Hollywood: A Third Memoir by Larry McMurtry (Simon & Schuster 2010)

 

HOLLYWOOD—as opposed movies, its principal product—entered my life almost simultaneously with my son, James McMurtry, who arrived in March 1962, at which time I was teaching world literature—all of it, from the Ramayana to Dylan Thomas—at Texas Christian University in Fort Worth, Texas. To the farm and oil patch kids I was teaching, literature—or at least my mandated selection of it—held little appeal. In desperation I began to challenge these reluctant students to Ping-Pong matches, a game at which I was then quite good. If a student won, he or she got an A; if they lost they got a C.

That may seem a little unorthodox, but then five classes is a lot of classes. Between matches I was able to make friends with two writers, John Graves and Dave Hickey, both still alive and both still friends.

Then one day a man from Paramount Studios called, taking me by surprise. He turned out to be a location scout—that night he took me to dinner at what was probably the best restaurant in Fort Worth. Though, by this time, I had lived in both Houston and San Francisco, I knew nothing of fine dining. The man wore a pin-striped suit which bespoke a standard of eloquence far beyond my own. Though the suit was probably just normal Brooks Brothers, I remember it to this day; and I also remember the news he brought me, which was that Paramount had just bought the film rights to my slight first novel, Horseman, Pass By, and planned to film it in the Panhandle of Texas, starting almost immediately, with Paul Newman to star. The sum they planned to pay me, $10,000, meant, to me, farewell forever to the Ramayana and to table tennis as a grading system as well.

Ethan Frome by Edith Wharton (Oxford University Press 1911)

 

I had the story, bit by bit, from various people, and, as generally happens in such cases, each time it was a different story.

If you know Starkfield, Massachusetts, you know the post-office. If you know the post-office you must have seen Ethan Frome drive up to it, drop the reins on his hollow-backed bay and drag himself across the brick pavement to the white colonnade: and you must have asked who he was.

It was there that, several years ago, I saw him for the first time; and the sight pulled me up sharp. Even then he was the most striking figure in Starkfield, though he was but the ruin of a man. It was not so much his great height that marked him, for the “natives” were easily singled out by their lank longitude from the stockier foreign breed: it was the careless powerful look he had, in spite of a lameness checking each step like the jerk of a chain. There was something bleak and unapproachable in his face, and he was so stiffened and grizzled that I took him for an old man and was surprised to hear that he was not more than fifty-two. I had this from Harmon Gow, who had driven the stage from Bettsbridge to Starkfield in pre-trolley days and knew the chronicle of all the families on his line.

“He’s looked that way ever since he had his smash-up; and that’s twenty-four years ago come next February,” Harmon threw out between reminiscent pauses.

Daily Sketches: A Cartoon History of British Twentieth Century Politics by Martin Walker (Paladin Books 1978)

 

Bernard Partridge

Punch, January 29, 1908.

Partridge was. the heir to Tenniel in Punch’s pages, and by this time Punch’s cartoons carried all the authority of a statement from His Majesty’s Government (or at least so one German Ambassador told Berlin). There is an elegant ambiguity about this cartoon — the attacked capitalist is not sympathetically drawn, but neither is that sly grin on Keir Hardie’s face. It is not clear which side Partridge is taking. But the dog’s ferocity, and its French jacobin hat (a cartoon symbol of subversive foreign ideologies since French revolutionary days) show that Partridge was worried. The Leitmotif of potential class war is clearly present. There is an interesting echo of a famous nineteenth-century Punch cartoon, featuring similar dogs, and titled ‘Cry havoc, and let slip the dogs of war’. Partridge would have been familiar with it.

An Evangel of Unrest: The Life Story of Bonar Thompson by Bonar Thompson ( (Marble Arch, W.l. 1926)

From the commencement of the conflict until my arrest in 1916, I spoke against it, in various parts of London, particularly in Finsbury Park—the scene of many a deed and vow.

The "Daily Herald" League, from whose platform I hurled the challenge to every warmonger in London, was a magnificent band of rebels who carried the war against war into the enemy’s camp with unrelenting vigour and audacity, contesting the ground inch by inch without qualification or reservation.

* * *

The campaign of “rounding up,” "roping in” and "combing out” was prosecuted by the enemy with the utmost determination. Every art and artifice, every dodge and device, by which to lure the young men into the war-trap, was employed by an unscrupulous and unprincipled governing class.

Touts and informers were lurking at every street corner on the look out for any poor devil who might not care to offer his carcase as a bullet stopper. Such as these were dubbed ”shirkers" and ”slackers,” and no effort was spared to land them in the net. I had many an encounter with the harpies and hirelings who lay in wait for the likely recruit, the following dialogue invariably taking place :—

Question: ”Why aren’t you in khaki?”

Answer: "Because there's a war on."

Question : ”What would you do if the Germans came here ?”

Answer: "Volunteer for foreign service.”

With the Recruiting Officer a similar interchange occurred :—

R. O. : " Well, lad, have you thought about it?” 

B. T. : ” Yes.”

R. O. : ” Going to join up?”

B. T.: “No!”

R. O. : ” How’s that?”

B. T. : ”I’ve thought about it.”

The Fleet Street Scribblers were working overtime in their lie-foundries manufacturing elaborate fabrications for the delectation of a gullible population. German spies, plots, atrocity stories, children’s hands cut off, corpse factories, and a hundred likely and unlikely stories festering in the fevered fancy of the rabble rousers of the reptile Press.

The ordinary Englishman had an impression in his head at the beginning of the war that the German people were neither better nor worse than anybody else.

This illusion had to be destroyed. All such errors must be swept from his mind. The Germans were not ordinary human beings. They were fiends in human form, vermin who must be destroyed like rats.

As one eminent Churchman, Father Bernard Vaughan, so veil put it: "There are two classes in the world to-day— human beings and Germans. The duty of every Christian is to kill Germans, and go on killing Germans."

These noble words rang out like a clarion call to the nation, rousing the laggards from their lethargy, opening men’s eyes to a realisation of the situation.

Very soon the whole population—with the exception of a negligible number of morbid and dangerous fanatics—was in the grip of the gospel of Hun-hating, waves of patriotic enthusiasm sweeping them along on their holy mission.

Some brave fellows, itching to do their bit in the sacred cause of ”right against might,” could not wait until they got to France to show their patriotism, and commenced operations on the Home Front by raiding shops kept by poor German shopkeepers in the East End, many a deathless deed of devotion and heroism being recorded in the great onslaught on those poor German pork butchers' establishments.

Skellig by David Almond (Yearling Books 1998)

 

I found him in the garage on a Sunday afternoon. It was the day after we moved into Falconer Road. The winter was ending. Mum had said we’d be moving just in time for the spring. Nobody else was there. Just me. The others were inside the house with Dr. Death, worrying about the baby.

He was lying there in the darkness behind the tea chests, in the dust and dirt. It was as if he’d been there forever. He was filthy and pale and dried out and I thought he was dead. I couldn’t have been more wrong. I’d soon begin to see the truth about him, that there’d never been another creature like him in the world.

The Storytellers One by Roger Mansfield (Schofield & Sims Ltd, Huddersfield 1971)

 

Maybe he wasn’t joking, Ernie thought. Bob was clever with hands and brain, the stop-gap of the shop with micrometer and centre-lathe, a toolmaker who could turn off a candlestick or fag-lighter as soon as look at you. ‘Do you mean it about a .303?’

Bob pulled into a lay-by and got out. ‘Keep clear of the headlights,’ he said, ‘but catch this.’ Ernie caught it, pushed forward the safety catch, the magazine resting in the net of his fingers. ‘God Almighty! Anything up the spout?’

‘I’ve a clip in my pocket. Strictly for rabbits’—Bob smiled, taking it back.

‘A waste,’ Ernie said. ‘The twelve-bore would do. Mixer-matosis has killed ’em all off, anyway.’

They drove on. ‘Had it since I left the army,’ Bob told him. ‘The stores was in a chronic state in Germany at the end of the war. Found myself with two, so kept one. I have a pot-shot with it now and again. I enjoy hunting—for a bit of recreation.’

Ernie laughed, wildly and uncontrolled, jerking excited shouts into the air as if trying to throw something out of his mouth, holding his stomach to stop himself doubling up, wearing down the shock of what a free-lance .303 meant. He put his arm around Bob’s shoulder by way of congratulation: ‘You’d better not let many people know about it, or the coppers’ll get on to you.'

‘Don’t worry. If ever they search, it’s a souvenir. I’d get rid of the bolt, and turn another off on the lathe when I needed it.’ ‘Marvellous,’ Ernie said. ‘A .303! Just the thing to have in case of a revolution. I hope I can get my hands on one when the trouble starts.’

Bob was sardonic: ‘You and your revolution! There wain’t be one in our lifetimes, I can tell you that.’ Ernie had talked revolution to him for months, had argued with fiery puritanical force, guiding Bob’s opinion from voting Labour to a head-nodding acceptance of rough and ready Communism. ‘I can’t see why you think there’ll be a revolution though.’

‘I’ve told you though,' Ernie said loudly. 'There’s got to be something. I feel it. We work in a factory, don’t we? Well, we’re the backbone of the country, but you see, Bob, there’s too many people on our backs. And it’s about time they was slung off. The last strike we had a bloke in a pub said to me: ‘Why are you fellows allus on strike?’ And I said to him: ‘What sort o’ work do you do ?’ And he said: ‘I’m a travelling salesman.’ So I said, ready to smash 'im: 'Well, the reason I come out on strike is because 1 want to get bastards like yo’ off my back.’ That shut ’im up. He just crawled back into his sherry.’

(From 'The Other John Peel' by Alan Sillitoe.)

Quick Change by Jay Cronley (Doubleday 1981)

 

Grimm didn’t feel like a clown, but he handed the kid a balloon, anyway.

“Is that a light bulb on your nose?” the kid asked.

“Get lost,” Grimm said.

“That doesn’t sound like clown talk to me.”

“You want the balloon or not?”

“You’re the meanest clown I ever met.”

“Listen, kid. You’re getting on my nerves.”

The suit was hot and the makeup smelled like turpentine, and wearing tennis rackets would have been easier than the floppy shoes, but a plan is a plan.

One thing Grimm hadn’t particularly counted on was the number of greedy children following him along the sidewalk. You can't think of everything. The children couldn’t follow him into the bank, that was for sure.

“Hey mister clown, stand on one finger.”

Grimm took some change out of his front pocket and threw it in the grass in front of the bank; so much for the children, they zeroed in on the money.

He walked into the bank, exactly the way it had been drawn on the practice paper.

You just don’t rob a bank. You try that, without a well-conceived plan, and they'll gun you down—that is, if you aren’t electrocuted first. In the modem bank, there are wires hooked to plants, and cameras behind clocks.

The plan is what separates the pros from the cons.

And whereas the plan might be that you rob the bank of millions of dollars and live happily ever after, there are many sub-plans that determine whether you will have to give the money back, or live happily ever after in jail.

Grimm knew about a guy who lost a button on his pants at a very bad time—when he was stealing some money. This guy reaches down and his mask slips off and the next thing he knows he is banging a tin cup on the bars, asking for more swill.

A plan is equal to the sum of its parts. Somebody stubs his toe at the wrong time, and this triggers an electronic device that drops the bars around you.

For example, you have to start somewhere, like with the mask.

It's obvious a man has to wear a mask so his face won’t be on the evening news. Money is no fun if you have to spend it down in the sewer or somewhere as dark. You don't put a burglar's mask on and walk three blocks to the bank. Somebody might say, “That guy is going to rob the bank.” You don’t put the mask on right outside the bank, either. This attracts attention, and you might be clubbed by the guard. So whereas a mask sounds like a simple proposition, it isn’t. You have to think it out.

It was Grimm’s idea to go as a clown. Clowns don’t rob banks.

“Hi there, mister clown,” the guard said.

“What’s your name?” Grimm asked.

“Hugh,” the guard said. “Hugh Estes.”

“Have a balloon, Hugh.”

“Thanks.”

There was some doubt whether Hugh Estes could draw his gun inside five minutes. And if he could get it out of his holster, he would have to figure some way to get it over his gut. A bank guard’s primary responsibility is to keep rich old women from bumping into the window's.

“Hugh,” Grimm said. “I have terrible news for you.”

He frowned. “I don’t get to keep the balloon?”

“Worse than that. Come over here.”

Hugh Estes got up from his desk. Grimm put his arm around the old fellow and led him toward the door. “How’s your heart, Hugh?”

“Never better. You with Easter Seals?”

“No.”

“United Way?”

“Hugh,” Grimm said. “I’m a criminal. I’m robbing this bank”

Grimm had his left arm tightly around the guard’s neck. “That’s funny,” Hugh Estes said. “You’re one of the best clowns I ever saw.”

“I’m no clown. Clowns don’t talk. Underneath this calm is a guy who’s getting a little nervous. I’ve got dynamite taped all over me, Hugh, so if you don’t want all these people blown to bits, just do what I say.”

Hugh Estes thought. They had taught him about this sort of thing in bank guard’s school. One out of approximately 475 people who say they are loaded with explosives actually detonates himself or herself.

“I’ve got a terminal illness,” Grimm said. “So it doesn’t matter what happens to me.”

That was the one who blows himself up!

Hugh Estes was getting real nervous real fast.

This would look very bad on his resume.

“Lock the door,” Grimm said.

Hugh Estes looked back at his desk, where the alarm button was. “You can’t rob this bank. There’s only one way out. This bank has never been robbed. It’s foolproof.”

“Yeah, but I’m no fool,” Grimm said.

Life Without Children by Roddy Doyle (Viking 2021)

Every morning, for ten days – his slot was ten o’clock – he sat at the kitchen table and waited for the call. He held up the iPad with one hand and pressed the green circle.

The screen this time, the camera – he was looking straight at her face. The mask was off, beside her on the pillow, leaning against her ear.

She was saying something – speaking.

—I – heard – one. Joe.

—Did you? he said.

He seemed to see each word before he heard it.

—At first – I was – afraid – I was pet – rified.

He knew the song.

—‘I Will Survive’, he said.

The words were heavy – she worked hard at pulling them out.

—I – might.

—Jesus – I love you, he said.

Something struck him now, the thought that had been lurking for months.

—Your worms, he said. —You’ve been making them up all the time, haven’t you?

He looked at her mouth on the screen, and waited. It was ages before she answered.

(From the short story, 'Worms'.)

Driving Big Davie by Colin Bateman (CB Creative Books 2004)

Everyone worth knowing knows exactly where they were when they heard Joe Strummer was dead. I know exactly where I was. I was sitting in a private room in a private hospital, trying to wank into a cup.

This probably needs some explaining.

Not everyone knows who Joe Strummer is. Or was. Joe was rock'n'roll.

He was The Clash.

For my generation, he was the man.

He sang 'White Riot' and 'Garageland' and 'London  Calling' and 'Know Your Rights'. He ran the tightest, wildest, most exciting beat combo in history.

He made music important. He changed lives in a way that Spandau Ballet or The Hollies never could. 

He was my Elvis, my Beatles, and he never got fat, or bland, or shot.

The world is indeed cruel. I know that more than most people. And I take refuge from that cruelty in the music of my youth.

The Horse with My Name by Colin Bateman (Headline 2002)

It was cold and dark outside. I went up the plank. It wasn’t a plank, of course. It was like boarding an aircraft. I did a quick tour. I bought a McDonald’s strawberry milkshake and then went to the newsagent and asked for a packet of Opal Fruits. The girl looked at me and I groaned and said, ‘Starburst.’ She nodded and lifted them off the shelf. ‘They used to be called Opal Fruits,’ I said. ‘They changed the name because the Americans call their Opal Fruits “Starburst”.’

‘Oh,’ she said.

‘And do you know why they call them Starburst?’

‘No.’

‘Because the astronauts took them into space. Existed on them. They’re packed with fruit juice. There’s a dozen square meals in this packet, and all for just thirty-two pence.’

‘Thirty-five.’

I handed her the money. ‘You’re okay. You’re young. You don’t remember. The glory days of Marathons and Pacers and Toblerones.’

‘We still have Toblerones.’

‘Yes, but they’re the size of fuck all. Used to be you’d break your teeth on them. Like Wagon Wheels.”

'You couldn’t break your teeth on a Wagon Wheel. They’re soft.’

Behind me a man in a blue tracksuit said, ‘No, I know what he means, Wagon Wheels used to be huge.’

I looked from him to the shop assistant and sighed. ‘Maybe they still are. Maybe we just got bigger.’

We all nodded sagely for several moments .  .  .

Shooting Sean by Colin Bateman (CB Creative Books 2001)

'Who the hell are you?' he cried.

'Security,' I said. 'I thought you were an intruder.'

'You stupid fuck! You broke my nose! It's my best feature!'

'Jesus,' I said, 'you're in trouble.'

He began to pull himself up. 'I'm going to speak to the goddamn manager about this . . .'

Before he could raise himself any further I thumped him on the jaw and he sagged back onto his knees.

'What the hell was that for?' he cried.

'Nothing,' I said, and thumped him again. 'But that was for "I Write the Songs That Make the Whole World Sing".'

Turbulent Priests by Colin Bateman (Headline 1999)

By noon a rag-bag of some sixty agitated islanders had congregated in the churchyard. They were all men, and they all had guns. Most were shotguns, but there were a few weapons of an altogether more sophisticated hue, which was, frankly, surprising. I’d expected slings and arrows, cudgels, rolling pins, Moses crooks and fish hooks. Not AK-47 assault rifles.

Father White addressed them from the steps of the church. Father Flynn stood by the church gates. He intended to bless them as they went a-hunting. Not the gates, the hunters. He had delegated the actual mechanics of the search to Father White, although I wasn’t altogether convinced that he had much choice about it. 

He’s neither younger nor fitter,’ he explained, ‘but he could have planned the invasion of Normandy in half the time.’

It was said with grudging respect. He looked worried. His voice was dry, his eyes were pinched up pensive. The mob was excited, baying to be off, and though they didn’t need it, Father White was whipping the frenzy up further. It was a simpleton’s version of a fox hunt, chasing a big girl around half a dozen square miles of bramble, scrub and wind-bent tree.

‘That’s an awful lot of hardware for an island this size, Father. What’s this, the forgotten wing of the IRA?’

He laughed. ‘No . . . of course not . . . we get a lot of ships call by, and they’re usually keen to trade. Particularly the Russians. God love their impoverished wee souls. There’s a fair bit of bartering goes on.’

‘You mean like half a dozen cabbages for a Kalashnikov.’

‘Actually, you’re not that far off. They’ve no shortage of weapons but their rations leave a lot to be desired. Poor scrawny half-starved wee men. You could probably equip a small army in exchange for sixty-four of Mrs McKeown’s meat pies.’

‘It looks like you have.’ I shook my head. ‘That’s still an awful lot of weaponry to track down an eighteen-stone schizophrenic. She’s not Rambo, Father, she’s Dumbo.’

‘Dan, she’s with Constable Murtagh, and as far as we’re concerned he is Rambo. He has a gun and he knows how to use it.’

‘He’s also the law, Father.’

‘Not on this island.’

‘Father, you know that’s not right.’

Before he could respond Father White appeared at his elbow. He had a shotgun under his arm.

Cecile is Dead by Georges Simenon (Penguin Books 1942)

'Did you see her?’

Maigret looked surprised.

‘Who?’

‘Cécile! Now if I was Madame Maigret …’

Poor Cécile! And yet she was still young. Maigret had seen her papers: barely twenty-eight years old. But it would be difficult to look more like an old maid, to move less gracefully, no matter how hard she tried to be pleasing. Those black dresses that she must make for herself from bad paper patterns, that ridiculous green hat! It was impossible to perceive any feminine allure under all that. Her face was too pale, and she had a slight squint into the bargain.

The Pressures of Life: Four Television Plays edited by Michael Marland (Longman Imprint Books 1977)

 

The Pressures of Life

Sometimes we feel that we are on top of life - able to follow our interests, succeed in our work, get on well with other people, and everything goes smoothly. At other times, we feel frustrated we cannot quite manage what is needed; we seem to hit problems that are beyond us; we feel overcome by “the pressures of life". These four plays all show people of today suffering in one way or another from the pressures of life today. The plays are by different authors, and were written for different series, but they each have “the pressures of life” in common, and in each we meet characters who are having difficulty coping.

Short plays on television are one of the most popular and probably one of the best art forms of today. The television screen has encouraged a form of realistic, compressed, and popular drama which explores contemporary characters in contemporary settings. The best of these have a depth of understanding of human nature and the predicaments that people get into that makes the play seem more than just a typical problem of the moment. Neil’s conflict with Fred Pooley in the first play, for instance, makes us think about the ways in which people’s pride and their prejudices affect their relationship with others. These are, above all, plays about people, people pushing against their surroundings and fighting the pressures of life.

The atmosphere of each play is different, and the reader should try to imagine the background of each. Speech Day depends on the atmosphere of an old-fashioned school building, just as A Right Dream of Delight depends on the cheery, bright comfort of a modern light factory, and The Piano on our sensing of Ada’s house, which is cramped but homely and comforting. Readers can build up a picture of each setting, not only the look, but the sounds of the schoolboys singing, and the demolition machinery' at work — all the details which are hinted at or described in the printed text and which the television screen would bring to life.

One Step Ahead by Duncan McKenzie (Souvenir Press 1978)

 

A Misspent Youth

Sonic players need coaxing along, some need a kick up the backside to get the best out of them. I needed both kinds of treatment in my callow days and I got what I needed. Born a Methodist, I graduated from schoolboy football playing for a team run by a Roman Catholic priest and another team which operated in a local Sunday pub league, and I don’t suppose you can have greater contrasts than that.

My Soccer travels have taken me a long way since the days when I was kicking a ball around for my junior-school team at Old Clee, Grimsby, but I like to think that f still get as much of a kick out of the game now as I did then, although my views have changed somewhat over the years, and especially in the past 18 months or so. Some people might say that I’ve grown up, at last; others would argue that I have found my right niche in the professional game since I joined Everton and came under the influence of manager Gordon Lee. Me? - I feel that I have learned as I have gone along, that everyone I have encountered in Soccer has taught me something, and that my own native intelligence has taken me to a point where I have matured.

In my early days in the professional game, I saw some youngsters who needed coaxing being given the kicking treatment - verbally, if not physically and the result was that they failed to respond. I’m still convinced that they probably had as much ability as myself, had they been handled in the right way, psychologically, but what happened was that they became afraid. They were afraid of doing things wrong.

Darts Greatest Games: Fifty Finest Matches from the World of Darts by Matt Bozeat (Pitch Publishing 2017)

 

Sid Waddell told the armchair enthusiasts that Deller was “not just an underdog, he’s an underpuppy” and asked: “Can Deller do the unthinkable and beat Bristow in the world final?”

For Deller, who threw spring-loaded darts designed to avoid bounce-outs, reaching the final, a fine achievement for a qualifier, wasn’t enough.

He was there to win the World Championship and predicted a 6-3 victory.

He blew six darts at a double to make it happen…

Earlier, the match had swung this way – Deller led 3-1 – then the other – Bristow levelled at 3-3 – then back again.

Deller won the seventh and eighth sets, taking him into a 5-3 lead and just one set away from the World Championship.

In the ninth set, Deller was 64 points away, then 18, then eight, then four…

Six darts at a match-winning double were missed and Deller spent the next two sets “shaking my head. I should have been world champion.”

Ever the opportunist, Bristow showed why commentator Dave Lanning described him as “a burglar” on the oche.

In his youth, Bristow had burgled houses and the North London ne’er-do-well-turned-king-of-darts brought his street cunning to darts. Knowing Deller was vulnerable, his mind elsewhere, Bristow smoothly upped his average by a few points and plundered five legs without reply while Deller chewed over those missed match-winning chances.

When he claimed the opening leg of the 11th and deciding set, Bristow led for the first time in the match and that realisation, the possibility of defeat, snapped Deller out of his ruminations. Either he started throwing his best darts again or he would lose – and he hadn’t come here to lose.

The spell broken, he rediscovered his fluency to break back immediately with a 121 checkout, then hold his throw to leave Bristow needing to do the same to save the match.

Bristow got to a finish first in that fourth leg.

He took aim at 121 with Deller also on a three-dart finish, 138.

Bristow threw 17, then treble 18 and with 50 left, everyone zoomed in on the bull’s-eye. Everyone apart from Bristow, that is. Rather than go for the bull’s-eye to win the leg, Bristow was so sure Deller wouldn’t take out 138 for the match, he threw 18 to leave his favourite double 16.

This wasn’t hubris. Bristow had thought it all through. He reckoned Deller’s mental mastication – “He could have beaten me earlier, he had his chance” – and the awkwardness of the 138 finish – “it was all over the place” – guaranteed he would come back to the oche and have three darts at his favourite double.

Years later, he would think otherwise, saying the pressure would have been greater on Deller had he been faced with a smaller finish. “If he had 58 left he would have been standing behind me thinking: ‘I’ve got two more darts for the title,’” he said, but still, nobody, not just Bristow, really expected Deller to take out 138.

“He’s banking on Deller not doing this!” cried Waddell excitedly and when Deller’s first dart landed in treble 20, there was a chance Bristow had got it wrong.

Deller had taken out big finishes in the earlier rounds of the championship and knew what he was doing. “I didn’t stop,” he said. “There was no way I was going to think about it.”

Had he thought about the importance of the darts he was throwing, his arm would surely have twitched, so Deller ignored the crowd’s growing excitement when he nailed treble 18 and coolly switched across the board to fire his final dart into double 12.

“I have never seen anything like it in my life,” said Waddell while Deller shook his fists above his head in sheer joy.

“It was perhaps the next best thing that could happen to me,” Deller would tell Darts World, “… next to playing for Ipswich Town.”

Seven Kinds of People You Find in Bookshops by Shaun Bythell (David R. Godine, Publisher 2020 )

 

Yesterday, a man telephoned the shop and asked for a copy of my second book, Confessions of a Bookseller. The total, including postage, was £18. As I was taking down his credit card details, he said, ‘Please add an extra £10.’ When I asked him why, he replied, ‘Because I know how hard this time must be for businesses like yours, and I want you to still be there when all of this is over, so that I can come and visit the shop again.'

No Wonder I Take a Drink by Laura Marney (Saraband 2004)

 

My lasting memory of Mum is of her standing leaning against her bed, wearing her good pearls, nicely turned out in a peach blouse and lemon cardi, bare naked from the waist down. She was threatening to sign herself out of the hospice for the third time that week. Anticipating this I had sneaked her in a half bottle of vodka. We both knew it would probably finish her off but that's the way she wanted it. She died three nights later. Before she died and after I'd helped her put her drawers on and poured her a watered-down vodka and coke, she nearly told me something.

I could see she was struggling and I suppose I should have been more patient or just told her to bloody well spit it out, but at the time I was too busy noticing that my mother had no pubic hair. I couldn't believe that, at age sixty-eight, she would take the trouble to give herself a shaven haven. Where would she have got hold of a razor? And besides, her hands shook most of the time.

At first I thought it was just another of her rants about the Health Service, actually a thinly disguised rant about her own health, but her tone was different, not angry, she seemed frightened. She closed her eyes and shook her head vigorously, the way she did when we argued. And then she went strange. She started rocking back and forth, moaning and shuddering.

'Your dad says I should ...'

She was scaring me with her amateur dramatics so I decided to nip it in the bud.

'Dad's dead, Mum, he died four years ago.’

Slowly she opened her eyes and showed me a thin aggressive smile.

Do That Again Son, and I'll Break Your Legs: Football's Hard Men by Phil Thompson (Virgin Books 1996)

 

Only once did I deliberately set out to try and hurt someone and that was years later in a charity game for a little amateur club in Belfast. The manager told me: ‘There’s a lad playing on the other side who says he’s going to kick you.'

I replied: ‘If he wants to kick me he will.'

It didn’t worry me. I’d spent my professional career playing against players like Smith, Harris, Reaney, and Dave Mackay of Spurs, who was unquestionably the hardest man I ever played against and certainly the bravest. This time it was just a cocky kid with ideas above his station. He was as good as his word, however. He followed me everywhere. He kicked me and he kicked me again. I told him: ‘This is ridiculous, this is an exhibition game. It should be fun.'

He kept on kicking and he started insulting me. All the usual stuff like, 'You’re past it, you’re a has-been, you won’t finish the game.’

I said, 'If you kick me again, you won't finish the game.’ He did. So about ten minutes later I deliberately knocked the ball a little too far forward, or so he would think, knowing he was going to come for it. And when he did I turned him and hit him above the knee. As they carried him off, he was crying like a kid. While he was lying on the ground the captain of our team went over to him and said, ‘Kittens don't fuck cats.’

I felt very upset about it afterwards. I went to see him after the game to apologise. His manager said, ‘Don’t worry, George, it’s taught him a lesson - don't fuck with a truck.’

George Best, taken from The Good, the Bad and the Bubbly

Brothers Keepers by Donald E. Westlake (M. Evans and Company, Inc 1975)

“Have I kept you waiting? I’m so sorry,” Brother Oliver said. “I was painting, in the courtyard. This winter light is so perfect for—”

Dwarfmann gestured that away with an impatient flick of his numerical wrist; I couldn’t see the numbers. “My days,” he said, “are swifter than a weaver’s shuttle. Let’s get down to business.”

I’m sure Brother Oliver was as taken aback as I was. The imagery, in Dwarfmann’s rattly style of speech, seemed wildly inappropriate. Then Brother Oliver said, in distinct astonishment, “Was that from Job?”

“Chapter seven, verse six,” Dwarfmann snapped. “Come, come, if you have something to say to me, say it. Our time is a very shadow that passeth away.”

“I don’t know the Apocrypha,” Brother Oliver said.

Dwarfmann gave him a thin smile. “You know it well enough to recognize it. Wisdom of Solomon, chapter two, verse five.”

“Then I can only cite One Thessalonians,” Brother Oliver said. “Chapter five, verse fourteen. Be patient toward all men.”

“Let us run with patience,” Dwarfmann or somebody said, “the race that is set before us.”

“I don’t believe,” Brother Oliver told him, “that was quite the implication of that verse in its original context.”

“Hebrews, twelve, one.” Dwarfmann shrugged. “Then how about Paul to Timothy, with its meaning intact? Be instant in season, out of season.” Again he tapped those little red numbers, and now I saw them: 2:51. I don’t know why I felt so relieved to know the exact time— something about Dwarfmann’s presence, I suppose. And he was saying, “I’m a busy man.” That couldn’t be Biblical. “My man Snopes told you all you needed to know, we’ll give you every assistance in relocation, given the circumstances we’ll go farther than the law requires. Much farther. But that wasn’t enough for you, you have to hear it from me direct. All right, you’re hearing it from me direct. We’re building on this site.”

“There is a building on this site,” Brother Oliver said.

“Not for long.”

“Why not look at it?” Brother Oliver made hospitable gestures, urging our guest to come look the place over. “Now that you’re here, why not see the place you intend to destroy?”

“Beauty is vain,” Dwarfmann said. “Proverbs, thirty-one, thirty.”

Brother Oliver began to look somewhat put out. He said, “Wot ye not what the Scripture saith? Romans, eleven.”

With that sudden thin smile again, Dwarfmann answered, “What saith the Scripture? Galatians,  four.”

“Pride goeth before destruction,” Brother Oliver told him, “and an haughty spirit before a fall. Proverbs, sixteen.”

Dwarfmann shrugged, saying, “Let us do evil, that good may come. Romans, three.”

“Woe unto them that call evil good, and good evil. Isaiah, five.”

“Sin is not imputed when there is no law,” Dwarfmann insisted. “Romans, five.”

Brother Oliver shook his head. “He that maketh haste to be rich shall not be innocent.”

“Money answereth all things,” Dwarfmann said, with a great deal of assurance.

“He heapeth up riches,” Brother Oliver said scornfully, “and knoweth not who shall gather them.”

“Unto every one that hath shall be given, and he shall have abundance.” Dwarfmann permitted his own scornful expression to roam around our room, then finished, “But from him that hath not shall be taken away even that which he hath.” Another quick look at his watch. “I think we’ve played enough,” he said, and turned toward the door.

Brother Oliver had two pink circles on his cheeks, and his pudgy hands were more or less closed into ineffective fists. “The devil is come down unto you,” he announced, “having great wrath, because he knoweth that he hath but a short time.”

Dwarfmann’s hand was on our doorknob. He looked back at Brother Oliver, flashed that thin smile again as though to say he was glad we all understood one another now, and with another quick glance around the room said, “He shall return no more to his house, neither shall his place know him any more. Job, chapter seven, verse ten.” And he left.

Brother Oliver expelled held-in breath with a sudden long whoosh. Shaking my head, I said, “The devil can cite Scripture for his purpose.”

Brother Oliver gave me a puzzled look. “Is that New Testament? I don’t recognize that.”

“Uhh, no,” I said. “It’s Shakespeare. Merchant of Venice.” I cleared my throat. “Sorry,” I said.