"Doctor Criminale" - читать интересную книгу автора (Bradbury Malcolm)

1 I first met her at the Booker Prize for Fiction . . .

As it happened (and most of this did more or less happen), I first met her at the Booker Prize for Fiction. We both turned up at the great autumn prizegiving dinner in the London Guildhall; she was there to tell one kind of story, I was there to tell another. She was an assistant producer on the live television coverage for the BBC’s ‘Late Show’, which for once was going out earlier than usual; I was covering the great event for the What’s Happening section of the Serious Sunday newspaper I worked for – which, since the Booker Prize beanfeast fell on a Tuesday, meant that my copy was going out later than usual. And in the event it did not go out at all, for my Serious Sunday, as Serious Sunday newspapers seem to have a way of doing, went bankrupt in the interim.

So she was wrapped up in all the modern technics, the ducts and cabling, the lamps and dollies, the backpacks and betacams, that we need to turn real life into a technological fiction so that we can perceive it as reality again; I had a Biro and a spiral notepad in my pocket. She was red-haired, and clad in low-cut and thong-tied black, as if she were about to attend some erotic funeral; I, because no one at the Serious Sunday had warned me that the Booker is a monkey-suit job, was rigged out in my usual green shellsuit and Reebok trainers – for ours, as you know, is an age of colour. She had arrived at the glittering London Guildhall, and as I was to discover from experience would later also leave it, in a long, low chauffeur-driven contract limousine; I had padlocked my mountain bike to some fine City of London lamppost or other and deposited my cycling helmet in the Guildhall’s great downstairs marble-vaulted loo. She, wired for sound and clipboard in hand, was already on duty in the bright glass-walled entrance lobby, halting the brightest and best of the great and the good as they entered, and asking them to give the cameras a few sprightly words on the likely winning novel. And I, having wheedled an unwilling press-pass from the frosty guard-girls on the hostess desk, was following an ancient rule of my even more ancient profession, and heading through the lobby to the reception salon to get my frosted hands around a warming drink.

So she was media wise, and I was word foolish; and it seemed that nothing in this weird wayward old celesto-system of ours could possibly have destined us to meet. But meet we somehow did. ‘You look like a nice upstanding young man,’ she said, halting me with her clipboard, ‘Wouldn’t you like to have your picture taken for the television?’ Now to this day, this very day (and by this I mean the day I sit down to write this, not the day when, with usual readerly lethargy, you sit down to read it, which could be years from now), I can’t understand why she took the fatal decision to stop me rather than someone else, why she supposed that the snap opinions of a totally unknown literary journalist (if she even knew that that was what I was) on the year’s prize fictions would be worth a groat to the tired evening viewer. Except of course that I can, because I was indeed a nice upstanding young man (and still am, I assure you, to this day, this very day), while most of the brightest and best of the great and the good, who were passing by in their ancient, wine-soaked evening finery, were very definitely not.

No more can I understand why, when asked, I consented. Except of course that I can, for who among us, however wise in other things, is not fool enough to be seduced by a little media attention, or doesn’t suppose that by appearing on television our lives will somehow be made more real? I should have known better; but, frankly, there is nothing in this world more erotic than the searching, sucking lens of the television camera, especially when its claims are backed by the lure of a red-haired, low-cut, thong-tied, smiling female advocate. So she smiled at me brightly, I consented to her warmly; and then she took my hand and led me aside to the camera set-up, tucked away just round a corner. Here she presented me to the presenter, who, like all ‘Late Show’ presenters that year, was henna-haired, female, and heavily pregnant, set me in position before the truculent dark lens of the camera and its truculent dark cameraman, tilted my head, tousled my hair, dabbed an acned spot or two on my face with powder, rearranged my legs a little, and left me to my fate.

Now to this day, this very day, I really cannot imagine why I then went on to say what I then went on to say. Except of course that I can. Because this particular Booker Prize happened to fall right in the lull or dark hollow between the Entrepreneurial Eighties and the Nervous, Nebulous, Nailbiting Nineties. In the Big World, out there beyond the formal London Guildhall and the new, postmodern financial towers of the City of London, more than forty years of history were daily coming unravelled. The Berlin Wall had only lately toppled, and was already starting to fetch high prices on the art marketplace (especially if you could find a piece that had actually been signed by Honecker). It was now Bush and not Reagan who presided over the golf-courses and budget deficits of the United States; but on the throne of Britain Margaret Thatcher was still in power, and in the Soviet Union Mikhail Gorbachev still survived, the great architect of the age of glasnost and perestroika. Right across Eastern Europe the statues fell and the busts tumbled, of Lenin and Stalin, Ceauşescu and Hoxha, now scrap metal, wasted history. Frontiers opened, half Albania was on the boats, independent republics were declaring themselves, Germany was shaking hands with itself in re-unification, and everyone everywhere was talking about the Great Turn of the world.

So streetwise historians were announcing the End of History, journos like me were noting the Close of the Cold War, politicians everywhere were talking of the New World Order-especially those in the New World. Marxism and the command economy were plainly dying of terminal exhaustion. On the other hand liberal capitalism wasn’t doing so very well either. There was budget crisis in Washington, high-street recession in Britain, the fiscal jitters in Tokyo, and bank fraud all over the place. In Brussels Napoleonic dreamers were reinventing Europe, if they could just find out where its edges started and stopped. There was conflict in Yugoslavia, independence rioting in the Baltics, ethnic and tribal tension everywhere. Over the European fringes, Saddam Hussein (former Takriti street-fighter, and BBC World Service man of the year), think­ing it was passing brave to be a king and ride in triumph through Persepolis, had sent a genocidal army to murder, rape and pillage in nearby friendly Kuwait. Meanwhile the millennium was to hand, the polar ice-cap was melting, the ozone layer depleting. There were sexual plagues, floods, droughts, severe famines, earthquakes, outbursts of boils and mass gatherings of locusts. To a nice upstanding young fellow like myself, in my green shellsuit and Reebok trainers, these were troubling days. They were also my days.

Meanwhile back in British fiction it was nostalgia time. Nearly all six novels in the Booker shortlist were what, standing there glowing in the eye of the camera, I unwisely chose to call Granny Novels – novels by authors apparently all on the further side of eighty, nearly every one of them tales about adolescent love affairs conducted to a point well short of tumescence under parasols on the beach at Deauville or Le Touquet (or just possibly in a punt on the Cam) in the long lovely summer of 1913. Think of it. Here was I, a young man born just before the year of the moonshot, someone for whom anything before the invention of Word Perfect was retrospect. Hardly surprising that I considered these as historical novels – even though their authors, understandably enough given their longevity, insisted they were entirely contemporary. Now I am a New Man, living in Camden (or Islington, as we prefer to call it). Of course I am never guilty of sexism, racism, even ageism, or gerontophobia. I believe the elderly deserve their say, like any other disadvantaged group. But I’m also a citizen of dirt-and-detritus London of the late sad century, where homeless people sleep in boxes, garbage piles up in the streets, a trip down the London Underground reminds us that life in our failing metropoli increasingly resembles existence in war-torn Beirut, and the world of these novels was really not mine at all.

I’m older now. With the wisdom of hindsight I see I may have spoken a bit too freely, been a smidgen extreme, a mite extravagant, even laid it on a little. I was talking about books I had at best skim-read, at worst digested simply by reading the blurb (to tell the truth, I found time to read some of them properly later, and they pleasantly surprised me). No doubt, as their authors claimed, they were born of the deep wisdom of a full human experience from the red-hot fires of the imagination. I now know it is often the young who are most nostalgic for the past they’ve yet to acquire, and have a lively instinct for faking history. I have discovered through effort (how much effort you’ll see later, if you just read on) that even the lives of the old can be complicated, their response to existence wise, that there are things about history we ought to remember. But imagine the set-up, try to share it. I was still an innocent; here in front of me was the television camera. And the problem with that is when the camera looks at you you think you are speaking to it, or maybe even to the pretty girl staring at you round the side of it, rather than the wider world beyond. I belong to the age of instant reaction – thinking, eating, emoting on the hoof. It was my on-the-spot opinion TV asked for. It was my on-the-spot opinion TV got.

I chattered. Words like sentimental, parochial, traditional freely passed my lips. After a few sentences the henna-haired presenter cut me, rather curtly, I thought, off, the cameraman checked the tape, the girl in the low-cut dress said ‘Brilliant’ (later on I discovered she said that all the time, about all matters, good or bad). Someone else rolled up with the next victim, who was John Mortimer, or if not he someone of his size, mien, and standing; and I, stupidly glad to have had my moment of media fame, my time in filmic eternity, went on my way to the vast, vaulted reception hall, decked out with fine oil portraits of great London worthies, to gather my just reward in the form of a life-enhancing drink. Here frilly-aproned waitresses stood waiting, as if glad to see me, on the wide stone steps, holding out silver trays laden with the condiments that sauce these great occasions: champagne or its near relative, orange juice, bottled water, bright gins-and-tonics into which the ice-cap was Antarctically melting. I gathered up two glasses of champagne, one for myself and the other for some putative companion; after all I belong to that brilliant new generation who thinks that at parties you never know your luck. I would be among writers, who notoriously consider a drinks gathering a prelude to gen­eral adultery. I pushed my way into the penguin-suited room.

It took a while to realize I had seriously misjudged the whole occasion. The fact is, at the Booker, the glitterati are not the literati at all. The first person I spoke to said he was Neil Kinnock, and I realized later he very probably was. Perhaps that is why my fascinating chatter about experimental fiction in the post-postmodern world did not go down very well. Someone else said he was Richard Rogers, whom I probably should have talked to about Post-Postmodernism, not about filmstars who rode horses. Someone else claimed to be the Governor of the Bank of England; someone else explained that he farmed some of or possibly the whole of the West Country. There were more bankers, businessmen, politicians, ambassadors from various countries where they read books. Altogether we made a strange combination, the great and the good in their black and their white, their orders and decorations hanging bluely beneath their bow ties, I in my green shellsuit with the Reebok trainers. I was with the chattering classes, who chatted the chat the chattering classes like to chatter when they are just chatting: of the ERM of the EMU, of hard ECUs and soft landings, of holidays and health farms, of their charming villas in the Dordogne and their undying hatred of the French.

At last, impatient, I stopped a passing penguin suit – he turned out to be John Major, though he probably did not know that himself then – and asked to be directed toward some writers. After a moment of thought, he smiled affably and pointed me in the direction of the far, portrait-hung wall. He proved (on this question certainly) entirely in the right. Up against the wall, in a terrified herd, I found the shortlisted six, the authors whose books were being weighed against each other for the prize. They were huddled together, drinking glasses of orange-juice’ and surrounded by sad-looking literary agents and publishers’ publicity girls, every one of them called Fiona. As I expected, they were mostly elderly ladies, though one was a very young girl just learning the granny trade, another a male author from the Antipodes suffering from terminal jet-lag. Some of the ladies had permed their hair, though most preferred to leave theirs in a state of gay disorder. Some carried plastic shopping bags, one was already weeping a little, another complaining she had taken more orange-juice than was good for her. All appeared bewildered, as if no one had properly explained to them why, just for this once, they had been let out. The only way they resembled writers was that all of them were sulky and spiteful, and clearly detested each other. By now the five judges, their deliberations completed, were back in the room and spreading the result among their spouses or other consorts. But, the game of the Booker being to keep the authors themselves in suspense as long as possible, to raise the drama of the event, the writers themselves had no idea of the outcome, and so didn’t know which of their group to detest the most.

I summoned up my charm (maybe I should say that from time to time I do have some) and approached the Fionas, saying I wanted to interview their charges on the influence of Dirty Realism on their work. Speaking as one Fiona, they refused point-blank, explaining no interviews were allowed until the result had been announced. Then the winner would be presented to the press, and their remaining candidates aban­doned, presumably, to their various miserable fates. Even now I’m not sure whether the Fionas told me the truth, or had correctly judged that an article by me was unlikely to be an act of pure homage. In fact I’d already intended to show that between the Booker writers and me lay a wide culture gap. They were writers who called the novel their ‘medium’; and the women in them still had just one breast; I came from the world of the media – how true, how true, that would prove – and the women in my life made no bones or flesh about having two. They were stuck in the age of the puritan singular, I came from the age of the permissive plural. Yes, thinking back, those Fionas were probably just good at their jobs.

By now, you could very well be wondering (of course you could equally well not) about me: my life, my literary attitudes, even my Weltanschauung in general. I could detain you with some random biography (parents, school, sporting interests, first fumbling love-makings), but I really prefer not to. Briefly, then, in the Mid-Eighties, that mysterious and now totally lost decade, I was an undergraduate at the University of Sussex, the Sixties-by-the-Sea. Here I was smart as a button, and here I acquired my literary education. It was the Age of Deconstruction, and how, there on the green Sussex chalk downs, we deconstructed. Junior interrogators, literary com­missars, we deconstructed everything: author, text, reader, language, discourse, life itself. No task was too small, no piece of writing below suspicion. We demythologized, we demys­tified. We dehegemonized, we decanonized. We dephallicized, we depatriarchalized; we decoded, we de-canted, we de-famed, we de-manned. When the course reached its end, I went to my tutor – a young but sad, bedraggled late-Marxist figure, drained of nearly all life by the academic dismantlings of the Thatcher Age – and said I had made my choice of career. Was it, he asked ironically, banking, accountancy, the Jaw, a Harvard MBA, a course in creative writing at some even more distinguished new university? No, I said, like several of my friends, I wanted to join the army. After all, there would be no war, and I thought nothing could be more amusing than spending the rest of my days sitting drinking beer in Bavaria.

He went, I recall, white, and stared at me in obvious historical dismay. This wasn’t the Sussex he thought he knew so well. But then his always sharp wits gathered, and he gave me a piece of advice I recall to this day, this very day. If, he said, it was random violence I was after, why not go into literary journalism? I told him that, having taken his course, I no longer liked writers or their work. He had proved to me conclusively that all literature had been written by the wrong people, of the wrong class, race and gender, for entirely the wrong reasons. Marvellous, he said; for a career on the modern book pages these were perfect qualifications. Then, reaching for the telephone on his desk, he dialled some freephone number and talked to one of his many journalist friends. So well did he sing my praises that within days I had been offered trial employment on a forthcoming Serious Sunday newspaper, which was seeking a fresh, youthful, irreverent but upmarket image. And I still recall the day at the final party for our class when, tears in his eyes, Sancerre in his glass, my tutor shook my hand for the last time, and urged me to go out into the world and do good hermeneutic work in the service of personkind. From that day until the night of the Booker, I’d dedicated my career to the high principles he taught.

My Serious Sunday was one of those neo-tabloids that are produced from computerized offices in cabriole-topped postmodern tower blocks just to the south of the Thames. Its sharp vital pages were made up of politics and sex, high finance and consumption, opera and custom number plates, country living and rap, intellect and gossip, thought and sneer, in such perfect combination as to make every sabbath a day of ideal leisure and pleasure. Among discriminating readers (and as we told our advertisers, we only had discriminating readers, like yourselves), my literary pieces – original, intellectual, radical, anarchical, topical, and above all oedipal – soon made their mark. Like my fellow New Age journalists who only profile well-known people they totally despise, I caught the note of the day to perfection. I wrote for the Nineties person: neat but alternative, streetwise but eco-friendly, book-aware but never dull. People called me a Punk Reviewer, though why my thoughtful columns should be compared to a kind of backstreet garage music I would never give CD time to I cannot understand.

So I made my way, the aspiring journo in the age of literary confusion. I did, I think, all the right things. I took a flat in Camden (Islington) in a basement so modest it was actually underneath another basement. I lived off fast-food outlets and bought myself a microwave oven and a mountain bike. I had girl-friends who wanted to take out joint mortgages on Docklands apartments with me; I explained I want to remain a person of temporariness not permanence, journey not arrival. I wrote, but not books (far too monumental). I wrote fragments, in fact I wrote everything: solemn pieces for the Times Literary Supplement, essays on South American fiction for the London Review of Books, lyrics for pop songs, scripts for radio com­mercials. I reviewed and I columnized, picking up titbits about authors that would make your ears crinkle. I interviewed, I opined. I freelanced, I free-styled, I free-loaded, I freebied. I also worked part-time in a winebar in Covent Garden, and sold gossip to New Musical Express. And so I made my way, till the night of the Booker, when my life quite seriously changed.

By now, back in our mise-en-scène at the Guildhall, the room was full of folk and noise. An MC appeared, gaveiled for silence, and asked us all to proceed into the Banqueting Hall beyond. In a great restive flock the authors round me surged off, herded here and there by their various Fionas. I jostled my way through the elegant diners pushing for the trough to find the table plan, to see what good company had been picked for me in the prime part of the evening. I saw I had not been placed on the top table, where all the places had been assigned to people somewhat better known than myself: an ex-Prime Minister, the leader of the opposition, two Nobel prizewinners, a French new novelist, now very old, and the chairman of thejudges, a former Labour politician rumoured to read books. Nor, for that matter, was I on any of the other tables either. ‘I hope you don’t think they’ll let you eat with the big people,’ said someone at my side, taking the spare glass of champagne from my hand, ‘There’s a press-room at the back where you can eat your sandwiches. If you remembered to bring them.’ I turned, and there was the girl in the thong-tied dress again, cuddling her clipboard and very frankly looking me over.

‘Ah, it’s you,’ I said. ‘And it’s also you,’ she said. ‘You know who I am,’ I said, ‘I don’t know who . . .’ ‘I’m Ros,’ said the girl, ‘Short for Diana.’ ‘How did you like the interview?’ I asked. ‘Brilliant,’ she said. ‘I was good?’ I asked. ‘You were terrible,’ she said, ‘Worse than Howard Jacobson.’ ‘Come on, nobody at the Booker’s ever been worse than Howard Jacobson,’ I said. ‘They have now,’ she said. ‘Okay, what was wrong with it?’ I asked. ‘You were mean, crappy and selfish,’ said Ros. ‘Well, I’m young,’ I said. ‘I’ll say,’ said Ros, ‘Do you want to come to the scanner and watch it go out?’ ‘Go out?’ I asked, ‘You mean it’s bad but you’re still going to use it?’ ‘I mean it’s so bad we’d be crazy not to use it,’ said Ros. ‘Now look,’ I said, ‘If it’s bad we ought to think about this.’ ‘We have,’ she said, ‘It’s right at the top of the programme. It’s so bad it’s brilliant. You’d love it, at least you would if it weren’t you. Are you coming or not? If so, grab one of those champagne bottles from the waitress, before she takes them away.’

So Ros and I stepped out of the Guildhall, leaving behind the bright lights and the glitz of the great and the good, and started walking in wind and driving rain through the City of London, its great financial towers, the pride of the economic Eighties, rising high above. We walked through the land of fiscal wizardry, turned down a mean sidestreet, and entered an unmarked green van, parked in shadow at the end of a dirty alley. Above rose the great bank office blocks, where in vast galleries money-shufflers sat before computer screens, scanning the datasphere for those pulses that construct the mad fiction of economic reality. Meantime, in the scanner van down below, we did much the same, sitting before a bank of monitors selecting the images that construct the mad economic reality of fiction. And that was how, sitting in an old van in a dirty alley, I stared at a TV screen and watched the Booker Prize for Fiction, just as I might have done at home. Except at home I would not have had a thong-tied girl squeezed next to me one side, a sound engineer on the other, all of us trying to sit on one chair and drink from the same bottle of champagne.

Nor would I have seen the pictures the viewers didn’t – glimpses of the gritty real life of your everyday Booker ban­quet. Distinguished diners sat beneath distinguished portraits, scoffing what looked like a distinguished dinner. A cabinet minister yawned in boredom as he listened to the advice of his lady companion. A loose hand slid under a tablecloth, then up a nearby velvet skirt. ‘I suppose you know the win­ner already,’ I said, taken by a sudden cunning journalistic thought. ‘We have to, to get the cameras to position,’ said Ros. ‘Fine, why not tell me, one journo to another,’ I said, ‘Then I can rush back and grab the first interview.’ ‘No way,’ said Ros, ‘Knowledge is power.’ ‘I thought journos liked to help each other,’ I said. ‘The way the countries in the Balkans like to help each other,’ said Ros, ‘You’re kid­ding. News isn’t a sweetheart business. Of course if you were really smart you could work it out from the camera set-up.’

I looked along the bank of monitors. On one a scatter-haired writer, mouth open and full, stopped short as she stared into a camera that must have seemed to jump out of the beef Wellington. ‘That one,’ I said. ‘No,’ said Ros, as the cam­era panned away towards a waitress tripping over a cable, ‘Five more to go.’ There was a shot of a woman slipping a microphone down between her breasts; ‘Her,’ I said. ‘Germaine Greer getting ready for the studio discussion,’ said Ros, ‘You know your problem? You’re tele-dumb. Pass the bottle.’ ‘This interview,’ I said, ‘If it’s so bad, why not just drop it? Or let’s do it again.’ ‘Would you?’ she asked. ‘Of course,’ I said, ‘One journo should always help another.’ ‘No, you wouldn’t,’ said Ros, ‘And don’t call me a journo, I’m a film-maker.’ ‘Isn’t it the same?’ ‘No,’ said Ros, ‘You write stories, I make art. And don’t think this stuff is my usual work, I’m just here helping a friend. I’m really an independent.’

‘I know all about independents,’ I said, ‘My Islington terrace is full of them. They set up little companies with five-pound bank loans and then work up series costing eight million. They send a treatment to Channel 4 and sod-all happens. You see them every night begging drinks down the local pub.’ ‘Those are the wankers,’ said Ros, ‘I prefer the real thing. When I want something to happen, it happens. Oh look, something’s happening.’ And so, onscreen, it was. At the instructions of the Booker chairman, the guests had all suddenly risen as one from their eating, and were heading full speed for the lavatories. ‘Must be five minutes to go,’ said Ros, ‘Are you comfortable?’ ‘Yes, not bad,’ I said. ‘Make the most of it,’ said Ros, ‘You won’t be.’ Soon the guests were resuming their seats, and putting on strange plastic expressions. The writers closed their mouths, the Fionas adjusted their vast hats, the agents hid the bottles of wine, the cabinet ministers sat upright. Suddenly the lighting changed, somewhere a wolf started howling, the screen credits rolled, and then the presenter smiled through the monitor and welcomed our presence at an historic occasion, which, given what odd things history proved it could do lately, was probably true.

Ros nudged me in the upper thigh. ‘Ready, steady, here he is,’ she said. And there – right in the middle of the main monitor – I was, just like Mrs Dalloway at her party. Except somehow I seemed to be not quite I, but some terrible yet oddly accurate simulacrum. Thanks to modern technology I had become a long green banana, rocking on my heels and talking interminable tosh. My body was transformed, my thoughts rendered outrageous, my manner-gross; nothing was quite as I understood it to be in so-called real life. ‘Well, what did you think?’ asked Ros, when the vision had passed away. ‘It’s a stand-in,’ I said. ‘No, it’s you,’ said Ros. ‘You were right then,’ I said, ‘I was worse than Howard Jacobson.’ More interviews followed: John Mortimer, Ben Elton, Gore Vidal. I was worse than all of them. Whatever came on over the next half-hour, I was worse than. ‘Why use it?’ I asked, ‘Why not leave it on the cutting-room floor?’ ‘Because tomorrow you’ll be the one thing people remember,’ said Ros, ‘Who was that little prick at the Booker?’ ‘I don’t want to go down in history as the little prick at the Booker,’ I said. ‘Then you shouldn’t have been such a little prick in the first place,’ said Ros kindly.

Onscreen the greatest night in the life of modern literature continued. There were dramatized extracts from the six chosen novels, all shot in the same children’s sandpit off Shepherd’s Bush Green which, decked out with a beach umbrella or two, easily stood in for Deauville in belle époque 1913. There was a studio discussion with Germaine Greer and others, all of whom I was decidedly worse than. The Chairman of the Booker company rose and introduced the Chairman of the Booker judges. He took the microphone, briefly dismissed the state of the novel (though more effectively than I had), then went on to discuss the works of Tom Paine, the celebrated Thetford staymaker and political radical. This led him to some long reflections on the American War of Independence, on which he was plainly an expert. It was as I sat there, hoping that some crisis would occur that would drive my own contribution into insignificance, that I realized there was deep tension in the scanner. ‘Come on, for Christ’s sake,’ Ros was saying, ‘Only three seconds of this programme is worth anything, and we’re going to miss it.’ ‘Which three seconds?’ I asked. ‘The name of the winner,’ said Ros. ‘Fifty seconds left,’ said the engineer. ‘The silly twat, the silly twat, he’s not going to get it in,’ cried Ros. ‘Say it, say it, you great fat dickhead,’ shouted the crew in the scanner. ‘Somebody kick him in the Tom Paines, gag him, knock him over,’ said Ros feistily into the microphone.

Suddenly, prodded violently from behind, the Chairman halted, midway through the Battle of Saratoga, and gulped the name of the winning author. The oldest, untidiest and baggiest of the bag ladies rose up bewildered, walked off in the wrong direction, was reprogrammed by her Fiona, and found her way to the platform. The Chairman kissed her rather cautiously and handed her a generous cheque. ‘Turn to camera and smile, dear,’ murmured Ros. The winner turned to camera, gushed copious tears, and thanked her publisher and her mother. ‘Her mother!’ cried Ros, ‘I suppose she’s sitting at home writing next year’s winner.’ ‘There we are,’ said the presenter breathlessly, ‘One more writer twenty thousand pounds the richer. What will she do with the money?’ ‘Buy a motorbike,’ said Ros sourly, ‘Go on, get over there and ask her.’ ‘Out of time,’ said the engineer. ‘And there we have it,’ said the presenter, realizing that the Nine O’Clock News was pressing at her back, ‘Another great day for contemporary fiction.’

Credits rolled, and Ros banged her fist furiously on the console. ‘Oh God, no interview, and we didn’t even hear her name properly,’ she cried, ‘Did anyone hear her name? Or which book?’ ‘Thank you very much,’ I said, ‘I’m going.’ Ros looked up. ‘Thank you, darling,’ she said, ‘You were the best thing in the whole damned programme. And you were frigging terrible.’ No more television, I thought, as I hurried back to the bright Guildhall through pouring rain, I’ll stick to the real world of books and print. But when I reached the great Banqueting Hall, I discovered a curious sight. The dinner was not over; indeed the entire event had resumed again. Having made the simulacrum, the Booker people were now trying belatedly to create the reality. The meal had restarted, the chairman had risen once more, and was completing his ruminations on the Battle of Saratoga. The winner rose again and, having now perfected her art, reached the podium without difficulty. She accepted another cheque, or the same one a second time, made another speech, thanking yet more of her relatives, and sat down. And now the five losers, faces etched with the misery of a whimsical life which had brought them so near to the summit and then cast them back into the pit of oblivion again, came to the platform. Each was presented with a leatherbound copy of what proved to be their own books; they looked at them in dismay, having presumably read them already.

Nobody cared; the fuss was all for the winner. I found her at last in a sideroom, being poked at by tape-recorders, and enjoy­ing all the pleasures of sudden fame. Someone asked her what she would do with the winnings; ‘Buy a place in the Seychelles,’ she said. I took out my notebook and pressed nearer, only to find myself blocked by her Fiona, now an arrogant queen. ‘Just a short interview,’ I said. ‘Never,’ said the Fiona, ‘Believe me, as long as there’s breath left in my lovely body you’ll never interview one of my authors again.’ ‘Why not?’ I asked. ‘You know,’ said the Fiona darkly. Bewildered, I set off to look for the five losers, hunting a story there. I found them at last in the crypt below, where the after-dinner bar was, soaking their cares away with tumblers of Glenfiddich and Laphroaig. But when I approached them for their comments I got the same reception. No one would talk to me. Literary agents who hours earlier had been ringing me up with hot gossip, publishers who had solicited my ravenous appetite for lunch at Rule’s or Wheeler’s only days before, turned their backs on me.

Finally the kindest, and smallest, Fiona explained. There was a monitor in the hall,’ she said, ‘We all watched you on TV. No one will speak to you ever again.’ ‘Oh God,’ I said. ‘In fact you won’t have a single friend in the whole literary world,’ she said. ‘No one?’ I asked. ‘No one,’ said the Fiona. ‘Oh, well, maybe one,’ said someone beside me. I looked round, and there was Ros again. ‘You see what you did,’ I said to her furiously. ‘What I did?’ asked Ros, ‘What you did. Television doesn’t j create reality, it just reports it.’ ‘Don’t give me that,’ I said, ‘You set me up.’ ‘Not really,’ she said, ‘But there always has to be one shit at the Booker. Books are boring, Francis. You have to add a little drama. Anyway, never mind, they’ll all be round you like flies when they need you again, you’ll see. Come and sluice it away at the Groucho.’

So that was how I found myself sitting in the back of a long low contract limo, squeezed between Ros and some of her media friends. My cares were heavy, my mountain bike was left forgotten against its lamppost, where I imagine it remains to this day. Of what happened in London’s glitziest, noisiest literary club that night I have no clear memory. There was little to eat but plenty to drink; I gather I drank most of it. Melvyn Bragg, Umberto Eco and Gore Vidal were all seen there, but not by me, or not in a clear way. I got, or so they tell me, into a bitter argument over my TV opinions with a group of feminist publishers who’d apparently been overdosing on assertiveness training. I believed I had acquitted myself well, but others later told me I did very badly. Later still, the moon up high over London town, I rode somewhere else, in another, smaller vehicle. Next I was somehow standing, nearly upright, in someone’s shower. Then I was towelled and dried, and a sensual, disorderly darkness fell over my life. Realities and unrealities strangely merged; as on TV, parts of my body seemed no longer mine but in other hands entirely.

Then suddenly there was sharp morning light, and I was waking. This is not something I ever do lightly, but it seemed more difficult than usual on this occasion. I was, I found, in a small and ill-curtained bedroom, below the windows of which I could hear some people talking loudly in Bengali. While 1 tried to take this in, some men in metal helmets passed by the window swinging on a long steel girder and gave me a friendly wave. For a while, I hid my head below the duvet and tried to do some quick orientation. Kidnap, hostage-taking and sending young men into prostitution are uncommon in London, but not impossible. My throat was dehydrated. My stomach was knotted. I was buck-naked and my clothes had disappeared. Then the bedroom door opened, and I lifted the covers and peered out to find out who were my captors. There, dressed in an ‘Aloha!’ tee-shirt and cut-off jeans, stood Ros. The moment I saw her, I realized she had not been dressed like this all night.

She came over, sat on the bed, felt my pulse. She carried a portaphone and a cup of coffee: now she spoke into the one while I drank from the other. When the coffee had opened up my vocal chords, I asked for some bearings, temporal and geographical. It was late, said Ros, bloody late. And I was in her small but perfect terrace house, somewhere east of Bishopsgate, in the Bangladeshi garment district, and close to Liverpool Street station. The Bengali voices were discussing the going rate for distressed leather coats; it was Liverpool Street railway station that the men on the girder were reconstructing, or possibly deconstructing. My underwear and other clothing had been lost the night before in some friendly struggle, but Ros offered to go and find it. While she was away, I grabbed her portaphone and called my Serious Sunday to say that, due to an extraordinary chapter of accidents over which I had no control, I had no Booker copy. My editor explained that this mattered rather less than it might have, since they likewise had no newspaper left to put it in.

‘I don’t believe it,’ I said to Ros when she came back with my knickers, ‘My bloody newspaper’s folded, down the chute, gone bust.’ ‘Brilliant,’ said Ros. ‘How can it be brilliant?’ I asked, ‘Here I am, twenty-six, overhung . . .’ ‘You’re boast­ing,’ she said. ‘I’m not,’ I said, ‘I’m finished. Twenty-six and redundant. You’re looking at a post-Thatcherite cripple.’ ‘So what’s new?’ asked Ros, ‘You knew you’d picked a high-risk profession.’ ‘Right, and how am I supposed to pay my rent?’ I asked, ‘They say I probably won’t even get last month’s paycheque.’ ‘Stay here if you like,’ said Ros, ‘It’s brilliant.’ ‘Do stop saying everything’s brilliant,’ I said, ‘Nothing’s brilliant. I’ve come to the end of a great career.’ ‘Of course it’s brilliant,’ said Ros, ‘Now you can come and work for me.’

I looked at her. ‘Work for you how?’ I asked. ‘My company, Nada Productions, I run it with my big friend Lavinia, is doing this huge arts feature for Eldorado Television,’ said Ros, ‘Great Thinkers of the Age of Glasnost.’ ‘Fantastic,’ I said. ‘We need someone to research and present it,’ she said. ‘Oh no,’ I said. ‘You’re just the person, educated, literary, nice-looking.’ ‘I’m not, not after last night.’ ‘Especially after last night,’ said Ros. I stared at her again, thinking hard. ‘Which bit of last night?’ ‘Both bits of last night,’ said Ros, ‘The bit on the box and the bit in the sack.’ ‘You said I was worse than Howard Jacobson,’ I said. ‘Oh, you were,’ said Ros. ‘Which bit of last night?’ ‘Both bits of last night,’ said Ros, ‘But Howard’s doing something else. Don’t worry, Francis. You got these really great reviews.’

She pushed over the morning papers at me; I picked up the Independent first, being one of those people who always does. ‘Biter bit,’ said the headline, and the piece began: ‘The only thing that will save last night’s Booker television coverage from a justified total oblivion was the sight of one of Britain’s most bumptious journalists, the ineffable Francis Jay . . .’ ‘You call this a good review? It’s terrible,’ I said. ‘It’s a mention,’ said Ros, ‘I told you, you were memorable. It means you’re a television personality.’ I knew a person of sense, a man of reason, would have called a halt at this point, and I did try. ‘No, no more television,’ I said, ‘I’ve learned all about myself. I’m really a verbal person, not a visual person.’ ‘Oh come on, I read your column,’ said Ros, ‘It’s pretentious crap, any kid could write it. No, the moment I got you in front of that camera I knew you could do it for a living.’

‘I don’t want to,’ I said. ‘What, live?’ asked Ros, ‘I’m not surprised, after what you swilled down last night at the Groucho. Never mind, it will look better after breakfast.’ ‘I don’t want breakfast,’ I said. ‘There’s something you’d rather do instead of breakfast?’ asked Ros. I looked at her; she looked frankly at me. ‘You ought to be at work,’ I said. ‘I told you, I’m an independent,’ said Ros, ‘That means I do it my way. So why don’t we do it my way?’ So we did, in fact, do it her way, which was quite an athletic and unusual way. And that, as it happens (and that is more or less how it happened), is how I came to spend the next months of my chaotic young life wandering the world in pursuit of Doctor Bazlo Criminale.