In which Billy Nibbs and Colin Rimmer become instant and rewarding companions, and go in search of drama and catharsis
In summer, at night, it can sometimes be hard to get to sleep here. Not because of the sound of the cicadas, or the late-night café culture and the revelling and the parties, or the heat even, but because of the sheets. We still prefer man-made fibres, most of us, for most purposes, both in bed and out, even though they make you sweat like a pig and leave you all sticky. They don’t take as much ironing, that’s the thing, that’s why we like them. And they do keep their colour.
When he can’t sleep in the summer because of the sheets and because the window in his bedroom doesn’t open – the frame’s been painted over too many times – Billy Nibbs lies awake sweating the ham out of his system and thinking about his heroes. Billy’s heroes have always been, in no particular rank or order, Che Guevara, James Stewart, Bono, Xena Warrior Princess, Nelson Mandela, George Orwell and the two journalists who broke the Watergate scandal whose names he’d long ago forgotten. Billy was a thoroughgoing cynic with a propensity to idolise the worthy dead; he was a typical pessimist, with the pessimist’s secret bedtime hope that this is in fact a wonderful life and that ours is a wonderful world, whose great wonder and whose secret have only been temporarily mislaid and are just waiting to be discovered, probably by Billy himself, when he’s half awake and not really looking. Which is why he liked working at the dump and why now he was working for Colin Rimmer on the Impartial Recorder.
The Impartial Recorder was a newspaper which insisted on the simple goodness and simple Tightness of life, insisting upon it in the face of all the local evidence of wrong, all the graffiti, dog dirt, car crime and head-on crashes to the contrary. In the Impartial Recorder there were no big ideas, there were no ideologies and no purely evil days. There were only personal triumphs and tragedies, inconveniences rather than scandals, with a nice cup of tea always on the horizon and a boiled sweet in your pocket to keep you going. In the pages of the Impartial Recorder there was never any profanity, nor any superfine English, and nothing was incomprehensible. Even amidst the darkness there was always a Soroptomist’s meeting going on somewhere, an award being presented over a glass of sherry for sixty years of service to a voluntary organisation, an evening of old-time gospel music in a church hall, a charity trekker who’d lost twenty pounds and raised a thousand, or a civic delegation come to admire the way we do things here.* If a newspaper could be said to have a theme tune, the theme tune of the Impartial Recorder was Joe Cocker and Jennifer Warnes singing ‘Up Where We Belong’.
But this was not necessarily what the paper’s editor, Colin Rimmer, felt it should be. He felt the paper’s theme tune should be something more like Bob Dylan singing ‘Blowin’ in the Wind’, or the Clash playing ‘Police and Thieves’. Colin was a man who’d become the editor of an MOR newspaper which he despised, but which he’d been determined to transform; he’d set out to shake things up, like a young Elvis, or like Dylan going electric.
‘Journalism,’ he often told his staff, thinking this might impress them, ‘is the new rock‘n’roll.’
Many of Colin’s staff have grown up with Eminem as a staple and it’s their grandfathers who listened to rock‘n’roll, but Colin was doing his best. He was the kind of editor who made a point of not wearing a tie, who read Private Eye and style magazines as well as The Economist, and who sometimes wore jeans to important meetings. He wasn’t exactly ripping up the rule book, but he was taking a stab at it. He was making an effort.
On his appointment as editor, almost fifteen years ago, when he was still a young man, a young turk even, a tyro returned to town from stints with local papers outside the county and the occasional feature in a national, with a full head of hair and a set of Penguin Modern Classics to rival anyone’s in town, his own laptop and a whole load of newfangled ideas about tele-working, QuarkXPress™ and Photo-Shop™, Colin had set out his stall and made his changes. He’d managed to axe Spencer Bradley’s bat-watch column, and he’d decimated Blair Saunders’s weekly full-page bird-fanciers page and made it into a monthly. He’d also cut deep into the fat of the bowling and fishing pages, removing some of their vital organs, leaving them weak and incapacitated, but still just about functioning. He’d vetoed cricket and outlawed all mention of school football. He’d even managed to reduce the vast, swollen size of the weekly column written by Lesley Sanderson, the young wife of the newspaper’s grand and elderly proprietor, Sir George Sanderson, from 2000 words to 1000. Less, he had managed to convince her, was more. The magic word with Lesley – what had done the trick – was ‘minimalist’.
‘Yes, of course,’ she’d agreed, her discreet diamonds and blonde highlights flashing in the fluorescence of Colin’s office, ‘like Philippe Starck?’
‘Exactly,’ he’d said. ‘Brevity is the soul of wit.’ And of lingerie, he’d thought to himself, but fortunately he’d had the self-discipline and foresight not to say so aloud. He might have had some absolutely bang-up-to-the-minute notions, but even he knew that it was not a good idea for a young editor to become involved with the proprietor’s wife.
Apart from his initial changes, though, and despite all his big plans, the Impartial Recorder is substantially the same today as it was fifteen, or even fifty, years ago and for most of his readers that’s just what was wanted. There was still the one-page ‘Udder Bits’, the farming round-up page, and the stomach-churning, heavily sponsored ‘Forks and Corks’ bar and restaurant reviews, the weekly ‘Good Book’ bible study, and the interminable blurred photographs of weddings, anniversaries, eighteenth-birthday parties and charity events. Colin’s controversial editorial page – in which he had lambasted and attacked local businessmen and bureaucrats, farmers, doctors, teachers, social workers, church leaders, the police, celebrities, the nuclear family, gays, dog owners and the bearded – had proved a little too rock‘n’roll for our town and had lasted less than six months before the solicitors’ letters and letters of complaint had led to Sir George leaning on Colin to give it up, and so his opinions were now restricted, carefully leashed and legally vetted in his short column, ‘Rimmer’s Around’, and his dreams remained unfulfilled. He had imagined the paper as like a just and mighty lion, bestriding truth, protecting the pride and devouring those who sought to challenge it: instead, it was more like an earthworm passing mud. Rock‘n’roll the Impartial Recorder most definitely was not: a little bit country, maybe, and ever so slightly operatic, but mostly it was like old-time dancing. The Impartial Recorder remains a slow-foxtrot kind of a paper.
But Colin did not blame himself for failing to live up to his own expectations. It was not in his nature to do so. He was a journalist, so he blamed other people, particularly the paper’s proprietor, Sir George.
Sir George and his lovely wife Lesley live in a big house – the big house, really, the Manor – far out from our town, in the country. The town is basically where all the middle-income earners live, those of us who work in shops or offices, schools, factories, those of us who buy second-hand or flat-pack furniture and do DIY at weekends with the wrong tools, while outside town, in the country, is where the people live who work up in the city, or in the vast sugar-beet fields, people who have inherited furniture and tools, or their brothers’ wives. They are, quite literally, a breed apart.
Sir George Sanderson is the complete and utter countryman, from the tippy-tip-top of his Burberry cap to the dirty scored soles of his six-hole brogues. He is a gentleman farmer who likes to hunt and ride, who uses Latin abbreviations in conversation and who’d been something in the City – even his wife isn’t sure what – and who is now a non-executive board member of several companies, which means many lunches in London, and so he is hardly ever seen around town, and if he is seen it’s in his slightly mouldy heirloom three-piece tweeds and a four-wheel drive. The fragrant and ubiquitous Mrs Sanderson, on the other hand, wears chunky hand-knits made by people with learning difficulties, and knee-length wellies, and she rides a mountain bike into town twice a week, in fluorescent lycra, and she keeps dogs and horses, and smokes cheroots and writes a column extolling environmentally friendly farming methods, young artists and the work of Paulo Coelho. She believes in the Glastonbury Festival, and recycling, and in plastic surgery for those who can afford it. Between them, in fact, Sir George and his wife pretty much cover all the bases for Colin Rimmer. He despises everything they stand for.
But Colin had had to learn to rub along with them. They paid the occasional surprise visit to the offices of the Impartial Recorder, where they insisted – ‘No! Absolutely!’ – on drinking the instant coffee along with everyone else and Sir George cracked jokes with the secretaries, and Colin was expected to visit them out in the country every couple of months, to drink Fair-Trade tea with Mrs Sanderson and to empathise with the plight of indigenous peoples, and to take a drop of whiskey with Sir George, and to reassure him that sales were good, that they weren’t spending too much on luxuries like tea and coffee, and that advertising revenue was on the increase.
In his long career as a journalist Colin had found that he could rub along with just about anyone if he wanted to – it was whether or not he wanted to that was the question. Colin was a divorcee, a man possessed of few friends, many enemies and a wide circle of acquaintances. He had always believed in cultivating contacts and his contacts now outweighed anything that might properly be said to be a relationship by about a hundred to one.
Billy Nibbs, for example, was a contact.
As a good newspaperman, Colin had taken the precaution of getting to know Billy, in case anything ever turned up at the dump that might be of interest. Colin had no idea what this anything might be, but it might be something: weapons-grade plutonium had turned up before now on municipal dumping grounds, and bodies, and stolen works of art by Old Masters. Not in our town, of course, where it’s mostly old fridges, and damp hardboard – and hedging, but there was always a first time, and when the first time happened, Colin wanted to be there. Colin popped in to see Billy every few weeks – he worked through his contacts using his Rolodex on a monthly schedule – and Billy would make Colin a cup of tea over the gas stove in his hut and they’d talk.
It had turned out that the two had much in common. They were both great readers and they were both writers, in a way. They certainly both wanted to be writers, and they both harboured huge and entirely unrealistic literary ambitions, which is often the next best thing to being a writer, certainly in our town, where every middle-class housewife would be the next J. K. Rowling, if only she had the time and someone to do the cleaning. Baseless hopes and fantasies of any kind can quickly cement a relationship, particularly between bitter, middle-aged men, as in the mutual admiring of powerboats or younger women – you can usually spot the desperate shared enthusiasm in the glinting hollows of another man’s eyes, in the soft sag of the belly against the shirt and in the emerging capillaries around the nose; and of course what usually happens in our town is that you learn to recognise and overcome these desires by taking up golf and gin and tonic, or rediscovering football, and laughing too loudly at other men’s jokes. But Billy and Colin were not natural joiners, or golfers, or laughers. They had taken instead the long alternative route to friendship – via books.
Billy himself had abandoned poetry for the moment, had kissed goodbye to the Muse, crushed by his experience with his publisher, but Colin was still working on his magnum opus, late into the night and early in the mornings, before work. Billy is one of the few people in town who knows about it, but it’s not a secret: one day it’ll all be out in the open, so I don’t think I’m breaking a confidence to reveal that Colin has been writing, has been for a long time, a novel about a character called Derek, a novel which is provisionally titled Derek and which is modelled loosely on Kingsley Amis’s Lucky Jim, a book which came as a revelation to Colin when he first read it in his teens and which has remained for him the absolute, undisputed example of what a good book should be: funny, satirical and the work of an absolute misery.
In Colin’s Derek, Derek is a brilliant, shabby, but immensely lovable and wise-cracking journalist who runs a local newspaper, and who is spectacularly and hilariously unsuccessful with women.
Colin had come up with the idea for his book and had found the time to write it when his wife, Lisa, had left him, with their children, the twins, shortly after he’d been appointed editor of the Impartial Recorder, when he was working eighteen-hour days, seven days a week. Lisa had left Colin for an architect called Stephen, a man who paid her some attention and who liked to climb mountains at weekends, and who’d designed and built his own house, and Lisa had moved up to the city to be with him and to pursue her own career as a teacher of the deaf.
‘I can get through to them better than I can get through to you,’ was Lisa’s parting shot to Colin, after a crockery-cracking row.
In Colin’s novel Derek, Derek is married to a woman called Louise, who is a teacher of the blind, and they have triplets. In the novel Louise falls in love with a structural engineer called Martin. Martin is killed while paragliding. He turns out to have been a bigamist and a credit card fraudster, and he is not good in bed.*
The book was going OK, but Colin was having problems with the plot. Having spent years peering behind the scenes of everyday small-town life, he found that he had an excess of story: he had become overcome by story, in fact, and was unable to make any sense of it. He’d become befuddled. The book seemed to be going nowhere. It lacked a climax. Also, he had a problem with character. He didn’t seem able to write a character who was not himself, which was proving to be a disadvantage for a budding novelist. What he really needed, he knew, was more drama and more catharsis.†
In Billy’s little hut at the dump Colin and Billy would talk literature and drama and catharsis, trading names in much the same way boys at school trade sweets or sandwiches. Having swapped and traded D. H. Lawrence against William Gibson over a number of months, and Tolkien, and J. G. Ballard, and John Irving, and many of the other authors beloved worldwide by teenagers and autodidacts, Billy and Colin had finally come together in agreement that The Catcher in the Rye was probably the greatest work of twentieth-century fiction. Billy had actually made quite a strong case for Franny and Zooey, but it was so obviously one of those books that Colin was only pretending to have read that Billy soon abandoned his position. This often happened, Billy allowing Colin the benefit of the doubt, despite Colin’s considerable seniority – he was in his mid-forties now, if anyone asked, although he had actually passed the mid-point some years ago. Colin had to admit that he was a little in awe of Billy, even though Billy sported a beard, because Billy did seem to have read everything ever written, all the greats, all the way from Shakespeare through to Nick Hornby – all those years working at the dump had not been wasted – and Billy could also quote chunks of poetry from memory, which Colin found immensely impressive, despite himself. Colin was actually thinking of introducing a poetry-quoting sidekick into his novel, as a kind of foil for Derek. He thought that might jazz things up a bit, maybe give things a bit of momentum.
It was over a strong cup of tea in Billy’s hut one day at the dump, during a heated debate about the problem of evil in the work of Philip Pullman, that the subject turned – as it often does in our town – to the question of Frank Gilbey.
Billy Nibbs had many reasons for disliking Frank Gilbey and not just because he was his landlord. Frank had become increasingly identified in Billy’s mind with Them, the many enemies with whom Billy was engaged in fighting. These enemies, like the Romans, Angles, Saxons and Jutes of old, seemed to keep on coming, in waves, again and again, except they now consisted mostly of the legions and galleys of the Rude, the Dishonest, the Unhelpful and the Lazy, not to mention the many brute barbarian Consumers whose appetite for consumer goods and for remodelling their homes kept them coming back to the dump, day after day, year in, year out, raping the land and depositing their spoils. For Billy, Frank Gilbey was undoubtedly one of Them: in Billy’s Inferno, landlords ranked just above the panderers and seducers, and just below those who had given in to unnatural lust.
Colin had other, more complex reasons for disliking Frank Gilbey.
It has to be said that Colin is not someone who makes friends easily and when he did make friends it usually wasn’t long before he came to despise them. If someone was his friend, Colin believed, there was probably something wrong with them, or why would they want to be his friend in the first place? Did they not have enough friends already? Colin was not what you would call a positive thinker.
If he’d ever attended one of the personality workshops at the Oasis, run by Sammy and Cherith, Colin would probably have been identified as having a self-esteem problem and he might have tried to do something about it. Of course, for Colin to have been attending one of Sammy’s and Cherith’s personality workshops in the first place he’d have had to have been a different sort of person – he wouldn’t have been Colin. He’d have had to have been the kind of person who attends personality workshops. If he had been more like someone else, though, he might eventually have gone into counselling or psychoanalysis, and if he had done, his counsellor or analyst would probably have made a big deal of the fact that Colin Rimmer had never known his real parents.
Colin himself had never made much of this fact. Very few people in town even knew that he’d been adopted because it seemed to Colin an irrelevance and not something he chose to talk about.
Colin had been brought up by a couple named Felicity and Philip Rimmer, and he had treated them, for better and for worse and in every way, as though they were his parents: indeed, they were to him his real parents. There were no others waiting in the wings to claim him as their own. Philip and Felicity were the real thing; they were not impostors. Felicity – who was called Fee by everyone, including Colin – had at one time been an actress in rep and was big in amateur dramatics in and around town, and Philip had taught at Barneville House, the private school, out there on the Old Green Road, and they were good, kind, cultured people, the kind of people who hardly exist here any more, who seem all of a sudden to have disappeared and nobody knows where they’ve gone, the kind of people who subscribe to the National Geographic magazine and who attend classical concerts in the city at weekends, who smoke and drink in moderation, who always read the Booker-nominated novels, who are sceptical about television, and who have dinner parties at which they always have an amusing story to tell about themselves and about their amusing week, and who can’t have children of their own.
So Colin had grown up among books and music and a piano in the drawing room, and napkins rather than serviettes, and there was a tree house in the back garden, which had trees and a shed with a window, which Fee called the summer house.
Fee had been perfectly straight and up front about things, and when Colin was sixteen she had told him that he was adopted, and she had offered to help him trace his birth mother, but Colin wasn’t interested in tracing his birth mother. Indeed, he hated the term birth mother: he thought it made him sound like some kind of wild animal, like a feral child, like he’d been suckled by wolves and brought up among native tribespeople. Colin’s friends at school didn’t have birth mothers, they just had mothers, and everyone knew what a mother was and what she did, and Colin was perfectly happy with Fee as his mother, who fulfilled all his criteria, thank you very much. She was all the mother he needed. He didn’t need an extra helping of mother. He couldn’t care less about his birth mother. He didn’t want to know anything about her. His birth mother remained only a rumour, and Colin was a journalist and was only interested in facts.
And the fact was both Fee and Philip had been good parents to him and they were long dead now. They’d been in their late thirties when they’d adopted Colin, and by the time he was twenty they were both gone, Fee riding her Norton 500cc motorbike – a fiftieth birthday present from Philip – and then Philip himself, in grief and guilt, a year later. They’d left a terrible financial mess behind them: unpaid credit card bills and multiple bank accounts, insurance policies which refused to pay out and a house with a leaky roof. Colin had known that things were bad even when he was a child: they’d had to withdraw him from the Barneville House prep school when he was eleven and send him to Central instead, but it was only in death that the full extent of their financial problems became apparent, and Colin had been forced to sell the big leaky house to pay the debts, and all he was left with was a dozen tea chests filled with junk and mementoes, a lot of crinkling paperback books and a quite ridiculous baby grand piano, Fee’s pride and joy, which he’d refused to sell and had managed to manoeuvre through the french windows of his terraced house on the Brunswick Road, and which now took pride of place in his back room: you couldn’t actually open the door to the room to get in; you had to enter through the french windows, and then slide underneath the piano and squeeze up on to the stool to play. Colin stuck mostly to scales.
It was when they’d died that Colin had moved back to town. He’d worked all over and he could have gone anywhere, could have left the town behind, but he somehow felt he owed it to them, to stick around and let people see that they hadn’t been forgotten or their memory abandoned, that he remained as evidence of their having lived rich and fulfilling lives. Also, to be honest, he did feel that if he moved too far away he’d somehow lose contact with some part of himself, his history and his sense of belonging. At least if he remained in town there might still be someone out there who belonged to him, and he to them, though they might pass each other in the street and not know it. So, barring some serious psychoanalysis, Colin wasn’t going anywhere: he was here for the duration. He felt like he owned the place, but also that the place owned him; they were co-dependent.
Colin had probably inherited his strong sense of ownership from Philip who, as well as being the geography master at Barneville House, was once our town’s most famous amateur film maker and archivist. Philip used to show his cine-films at the Quality Hotel – one week’s full performances once a year, for over twenty years, in the week between Christmas and New Year, matinées every day at 2.30 – and people would pay to come and see them, and the money would help pay off a few debts. Philip filmed scenes of everyday life – people at work and play, annual local events – and then he used to splice them together into a full hour of viewing, and halfway through the screenings Fee would strap on a tray and walk down the aisle, selling home-made fudge and toffees in paper bags. The shows were an institution, when our town still had institutions: what we have now, of course, is more convenient shopping.
All of Philip’s old film was upstairs rotting in the tea chests in Colin’s loft. Colin had never gone through them or looked at them: he’d seen the films so many times he didn’t need to see them again. He could screen them any time and anywhere without difficulty in his memory, where he was guaranteed the best seat in the house. He was always there in the films somewhere: somewhere on the periphery, part of a larger drama. He could see himself now: there he was with Fee, in short trousers at the start of the 1969 county cycle race, silently calling out to the face behind the camera, waving and smiling; there he was again with Fee, at the first drive-in car wash, up on Moira Avenue, before the ring road. And there he was, pointing at a duchess, and there again, gazing at a snow drift, or looking at a fallen tree at the top of South Street. Colin’s image of himself as a child was of a child observing rather than participating, watching history in the making, rather than making history. Maybe this was why as an adult he despised anyone who tried to make him a spectator, or who denied his right to act as and when and however he felt like it. Colin did not need to pay a psychiatrist to tell him what he already knew.
So perhaps there really was no true mystery as to why Colin so disliked Frank Gilbey. As a good friend and business associate of Sir George Sanderson, Frank had come to presume upon Colin’s good nature too many times. He had required Colin to observe and not to act, to behave as though the events he heard reported and witnessed were on some quaint, fading cine-film playing on a blank white wall at the Quality Hotel. Colin had not, for example, reported on Frank’s daughter Lorraine being admitted to the psychiatric unit, or to the clinic for her eating disorder, even though his contacts could offer proof and evidence. He did not report or follow up on persistent rumours that Frank was behind the mysterious demolition of at least a dozen houses of listed status around town. Even the road abandonment schemes and the awarding of the contract for the building of the ring road to a colleague and friend of Frank’s at the golf club had gone unmentioned. About all this Colin’s lips had been sealed, his eyes closed, and his fingers far from his keyboard and the keypad on his mobile phone. He had maintained a dignified silence, had gazed on in childish innocence, and turned his fire instead upon lazy traffic wardens and fly-posters, and utility companies digging up the roads.
Frank Gilbey was one of the main reasons the Impartial Recorder had not turned out to be what Colin had hoped.
Over their conversations about literature in Billy’s hut at the dump Colin realised that he had found in Billy someone who, like himself, was angry, frustrated and dogged in the pursuit of the truth. Truth can, of course, be a dangerous thing to pursue, since it is evanescent and very possibly nonexistent. Nonetheless, here in our town, as elsewhere, truth is a topic much discussed, and not just between Billy and Colin. Regularly, by nine o’clock on a Saturday night all sorts of truths are being discussed and emerging, and a Sunday, in many ways, is a day of recovering from the onslaught of truth on a Saturday night. On a Saturday night, right across our town, marriages were tested, friendships forged and broken, revelations made, calmnesses disturbed, as the effects of wine and beer made themselves felt and truth began to slip out and run amok. Church is actually the place where we go to hide from the truth, where we can pretend that we can manage ourselves and what we know of ourselves, and perhaps appeal to ourselves and to others and to God to assist us. Truth, naked, was more frequently seen and heard in the Castle Arms on a Saturday night than in the People’s Fellowship, just three doors down, on a Sunday morning – and this was something of which Colin Rimmer, among others, was well aware.
One morning in the hut Billy mentioned to Colin a rumour that Colin had heard many times before – the hoary old rumour that in Frank Gilbey’s back garden were the ornaments which had mysteriously disappeared with the road-widening scheme nearly ten years ago, the big stone trough and the beautiful water fountain from outside the Quality Hotel. It was a silly sort of a rumour and a nothingy sort of a story, but Colin knew it meant something: it was symbolic. If they could get Frank Gilbey for the garden ornaments, that would just be the beginning. Colin said that he would dearly like to know the truth about this rumour, and Billy had said that he reckoned anyone could find out the truth, if they set their mind to it. OK, said Colin. You can be my undercover reporter. Which is how Billy Nibbs ceased to be a poet and finally got into print.
* To consult the Impartial Recorder archive at the library, contact Philomena Rocks. An entire run of papers, between the years 1965–73 are missing, though, unfortunately, because the then local librarian, Barry Devlin, was during that time under the influence of the Troggs, the Small Faces, the Rolling Stones, marijuana, acid, speed and a lot of Carling Black Label, and he took an executive decision not to bother to keep any local papers, using the library’s basement storage area instead as a rehearsal room for his band, the Tigers, who were a kind of cross between the Animals and the Beatles, and whose single, ‘Hello There!’, reached no. 39 in the UK charts in February 1967. The library archive does, however, boast an almost complete run of the New Musical Express covering the period, which is some small consolation: they reveal that the Kinks played here, apparently, at Morelli’s in 1966, as did Dave Dee, Dozy, Beaky, Mick & Tich, and the Wombles a little later. Barry Devlin has retired now and is divorced, after a high-profile court case in which he was found guilty of threatening his wife Julie with a knife after a marathon seventy-two-hour drinking binge, which began on a ferry to the Isle of Man and which ended up in Casualty, but he still has his popular and appropriately titled Sunday night slot, ‘Blues Unlimited’, on Hitz!FM.
* ‘Louise rolled away from under Martin once again, revolted and unsatisfied. The only thing that kept them together, she realised, was his money: without it, as a man, as a lover, as a father to her three beautiful children, Martin was nothing. She couldn’t understand why she had ever left Derek, who was sexier (even though he was balding and a little bit fat), funnier (even though he could admittedly be quite moody and uncommunicative), braver (even though he had failed to stand up to the builders that time who had clearly overcharged them), stronger (even though he never took any exercise and had let himself go and could hardly lift the coal bucket), a really very talented journalist (even though he only worked for a local paper) and a great cook (even if he only ever made spaghetti bolognese). He understood her needs as a woman and as a teacher of the blind. She resolved once again to return to him and beg him to have her back. But would he forgive her?’
† Both of which are readily available, actually, for a small fee – concessions available – from Robert McCrudden in Creative Writing (Drama) 1 at the Institute, Thursdays 7.30–9. There is a handout.