight upon a plausible incident, where it might make sense to begin, I find causes and reasons and conditions and patterns that can be traced back further. And then I discover that I have gone back too far, that I have reached a point well before the event horizon of my failure, where the mass of it in my future overcomes any possibility of escape in the present. No fatal slip, or fatal sip.
Start late, finish early. Start with a bang. Later, a couple of my colleagues would claim that they heard the explosion. The rest would insist that it was too far away to be heard and that the others were mistaken.
I did not hear it. I felt it. The shockwave, widening and waning as it raced through east London, passed through my chair, through my notebook, through my phone, and through the people seated around the aquarium conference table. As it passed through me – through the acid wash of my gut, through raw, quivering membranes, through the poisoned fireworks of my brain – the wave registered as a shudder. It tripped a full-body quake, a cascade of involuntary movements beginning at the base of my spine and progressing out to my fingertips. These episodes had been getting worse lately, but I knew this was more than the usual shakes: as I felt the wave, I saw it. My eyes were focused on the glass of sparkling water in front of me. I had been trying to lose myself in its steady, pure, radio-telescope crackling. When the shock of the blast reached us, it had just enough strength to knock every bubble from the sides of the glass, and they all rose together in a rush. No one else reacted. No one else saw.
No ripple could be seen in the rectangular black pond of my phone, which was lying on the conference table in front of me. Within it, though, beneath its surface, ripples … But the Monday meeting had rules, strict rules, and my phone was silenced. Really, it should have been turned off, but I knew that it was on behind that finger-smeared glass, awaiting my activating caress.
‘Explosion’ was not my first thought. I guessed that a car had hit the building, or one nearby. These Victorian industrial relics all leaned up against each other, and interconnected and overlapped in unexpected ways. Strike one and the whole block might quiver. But it could have been nothing. Without the evidence of the glass in front of me, I might have believed that I had imagined the shock, or that it had taken place within me, a convulsion among my jangling nerves, and I had projected it onto the world.
Even the bubbles were no more than a wisp of proof that an Event had taken place; they were gone now, and no further indications had shown themselves. None of my colleagues had stirred – they were either discussing what to put in the magazine, or looking attentive. As was I. There were no shouts or sirens from the street, not that we’d hear them behind double glazing six storeys up.
