Scissors, Paper, Stone
A frank and beautiful story of damage, survival and restoration from an exhilarating literary voice.As Charles Redfern lies motionless in hospital, his wife Anne and daughter Charlotte are forced to confront their relationships with him – and with each other. Anne, once beautiful and clever, has paled in the shadow of her husband's dominance. Charlotte, meanwhile, is battling with her own inner darkness and is desperate to prevent her relationship with her not-yet-divorced lover from disintegrating.As the full truth of Charles's hold over them is brought to light, both women must reconcile themselves with the choices they have made, the secrets they have kept, and the uncertain future that now lies ahead of them.
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Scissors, Paper, Stone
Elizabeth Day
4th Estate
An imprint of HarperCollinsPublishers 1 London Bridge Street London SE1 9GF
First published in Great Britain by Bloomsbury Publishing Plc in 2011
This eBook edition published by 4th Estate in 2017
Copyright © Elizabeth Day, 2011
Elizabeth Day 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, 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: 9780008221775
Ebook Edition © May 2017 ISBN: 9780008221782
Version: 2018-03-06
Praise for Scissors, Paper, Stone
‘Elizabeth Day’s observations of a certain sort of middle-class life […] are altogether brilliant … Moreover, the self-restraint of the plot is as impressive as that of the characterisation: when the cause of the family’s unhappiness is finally revealed, it is all the more unpleasant for being so utterly unexpected’ Spectator
‘[A] tense, sensitive exploration of a mother and daughter's fractured relationship and the man between them’ Marie Claire
‘Deftly unpicks a daughter’s troubled relationship with her mother after her father has lapsed into a coma’ Observer
‘[Scissors, Paper, Stone] has the page-turning compulsion of a thriller combined with the horror of discovering exactly what happens when human behaviour skids from normal to disturbing’ Belfast Telegraph Morning
‘Rips along convincingly … Day reveals the horrible truth behind this ostensibly ordinary family. At this point Day's brilliance as a writer starts delivering a real punch … thoroughly believable’ New Zealand Herald
‘Clever and well-written’ Times Literary Supplement
‘Elizabeth Day has written an absorbing and moving novel in which she has managed to convey the chronic damage that a father, wife and daughter may do to one another. Her writing is both delicate and direct, not an easy combination to effect, but she has pulled it off’ Elizabeth Jane Howard
'A daring, absorbing and beautifully-written story of damage and betrayal, this is an exhilarating and deeply affecting first novel’ Jennie Rooney, author of Inside the Whale
To my parents,
for being nothing like Anne and Charles
At first he does not realise he is bleeding. He wakes in a state of numbness, with no memory of where he is. It takes him several minutes to notice the glutinous dark-red liquid but, even then, he cannot work out where it is coming from. It trickles past his nose with a slow insistence and gathers in a small pool at the tip of his finger. It smells of uncooked meat.
He can make no sense of his position. He appears to be lying on hard grey flagstones, his face parallel with the serrated metal surface of a manhole cover. His left cheek is pressed painfully against the pavement and he cannot open one eye. The other eye, sticky and blurred, is focusing on a blackened blob of chewing gum, trodden into the ground a few inches from his nose.
He rolls his eye around frantically in its socket, straining to see as much as possible. Out of one corner, he can make out the bridge of his nose. An arm is spread out underneath his head, disjointed and bent out of shape. He wonders briefly whose arm it is and then he works out with a jolt that it must be his and a sickness rises up inside him.
He finds that he cannot move. It is not that he feels any pain, simply that any physical exertion is impossible. Something is loose and rattling in his mouth. He presses at it with the tip of his swollen tongue and thinks it must be a tooth.
A voice that he does not recognise, male and throaty, is speaking. After a few seconds, he notices that the words make sense.
‘All right mate, all right, just keep still. The ambulance will be here soon.’
That is when he realises he must be bleeding. Instantly, he feels a desperate surge of white-hot panic. His one eye starts to weep, silently, and the tears drip down from the corner of his eyelid to the tip of his nose and on to the pavement, where they mix in with the blood, thinning it to a watery consistency. He tries to speak but no sound emerges. His mind is filling with infinite questions, each one expanding to fill the space like a sea anenome unfurling underwater.
