PLUME
Will Wiles

Copyright

4th Estate

An imprint of HarperCollinsPublishers

1 London Bridge Street

London SE1 9GF

www.4thEstate.co.uk

This eBook first published in Great Britain by 4th Estate in 2019

Copyright © Will Wiles 2019

Cover design by Luke Bird

Cover illustration © Blue Jean Images / Alamy

Will Wiles asserts the moral right to be identified as the author of this work

A catalogue record for this book is available from the British Library

Information on previously published material appears here.

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins

Source ISBN: 9780008194413

Ebook Edition © 2020 ISBN: 9780008194420

Version: 2020-01-17

Dedication

For my parents, with love.

Epigraph

‘People begin to see that something more goes into the composition of a fine murder than two blockheads to kill and be killed — a knife — a purse — and a dark lane. Design, gentlemen, grouping, light and shade, poetry, sentiment, are now deemed indispensable to attempts of this nature.’

‘On Murder Considered as One of the Fine Arts’

Thomas De Quincey

Contents

Cover

Title Page

Copyright

Dedication

Epigraph

Chapter One

Chapter Two

Chapter Three

Chapter Four

Chapter Five

Chapter Six

Chapter Seven

Chapter Eight

Chapter Nine

Chapter Ten

Chapter Eleven

Chapter Twelve

Acknowledgements

About the Author

Also by Will Wiles

About the Publisher

ONE

We want beginnings. We want strong, obvious beginnings. Start late, finish early, that’s the advice from people who write magazine features. Ditch the scene-setting, background-illustrating and throat-clearing and get stuck in. It’s not a novel.

Lately, however, I’ve been fixated on beginnings, and their impossibility. I trace back and back through my life, trying to find the day, the hour I started to fail. Whenever I alight upon a plausible incident, where it might make sense to begin, I find causes and reasons and conditions and patterns that can be traced back further. And then I discover that I have gone back too far, that I have reached a point well before the event horizon of my failure, where the mass of it in my future overcomes any possibility of escape in the present. No fatal slip, or fatal sip.

Start late, finish early. Start with a bang. Later, a couple of my colleagues would claim that they heard the explosion. The rest would insist that it was too far away to be heard and that the others were mistaken.

I did not hear it. I felt it. The shockwave, widening and waning as it raced through east London, passed through my chair, through my notebook, through my phone, and through the people seated around the aquarium conference table. As it passed through me – through the acid wash of my gut, through raw, quivering membranes, through the poisoned fireworks of my brain – the wave registered as a shudder. It tripped a full-body quake, a cascade of involuntary movements beginning at the base of my spine and progressing out to my fingertips. These episodes had been getting worse lately, but I knew this was more than the usual shakes: as I felt the wave, I saw it. My eyes were focused on the glass of sparkling water in front of me. I had been trying to lose myself in its steady, pure, radio-telescope crackling. When the shock of the blast reached us, it had just enough strength to knock every bubble from the sides of the glass, and they all rose together in a rush. No one else reacted. No one else saw.

No ripple could be seen in the rectangular black pond of my phone, which was lying on the conference table in front of me. Within it, though, beneath its surface, ripples … But the Monday meeting had rules, strict rules, and my phone was silenced. Really, it should have been turned off, but I knew that it was on behind that finger-smeared glass, awaiting my activating caress.

‘Explosion’ was not my first thought. I guessed that a car had hit the building, or one nearby. These Victorian industrial relics all leaned up against each other, and interconnected and overlapped in unexpected ways. Strike one and the whole block might quiver. But it could have been nothing. Without the evidence of the glass in front of me, I might have believed that I had imagined the shock, or that it had taken place within me, a convulsion among my jangling nerves, and I had projected it onto the world.

Even the bubbles were no more than a wisp of proof that an Event had taken place; they were gone now, and no further indications had shown themselves. None of my colleagues had stirred – they were either discussing what to put in the magazine, or looking attentive. As was I. There were no shouts or sirens from the street, not that we’d hear them behind double glazing six storeys up.

But on the phone, though, through that window … Whatever had happened might now be filling that silent shingle with bright reaction. With a touch, I would be able to see if anyone else had heard, or felt, an impact or quake in east London; I would be able to ask that question of the crowd, and see who else was asking it. And I might be able to watch as an event in the world became an Event in the floodlit window-world – the window we use to look in, not out. It was magical seeing real news break online, from the first hesitant, confused notices to the deluge of report and response. An earthquake, a bomb, a celebrity death. And if you scrolled down, reached back, you could find the very first appearance of that Event in your feed or timeline, the threshold – the point where, for you, the Event began, the point at which the world changed a little. Or a lot. In front of me, in real time, the Event would be identified, located, named and photographed. And the real Event would generate shadow events, doppelhappens, mistaken impressions, malicious rumours, overreactions, conspiracy theories. More than merely watching, I would be participating, relaying what I had seen or heard or felt, recirculating the views of others if I thought they deserved it, trimming away error and boosting truth. Journalism, really, in its distributed twenty-first-century form.

(I sickened as I thought of the Upgrade, the digitisation effort taking place on the floor below, all those features I had written being plucked from their dusty, safe, obscure sarcophagus in the magazine’s archives, scanned, and run through text-recognition software. Soon they would be online. It couldn’t be stopped.)

Being denied the chance to check if an Event was indeed happening felt physical to me, withdrawal layered over withdrawal. The action would be so quick: a squeeze on the power button, dismiss the welcome screen, select the appropriate network from the platter of inviting icons on my home page. I no longer even saw those icons: the white bird of Twitter against its baby-blue background, the navy lower-case t of Tumblr, the mid-blue upper-case T of Tamesis, enclosed in a riverine bend. For something happening in London, Tamesis might be best, the smallest and the newest of those three. It had started as a way of finding bars and restaurants, and prospered on the eerie strength of its recommendations. But it was evolving into much more than that, rolling out new functions and abilities, constantly sucking in data from other networks, informing itself about the city and its users. If there had been a bomb, or a gas explosion, or even a significant car accident, Tamesis would know about it before most people, pulling in keywords and speculation from Twitter and Facebook and elsewhere, cross-checking and corroborating, and making informed guesses – preternaturally informed. Maybe that, really, was twenty-first-century journalism: done by an algorithm in a black box.

With the passing minutes the importance of the vibration diminished, but my desire to escape this room and dive into the messages, amusements and distractions of the phone only strengthened. It was right there in front of me, but inaccessible – Eddie would be greatly displeased. He was relaxed about a lot of things that might bother other bosses, but the no phones rule in the Monday meeting was sacrosanct, and I saw his point. Allow one, just for a second, and everyone would be on them the whole time. But the thought had taken root. Not only was I cut off from the sparkling constellation of others, I was cut off from myself, the online me, the one who didn’t tremor and sicken at 11 a.m. on a Monday morning, the one who charmed and kept regular hours and lived a fascinating life, not this shambles who sweltered in the aquarium. The old image of life after death was the ghost, which inhabited without occupying, and observed without possessing or influencing. But here I was, in this meeting, alive and a ghost. Death, I imagined, would be more akin to being stuck on the outside of an unpowered screen – the world still blazing away there, wherever there was, but imprisoned behind vitrified smoke.

If I could be reunited with that shining soul behind the glass, though, the happy success, not the ailing failure, I could check in with the others – Kay, for instance, sitting across from me but looking at Eddie, as mute and inaccessible as my phone. I could send her a message, see what she had been saying on Twitter, Tamesis, Facebook, Instagram … I doubted there would be anything to see. I greatly preferred the other version of me who would be doing the looking, though, the assurance and charisma of his interactions with others. He had no hands that might shake or knees that might buckle. His visage appeared only behind moody filters, hiding the sweat and pallor. He was always on his way somewhere interesting, not fleeing rooms full of people. What would become of that Jack Bick when this one was finished? I wondered. His was the greater tragedy. He had not brought failure upon himself. How I wanted to be in his company, but how bittersweet I now found those times together. It was like seeing an attractive house from a train window and thinking, Yes, what a fine place to live – and realising that the railway line ran right past its windows, the passing trains full of strangers gawping in. This was the relationship between my online and my offline. The phone is the dark reflecting pool for the monument of the self.

‘Jack?’

Kay was looking at me now, and so was Freya, and so were the Rays, and Ilse, and Mohit and the others. They were all looking at me. Eddie was looking at me – he had spoken.

‘You with us, buddy?’ Eddie said, and some of the others laughed. I forced a smile.

‘Feature profile,’ Eddie continued. Everyone looking.

How must I look to them? I wonder: the thin layer of greasy sweat pushed up by the warmth of the aquarium, the unlaundered shirt over an unlaundered T-shirt, unshowered and unshaved on a Monday morning. Was there odour? The air around me could not be trusted; I feared the tell-tale vapours that might be creeping into it. My index finger was resting on the rim of my glass, where I had been watching for tremors and thinking about the bubbles.

‘Something just happened …’

Thirty or so eyes on me. No one spoke.

‘Did anyone feel that?’

No one spoke.

‘Feature, profile,’ Eddie said. ‘What do you got for us, Jack?’ He enunciated this carefully, savouring the carefully remixed syntax.

The really bad part was that I actually had an answer to this, I was in fact prepared, but I had completely tuned out while Freya was talking, lost in ascending bubbles and the vibrating gulf between the icy crystalline world of the water and me, its observer, a low-voltage battery made by coiling an acid-coated length of bowel around a spine filled with tinfoil and bad cartilage. I searched for the correct page in my notebook, sweat prickling.

‘Oliver Pierce,’ I said.

One of the Rays pulled their head back, an almost-nod of recognition. Ilse appeared to tighten. Kay smiled, though only specialist devices aboard the Hubble Space Telescope could have detected it. The others did not react.

‘The mugging guy,’ Eddie said.

‘Yes, the mugging guy.’

‘He’s been interviewed a lot.’

‘No,’ I said. ‘He was interviewed a lot, when the mugging book came out. But he hasn’t said anything to anyone in years. Not a word. Deleted his Twitter, doesn’t answer emails …’

‘Does he have a book coming out?’

‘No,’ I said, too quickly, a mistake. Then, scrambling to recover: ‘Well, he must have been working on something – when I—’

‘Maybe he’s got nothing to say,’ Eddie said. ‘No book, no hook. How do we make it urgent?’

‘He must have been working on something …’

‘I haven’t even seen any pieces by him lately,’ Freya said. She was as bright-lit as the rest of us, but it was as if she had stepped from the shadows. I had tuned out of the meeting during a lengthy argument about feature lifestyle, her domain. We used to have a food correspondent, but after she left, food was added to Freya’s brief. Freya hated food. Her one idea had been a feature about the next big thing in grains – trying to sniff out the next quinoa, the spelt-in-waiting – which Eddie, Polly and Ilse had united in hating. Boring, impossible to illustrate. It had been a bruising business for Freya, and part of her recovery was to try to make someone else’s ideas and preparation look worse than hers had been. That someone would be me. Every month the flatplan served me up after Freya, a convenient victim if the meeting had gone badly for her. Unless I booked an interview high-profile enough to lead the feature section (not for a while now), feature profile followed feature lifestyle like chicken bones in the gutter followed Friday night.

‘Nothing on Vice,’ Freya continued, ‘nothing in Tank. What if he’s blocked or something?’

Pain, a steady drizzle behind my eyes. The quake visited my right hand, which was resting on the table in front of me, on top of my pen. I stopped it by picking up the pen and making a fist around it. The aquarium air was acrid in my sinuses, impure. What time was it? The Need wanted to know. I had to push on.

‘Isn’t that interesting in itself?’ I asked, emphasising with the pen-holding hand, keeping it moving until the quake subsided. ‘A writer has a smash hit like that mugging book. Big surprise. Awards. Colour supplements. Then, he goes Pynchon. Recluse. Emails bounce. Changes mobile number. Why? Isn’t that worth a follow-up?’

‘But he’s not a recluse,’ Eddie said. ‘He’s talking to you. Why’s that?’

I wished I knew. ‘He must have something to say.’

‘There were loads of interviews when that book came out,’ Freya said. There was brightness in her tone, no obvious malice, but I knew her game. She was trying to smear my pitch. And as she spoke, it was as if I could detect the gaseous content of each word, the carbon dioxide in each treacherous exhalation, subtracting from the breathable air in the room, adding to the fog around me. ‘And besides … A novelist … Not much visual appeal.’ She pursed her lips into a red spot of disapproval.

No one else spoke. Eddie pushed back in his chair. ‘When are you meeting him?’

‘Tomorrow,’ I said. ‘Morning. Tomorrow morning.’

‘Let’s have a back-up,’ Eddie said. ‘I want you to meet Alexander De Chauncey.’

An action took me without my willing it, an autonomous protest from my body. My head fell back and my eyes rolled; my lower jaw sagged; and I made a noise: ‘Euuhhhh …’

Another boss might have regarded this as insolence – it was insolence, after all, a momentary lapse into teenage rebellion, not calculated but real – and hit back hard, but this was Eddie, our friend. He smiled at it. ‘Look, I know you don’t rate the guy …’

‘He’s a prick.’

‘Have you met him? You wouldn’t say that if you met him. Ivan introduced us. He’s actually a great guy. Fun, creative, down-to-earth. An ideas guy.’

‘He’s a fucking estate agent.’

Eddie was away, fizzing with enthusiasm for his own proposal. ‘That’s the angle. An estate agent, but a new breed. Young, hip, creative. Progressive. One of us, you know? Not one of them. He’s got some really amazing ideas. You’ll love him.’

Every particle of my body screamed with cosmic certainty that I would hate him. ‘Maybe next month?’

The change in Eddie’s manner was so slight that perhaps only half the people in the room picked up on it, if they were paying attention: a hardening, a cooling. ‘What, you’re too busy this month?’ A chuckle from the ones who had detected the change in Eddie-weather. ‘Look, it’s win-win, Jack. If your mugging guy pays off we can go large on him and maybe hold De Chauncey for next month. It won’t hurt you to have one in the bag, to get ahead of yourself. If mugging guy is so-so, we do both. If Mr Mugging is a dud, we do De Chauncey. Yeah?’

There was no real question at the end of Eddie’s statement – more a choice between consenting by saying something or consenting by staying quiet. I chose to stay quiet. Eddie turned to his flatplan and struck out six spreads, over which he scrawled PROFILE PIERCE? / ALEX. The spread after this block he put an X through.

The flatplan was the map of the magazine – a blank A3 grid of paired boxes indicating double-page spreads, used to plot out the sequence of stories, features and adverts, letting editors decide the distribution and balance of contents: too word-heavy or too picture-heavy? Are there deserts to be populated or slums to be aerated? Editors, not generally a whimsical breed, often attribute mystical properties to the ‘art’ of flatplanning. They talk – their eyes drifting to the middle distance – of matching ‘light’ and ‘dark’, of rhythm and counterpoint, and the magazine’s ‘centre of gravity’, its terrain, its movement. But basically, the flatplan is a simple graphical tool and can be mercilessly blunt in what it shows.

Those Xed-out spreads that came between features were advertising. And each of those ads would be for a high-status brand – BMW, Breitling, Paul Smith – appropriate to the magazine’s luxury-lifestyle brief. One spread, very occasionally two, between each feature. No one commented on that, as if it had always been that way. But when I had started at the magazine there had been three or four ad spreads between features. Sometimes ad spreads would interrupt features. Advertisers would insert their own magazines and sponsored supplements into ours. The ads would experiment and try freakish new forms. They would have sachets of moisturiser glued to them, or fold-out strips reeking of perfume, or the page would be an authentic sample of textured designer wallpaper or a hologram or it would come with 3D specs. It had been quite normal for the magazine’s writers and editors to complain about the ads, about features getting swamped by them, about the magazine becoming cumbersome. We were afloat on a sea of gold, and whining it was too thick to paddle, that the shine of it hurt our eyes.

There were still grumbles about the adverts, but now they dwelled on quality, not quantity. Was this Australian lager, or that Korean automobile, really the kind of advertiser we wanted? Couldn’t the ad team do better? But Eddie was able to turn away these gripes with a sympathetic yet helpless shrug – a shrug that said, ‘I know, but what can you do?’ – and no one pushed past that.

Every year there were fewer of us to complain.

Ilse was unhappy with the inclusions, the loose advertising leaflets tucked into the magazine. One was a sealed envelope printed with a black and white photograph of a child’s face, dirty and miserable. Underneath the face was the message IF YOU THROW THIS AWAY, MIRA MAY DIE.

‘This kid, I don’t know – this kid is threatening me? They are holding a gun to this kid and threatening it? It’s a threat?’

‘It’s a charity appeal,’ Kay said. ‘They are just trying to create some urgency.’

‘It is ugly,’ Ilse said. ‘Not the photograph, a good photograph I suppose, lettering fine, but what they are saying with this is ugly, it is a threat. When I open my magazine, my beautiful magazine’ – she acted this out, closing last month’s edition on the envelope, then opening it again – ‘and, oh my goodness, this kid, I don’t even know. It is not the correct mood.’

Eddie pushed a hand into his thick black curls. Ilse had been with the magazine longer than anyone except him, and along with him was the only surviving remnant of the Errol era. Dutch, brittle, she had a temper that was the basis of several office legends: that she was unsackable, that she had once hit a sub-editor with a computer mouse, that her giant desk was not a reflection of her status as art director but rather an exclusion zone established to keep the peace. When I was new, before the office became the roomy, under-populated space it was now, I had to sit near Ilse for two days while the wall behind my desk was repainted. Two days of terrified silence. On the second day, I ate lunch at my desk and for some reason – a self-destructive, reckless impulse, a death wish – that lunch included a packet of Hula Hoops. As I crunched my way through the fourth or fifth Hula Hoop, I became aware of eyes focused through steel-framed glass, of pale skin taut over sharp cheekbones. She said nothing, just looked. The remainder of the pack I softened in my mouth before chewing. It took about an hour and twenty minutes to finish them all.

This was back at the beginning of my time, and it was commonly held that she had mellowed. Recent budget cuts she had borne with (public) silence, if not good grace. Nevertheless, art directors are dangerous as a breed. They spend too much time playing with scalpels. Here we are in the age of Adobe Indesign and Photoshop, and still they won’t be separated from those vicious little blades that come wrapped in wax paper like sticks of gum, and those surgical green rubber cutting boards. Why, if not for murder? Or at least recreational torture.

Before Eddie could answer, Freya spoke. ‘Last month it was the National Trust. That seems off, to me. I mean, stately homes?’ She threw up her hands and grimaced.

Eddie smiled. ‘Good high-quality product. Not starving kiddies.’

‘But it’s just so Boden. Where do we draw the line? Those fucking catalogues of William Morris shawls and ceramic owls and reproduction Victorian thimbles?’

‘If their money’s green,’ Eddie said with a teasing little shrug, clearly relieved to be arguing with Freya and not Ilse, who could thus be answered by proxy. ‘Look, these pay, and quite frankly beggars can’t be choosers. You want to sit in on one of my meetings with the ad team. You don’t want.’

One of Eddie’s tics – along with the suffering-in-silence hands-in-the-hair – was starting sentences with the word ‘look’. You could see why he liked it: there was that note of Blairish candour, of plain dealing. It insisted on your attention and assent. But it was also a tell. It cropped up when he felt a discussion was not going his way. When he felt, for whatever reason, that he was not being sufficiently convincing. This was a double-look.

‘Look, they’re not going to do anyone any harm, they’re not going to kill anyone. You might not like them, I don’t care for them, but we need them.’

A silence fell.

‘Is that everything?’

Polly, the deputy editor, whispered, ‘Friday …’

‘Aha, Friday, yes,’ he said as he caught her eye. ‘A reminder of what we agreed last week: I’m not here next week, so the next Monday meeting will be on Friday, and it’s an important one. Has everyone kept the morning free?’

There were nods and mumbles of agreement. The change in schedule had been mentioned at the last Monday meeting, and its importance had been emphasised. Since then, it had been much discussed, out of Eddie and Polly’s hearing, in quiet, nervous huddles. Eddie or no Eddie, the Monday meeting was sacred. When Eddie was away, Polly took his place, and the meeting went on. A Monday meeting on Friday was a patent absurdity, and an ill omen. But how to express the suspicions of the group?

After a tense silence, Kay spoke, and was direct. ‘Are there going to be redundancies?’ Seeing Eddie wince, she added, ‘I don’t like to ask, no one does, but we’re all thinking about it and, frankly, the atmosphere is beginning to get a little stifling.’

Stifling was about right. Could Kay see it too? The room was filling with smoke, slowly, silently. It was going to choke us all, me first, unless we got out. No one else appeared to notice it – was it not affecting them, or was it killing them invisibly, undetectably, like carbon monoxide? No, I reasoned, probably not them, they would be just fine. The smoke was for me alone, it would fill my lungs and drag me down, and I would end right here in front of everyone before Eddie rapped the table with his knuckles and said, ‘That’s it.’ How would they react if I expired in the middle of the Monday meeting? Would they be sad, would there be a tasteful black-border tribute in the next issue, using that photo they took last month for the new website? Or the other photo, the one from four years ago when I was entered for an award, the one with the puppy fat and the smile, not the gaunt, hollow-eyed creature I had become. I feared the new picture, crisp shadows in 8-bit greyscale.

Or would the expressions of grief be limited to: ‘Sadly Jack has let us down again, so we have ten pages to fill …’

My death might save Eddie a redundancy. Kay was right. She had asked the question we all feared to, the question we asked each other when Eddie wasn’t present, preferring to swap ignorant speculation for an actual answer.

‘Look,’ Eddie said, grabbing a fistful of his hair as he spoke, ‘I’m not going to sugar-coat it. It’s tough. Tougher than it’s ever been. But I promise you I will do everything it takes to avoid … having to do anything like that.’

He looked around the table, carefully making eye contact with each of us in turn. Freya, at his left hand, was reached last, and she did not raise her eyes from her pad, where an extensive pattern of angry spirals had appeared.

‘So for the time being the inserts stay,’ Eddie continued. ‘We’ll just have to live with them. Even those fucking pewter eggcups, if it comes to that, God help us.’

A couple of people managed to chuckle. Eddie rapped his knuckles against the table. ‘OK. Friday then. That’s all.’ And the meeting broke up, like a cloud dispersing.

In spite of my desperation, I did not immediately rise from my seat, fearful of wobbling in front of the others. Polly had been sitting at Eddie’s right hand, on my side of the table, and my view of her had been blocked during the meeting by Ilse and Mohit. As the others left the aquarium, she was revealed. And she was staring right at me, chair swivelled in my direction, no trace of a smile. Her clipboard, a stainless-steel thing that was in effect a corporate logo for Brand Polly, lay on her lap. At first I thought she was going to speak to me, so I turned my own chair her way and looked attentive, trying to straighten up and compose myself. But she said nothing, and just stared at me, as if I were an inanimate object that presented a problem; a knackered sofa that needed to be taken to the dump, for instance. She was still staring as she stood, and only looked away when she reached the door and left the meeting room.

My head swam. I had to get out.

It was a relief to be out of the aquarium, out of the meeting, but I was not free yet. The earliest, the absolute earliest, I could justifiably leave for lunch was after noon, and it had only turned eleven thirty. The Monday meetings used to start at nine thirty sharp and had been known to run until one or even two. Now they started at ten and rarely ran past twelve. Fewer pages to fill, smaller, simpler flatplans, less international travel to coordinate in the diary, fewer voices around the table. Today we hadn’t even started until ten fifteen – my fault, I had been late.

I wanted to talk to Eddie, to try to excuse myself from the office until Friday. That was the one advantage of being expected to do two interviews: I could justifiably work from home all this week and perhaps half of next week, in theory using the time to meet the subjects, type up the transcripts and then write the pieces. And other things.

But Eddie was talking with Polly in his ‘office’. This was not truly a separate room, more a stockade in the corner of our open-plan expanse, made more private by metal archive cabinets on one side and chest-high acoustic panels on the other. The publisher – who had a very nice office – had fixed ideas about editors working in the midst of their staff. And so it had been, back in the Errol days: he had a big desk opposite Ilse, right in the middle of the floor, surrounded by his team. By the time I started on the magazine, Eddie had migrated to the corner. The archive cabinets and acoustic panels had appeared during a reorganisation a couple of years ago, a reorganisation made possible by our declining numbers. We would tease Eddie about his fortress, and he would tease back, saying he needed a bit of space to himself, to give him a break from all of us. Then those deep, gentle brown eyes would turn serious, perhaps even a little sorrowful, and he would say that sometimes people, us, came to him with delicate matters, sensitive personal or professional issues, and he wanted us to feel secure in doing that, to have some privacy. Really it was for our benefit, not his. And didn’t we prefer having a bit of distance from our boss? Not having him looking over our shoulder the whole time?

He really was an amazingly thoughtful guy. But he was talking with Polly, and it looked tense. Polly was holding her steel clipboard in Clipboard Pose #4: Body Armour, clutching it to her chest in crossed arms. As Eddie spoke, she gave a series of little nods to punctuate what he was saying, a human metronome on a slow beat. She was behind the De Chauncey stitch-up, I was certain of it. Two interviews – the injustice of it was planetary, galactic.

As if to confirm my private suspicions, she abruptly turned to leave Eddie’s office, and as she did so she looked straight at me. Our eyes connected, and something burned in hers, something that could be read as ruthlessness, or even cruelty.

Eddie looked up wearily as I entered his enclosure, announcing myself with a knock on the acoustic panel, a knock robbed of almost all its sound, reduced to a submarine bump. I had gone over as soon as Polly left, wanting to catch him before he picked up the phone or was detained by someone else.

‘Jack …’ he began, and his expression said, Never a quiet moment.

‘Eddie,’ I said. ‘These two interviews …’

He rolled his eyes. ‘No. Stop. We discussed this in the meeting. You’re doing both.’

‘It’s fine, that’s fine,’ I said, holding up my hands in surrender. There was a little armchair by Eddie’s desk for visitors to sit in but I chose to stand, as Polly had done. Business-like. On task. ‘I just want to make sure it’s OK to take the time I’ll need to do them properly. I’m seeing Pierce tomorrow, Wednesday for transcribing, then Thursday and Friday for writing. So if we arrange De Chauncey for Monday next week …’

‘No,’ Eddie said. He frowned, eyebrows coupling. ‘No. No. I’m not having you out of the office for two weeks, not when I’m out as well. You don’t need that much time. You’re meeting Pierce tomorrow morning, right?’

I nodded.

‘You can do De Chauncey in the afternoon, while you’re out. Transcribe both on Wednesday. On Thursday I can take a look at both transcripts, and we’ll know where we stand.’

I shifted from one foot to the other, uncomfortable. Standing suddenly felt like a lot of effort.

‘Come on,’ Eddie said. ‘Don’t give me this. I know you can do it, you used to do it all the time. Come Thursday, I want you back in the office, and we’ll make decisions about which feature to prioritise. I want clear progress before I go on leave, something I can have confidence in. Ready to show on Friday. Important day, Friday. Then you’ll have a clear run at writing, OK? Without me breathing down your neck.’

My ankles were doing a lot of extra work to keep me upright, I realised. I was being undermined – the pleasant sensation of the sand being sucked from under the soles of your feet by a receding wave on the beach, reborn as a nightmare. Undermined, yes, that was it – Polly digging away at my basis, unseen.

‘Sure,’ I said. I wished I had sat down when I came in – it might have looked less formal and professional, but there was nothing formal and professional about falling over.

‘Look, I don’t enjoy micromanaging you this way, but I also don’t enjoy it when you let us down, and when I have the others complaining that they have to pick up your slack.’

Polly – that had to mean Polly. Or Freya?

‘I don’t want a reprise of last month, or the month before,’ Eddie continued. ‘You were in the meeting this morning – it’s a tough time. The toughest. We can’t carry anyone. No passengers, get it? Need you up front, stoking coal.’

‘Sure,’ I said, squeezing out a smile. Had I been in the meeting? What had been said? It was a swirl already, nothing but half-gestures and loose words.

‘Great.’ Eddie smiled back, a comforting sight, which gave me hope I might make it out of his office and back to my chair without total collapse. ‘Pierce is a good catch. How did you get him?’

‘Uh, I’m a fan,’ I said. ‘Quin – F.A.Q. – put me in touch with him.’

‘The Tamesis guy? F.A.Q.?’

‘Yeah.’

‘I thought he wasn’t best pleased with us?’

I shrugged. ‘I smoothed him over.’

‘Anyway, Pierce could be great,’ Eddie said. Even in my depleted state, I noticed this was a bit more equivocal than ‘great catch’. ‘Get the goods from him, something new and exclusive, and you’ll have a great piece. Listen for a strong opening. Once you’ve got that the rest’ll write itself on the Tube home.’

‘Sure thing,’ I said, and my affirming smile took a little less effort.

‘Big week, then,’ Eddie said. He nudged his computer mouse, waking the screen, to indicate that the meeting was over. ‘Real chance to do something great. Make us all proud.’

‘Sure. Great. Thanks, Eddie.’

It was 12.04. That would do. I slipped out of the office. Having had my dreams for the rest of the week dashed, I had no desire to be interrupted over lunch, so I ‘accidentally’ left my phone on my desk. The bubbles, the vibration, had completely left me.

It was about ten to two when I returned. We were allowed an hour for lunch and I liked to do some generous rounding in my interpretation of that rule. Eddie was pretty relaxed and didn’t count the minutes. I figured that if it was twelve-something when I left and one-something when I returned, that’s an hour. The people who left at one wouldn’t be back yet, the people who left at twelve thirty would have only just returned. It was normally quite easy to slide back into the office without anyone paying attention to how long I had been gone.

Normally. Today, however, there was a small crowd of my colleagues gathered between my desk and the window: woman Ray, Polly, Mohit, Kay, Kim from promotions, and even a couple of golf wankers and craft weirdos from downstairs, whose names, of course, I did not know. My desk, with its dank heaps of notebooks and magazines, was not their focus, thank heavens. They were looking out of the window.

‘Walthamstow?’

‘Don’t be silly, Walthamstow’s over there. It’s the estuary somewhere.’

‘Royal Docks?’

‘City Airport? Oh God …’ A murmur of horror passed through the group; a couple of people covered their mouths.

We were on the sixth storey of an eight-storey building, and the windows on my side faced east, ‘offering’, as Wolfe / De Chauncey would put it, ‘panoramic views of east London and Docklands’. In the foreground were the roofs and tower cranes of Shoreditch; much further away, to the right, were the towers of Canary Wharf, and behind those the yellow masts of the O2 Arena; to the left, at about the same remove, you could make out a little of the Olympic Park. On a clear day you could see a distant, dark line of hills on the far right and in places the mercury glimmer of the river. But in winter a grimy white dome, twin to the Teflon tent in Greenwich, was clamped down on the city.

Today, however, a new landmark had appeared. A column of black smoke rose from the ill-defined low-rise muddle of the horizon city. Further out than the skyscrapers on the Isle of Dogs, it nevertheless bested them in height and weight. While their glass and steel edges blurred in the cold grey air, the smoke tower was crisp and shocking, appearing as the most solid structure in sight, an impression only strengthened by its slow distensions and convolutions. It was blackening the dome, pumping darkness into the pallid sky.

‘Not City,’ a voice said behind us. The other Ray, man Ray, was hunched at his Mac. ‘It’s on the BBC, just a couple of lines: fuel depot in Barking. Explosion and fire. Oh, that’s awful. It says here people are being evacuated.’

‘Better than being in danger,’ Polly said.

Ray shook his head. ‘But people aren’t evacuated. Places, buildings, neighbourhoods are evacuated. Evacuating people would mean scooping out their insides.’

‘And that’s the BBC?’ the other Ray asked. ‘Really, you expect better.’

Man Ray shook his head in sad agreement.

‘Are we in danger?’ Kim from promotions asked. ‘From – I don’t know – gases.’

‘I doubt it,’ Polly said. ‘It’s a good long way away. If they were evacuating here, they’d be evacuating half of London. It’s just a fire, a big fire.’

‘It’s drifting this way,’ Kim from promotions said.

‘It’s just smoke,’ Mohit said.

‘When did it happen?’ I asked. I had reached my desk, which put me to the rear of the group, and I don’t think that any of them noticed my approach. Their eyes were on the plume.

‘When did what happen?’

‘Ray said it was an explosion …’

‘It doesn’t say,’ Ray said. ‘This morning.’

‘I think I …’ How to explain about the bubbles? If I said I saw the explosion I would sound ridiculous. ‘I think I felt it … The vibration …’

‘The earth moved for you?’ Kay asked, and a couple of people chuckled, Mohit and a golf wanker.

‘Now you mention it,’ Ray – woman Ray – said, ‘I think I felt it too.’

This prompted a more general and impossible-to-transcribe group conversation about who thought they had heard or felt what, whether it was possible to feel anything at this distance, and so on. I didn’t contribute much, and the group’s focus, such as it was, broke away from me. But Polly was still looking at me, and I frowned back, trying to figure out what I had said or done to earn this special attention. Her eyes darted down to my desk, which I was leaning against. My right hand was resting on one of the stacks of papers that are permanently encroaching on my keyboard and work space. It was this heap that Polly had glanced at, just a pile of torn-off notes, newspapers and magazines like the others, but I saw the top sheet, the one pinned under my hand, was not in fact mine at all. It was a yellow leaf from an American legal pad, and it was clipped, with many others like it, to a steel clipboard, which must have been left there by its owner while she was distracted by the drama at the window.

‘Excuse me,’ Polly said, and she grabbed her clipboard out from under my hand just as I lifted it to see what was written on it. Then she flipped the pages that had been folded over the back of the board to cover the sheet I had seen. But I had seen it. Columns of numbers – dates, times. The lowest line, the only one I saw in detail, read:

MONDAY: 10.11 12.05

Then two blank columns. I knew immediately, instinctively, what was recorded there, and what it meant. It was the time I had arrived that morning, and the time I had left for lunch, with spaces left for the times I returned from lunch and left the office at the end of the day. Polly was recording my movements – my latenesses, my absences, the myriad small (and not so small) ways I was robbing the magazine of time. The purpose of this record was obvious: she was building a case for my dismissal.

I did my best to hide the fact that I had seen the numbers and guessed their meaning. Grey oblivion enclosed my panicking mind on all sides, squeezing in. I pulled the chair from under my desk and sat down heavily. Polly was no longer looking at me. Instead she was staring fixedly out of the window, jaw tense, clipboard clutched to chest, being scrupulous about not looking at me. The grey closed in, appearing in my peripheral vision, cutting off my oxygen. I hit the space bar to rouse my computer and that small action felt like an immense drain on my resources. Fainting was a real possibility. No air. Horrible implications were spreading outwards from what I had seen, a thickening miasma of betrayal and threat. Firing an employee was cheaper than making them redundant – perhaps that was Polly’s game. Perhaps she was collecting a dossier against me to spare someone else, a friend, an ally: Freya? Kay? Mohit? But of those names, none was more clearly on the axe list than mine. If I was already doomed, and they could save themselves that redundancy payment into the bargain …

Unread emails. Hundreds of new tweets. Fifty new Tumblr posts. I looked at the latter, not able to face the clamour of Twitter, and it was a good choice – calming. Attractive concrete ruins. Unusual bus shelters in Romania. Book covers from the 1970s. Silent gifs of pretty popstars. New Yorker cartoons. Feel-good homilies and great strings of people agreeing with heartfelt, bland statements against racism and injustice.

But the smoke was there, too. A camera-phone photograph on the blog of another magazine, showing the same plume we could see but over a different roofline. A much better photograph from the feed of Bunk, F.A.Q.’s company, taken from a higher angle and showing the column’s base, orange destruction under buckling industrial roofs, in a necklace of emergency-service blue lights.

More of my colleagues were returning from lunch, some unaware of what was going on in the east, others brimming with urgency, disappointed to find that we all knew about the fire already. There was a volatile, excitable atmosphere in the office. Having an unusual event like this, a news event, so very visible in front of us all was turning people into restless little broadcasters, vectors for the virus of knowing, eager to find audiences as yet uninfected with awareness of it. This floor of this building was dead, saturated, so the group broke up and the spectators went to their phones and their keyboards to email, tweet, update Tamesis, Facebook, Instagram, WhatsApp, Snapchat – transmit, transmit, tell, tell. And all with this weird glee, the perverse euphoria that accompanies any dramatic news event taking place nearby, even a terrible event. Any other day, I would be among them – I felt that rush, that fascination, but at a distance, behind a firewall of private pain – but all I could do was gaze at my screen, barely seeing, hand dead on my mouse.

‘Crazy.’

Polly was at my side. I had no idea how long she had been standing there, but I knew I had done nothing in that time, not the slightest movement.

‘What?’

She nodded at my screen. It was still showing the Bunk picture of the fire.

‘Crazy,’ she repeated. ‘I wonder how they got that shot? The high angle … Helicopter? From the look of it, it’s amazing no one was hurt.’

Her tone was pleasant – just a regular chat between co-workers, as if nothing had happened, or was about to happen. A very casual assassin.

‘Long lunch?’ she asked.

Aha, I thought, here we go. I patted the book I had taken with me – Pierce’s Murder Boards, decorated with a jolly fringe of fluorescent sticky bookmarks. ‘Was doing some background. Working. Notes. Ready for tomorrow.’

‘Oh, good.’ Polly appeared genuinely pleased by this, which only intensified my suspicion that a trap lay ahead. ‘Have you looked at your emails? I’ve set things up with De Chauncey’s people – 3 p.m. tomorrow, at their Shoreditch branch. Easy-peasy.’

‘Right,’ I said. Grim tidings, but it didn’t feel like the gut-shot I had been expecting. Her chirpiness was concealing something, I knew. Sure enough, the trap revealed itself. She adopted Clipboard Pose #2: Moses, supporting it with the left forearm and laying her right palm on the attached papers, as if drawing from them some inviolable truth.

‘I wonder if you could do something else for me?’

I didn’t reply. Maybe I shuddered.

‘I’m trying to do some planning. To see if we can get past living hand-to-mouth, as we have been. When you have a spare moment, do you think you could jot down some future subjects for profiles? Your top ten people you would like to interview for the magazine.’

‘The thing is, what with De Chauncey …’

‘Eddie’s keen to see this as well.’

‘I just spoke with Eddie.’

‘I think he said to help me out with the front? This is what I want you to do. Just this.’

I coughed, throat dry, and the action churned the liquid lunch in my stomach, acid frothing, rising.

‘Just give me your target list,’ Polly continued, no less sanguine. ‘You must have people you’re pursuing? Ideas? Ambitions?’

Once I did, sure. ‘Sure.’

‘Just stick ’em on a page and give them to me. Say by Friday? Then we can get planning for the future.’

‘Sure.’

‘Great!’ And she hurried away cheerfully, clipboard swinging like a scythe.

The photograph of the plume on my computer screen disappeared, replaced by the writhing rainbow tentacles of my screensaver. But I didn’t need photographs to see it. I could just raise my eyes to the window and look at the real thing: a tight black column at the bottom of the frame, an ominous addition to the dusty publishing trophies lined up on the sill; filling the sky at the top of the frame, choking out the light.

The tasks I had been set were impossible. Not for the others, but impossible for me. I knew I would not be able to do them. I knew that I was going to be fired. I knew the how, and I knew the when. And I already knew the why.

TWO

Latenesses, absences, missed deadlines, empty pages. I knew how it looked. It looked idle. It looked like the work – the lack of work – of a man who no longer cared. No passengers, Eddie said. We can’t carry anyone. He wasn’t the sort of boss to crack the whip unless he had to. No, his methods were persuasion and consensus. But I could see the change in him. The moment was coming. The moment when I could no longer be excused, when the accumulating evidence toppled into a landslide that would sweep me away.

Facts, accumulating. Polly’s scrupulous notes, the implacable grid of the flatplan. Gather enough facts and you have the truth. But an interviewer, a profile journalist like myself, knows different. There are, for a start, too many facts. Far too many. Punch a name with even modest achievements into a search engine and back come hundreds, thousands, of relevant results. Search someone like Oliver Pierce or Francis Quin – someone who operated online, someone with a following, an active fan base – and there are tens of thousands if not more.

Add to that what you gather yourself. People have no idea how much they say in the course of a normal conversation. Talk to someone for an hour and the transcript can approach 5,000 words. Trim away all the worthless ‘yeahs’ and ‘umms’ and ‘I thinks’, cut all the bits where they’re ordering a drink or asking their PR how much time they have left, and unless they are the worst kind of drone celeb you will still have far more quotable material than can be squeezed into the 2–3,000 words you have been given to write.

So you select. You edit. And here the interview stops being photography and becomes impressionist painting. Ten quotes that make the subject look generous, warm and inspiring can be found in the transcript. The same transcript can yield ten quotes that make them sound weary, bitter and self-centred. The person remains the same, what they said remains the same, but they are seen through a series of funhouse mirrors, appearing first hypertrophied, then stunted, then undulating …

A correction. What they said does not remain the same, not quite. The interviewer does not merely prune, then select. They edit. People talk nonsense. They speak in fragments and non-sequiturs, they repeat themselves and omit. Sometimes they skip verbs, sometimes nouns. And by ‘they’ I mean we. We are all, always, skirting total aphasia, total nonsense. But we don’t mind, we don’t even hear it, because our inner editors smooth it all away in the hearing. The real evolutionary breakthrough was not the ability to speak – it was the ability to understand.

Record the unedited spew that is natural human speech and write it down word for word, and the result is unprintable. The subject would be furious if you put these words – their exact words – in their mouth. Rightly so. They’d sound like a babbling fool. The work needed to correct this impression – to make people sound as they believe they sound – isn’t slight. It goes far beyond cutting out the ‘umms’ and ‘ahhs’. It can entail wholesale reorganisation and rephrasing of what was said. In other words – in other words! – the writer must extract the ore of what was meant from the slag of what was spoken. Done correctly, the subject won’t believe a word has been changed.

Even after explaining these difficulties, admitting the fundamental elasticity of the truth, the professional profile journalist will still insist that truth is the very soul of their work. Their profile, they will claim, is a fair portrayal, or an authentic depiction of an encounter. But I was beginning to believe that a true portrayal of another person might not be possible – not because the truth was impossible to portray, but because there might not be any truth to expose. It might be that every man and woman is a fractal Janus, infinitely involuted, showing at least two faces at every level of magnification. It might be that every human encounter is a cryptogram impervious to codebreakers.

The data Polly had collected gave the impression of idleness. If she was in a position to fill in the widening gaps in my day, that impression would only grow stronger. Perhaps she had already guessed the truth. I have considered telling the truth. I have wondered what that would sound like, what I would say, and where I would begin. But even a straightforward statement of facts is not the truth, not the whole truth.

I am not idle. I work hard. I start early, I work through lunch, I work in the evening, I work late into the night. I work until I drop. When I am kept away from work, by the Monday morning meeting or by the quiet drink I enjoyed with Mohit that same evening, work was always on my mind.

Idle, no. Polly would not see, but it is there to see, out on the streets. You are outside a pub, queueing for a cashpoint, waiting for a bus. They approach and ask for money. Maybe they have a story they tell. Look at them – the stance, the gait, the eyes. Abject, yes. But not idle. No languor, no sloth. They are busy. They are on a deadline. They are working. Addiction is work, all-consuming, urgent work. And unlike my post at the magazine, the job security is total. Addiction will never fire me. It will never let me go.

It was true that I was often late for work. But I overslept less than you might expect – I was rarely given the chance, rising promptly, at 7 a.m., when the drilling started. Next door was renovating their house. Renovate: to make new again. They were stripping that word back to its roots just as they were rebuilding their house down to its foundations. Deep into the London clay they dug, scraping out precious extra inches of floor area and headroom. They were in my head-room too. Their busy pneumatic drills were working perhaps only feet – perhaps only inches – from where my head rested on an under-washed pillowcase. They might as well have been drilling inside my skull.

I no longer got hangovers. I was never sober enough. So perhaps the universe supplied the drilling as a substitute. All the oxygen was gone from the room already. There was air, but it could not nourish or sustain. And it was thick with dust, created and stirred up by the building work. Dark grey was encroaching in the corners of the window panes, smooth surfaces crackled beneath my fingertips. My nose was blocked.

Shower first, then breakfast, I thought. But the Need disagreed. You’ll have time for that later, it lied. Me first. Still wearing no more than the T-shirt and boxers I had slept in, I went to the fridge, took out a can of Stella, cracked it, and took a swig.

The grit and stain was washed from the recesses of my mouth. Cold brilliance. Appeased for the moment, the Need receded. The choking fog around me parted and I saw the leftovers from the previous night. Grey tatters of lettuce on a sauce-smeared, greasy plate, plain newspapers balled up nearby, seven empties crowded on the little table beside the sofa – none spilled. The cushions were piled up on one side of the sofa, still indented with the impression made by my reclining form. It was dark in the living room, but it was always dark in the living room. The only natural light came through the glass roof of the kitchen extension, and that was the depleted stuff that had found its way through the winter sky and down into a canyon between the backs of Victorian terraced houses. It was further filtered by the grime that had built up on the glass roof, and the branches of the neighbours’ lime tree.

‘Good morning,’ I said to the black skeleton of the tree. It dripped filth in response.

I started to pick up empties. One turned out to be two-thirds full, and the surprise weight almost caused it to slip from my unready fingers. Another, tucked behind the lamp on the table, had about a third left in it. How long had they been there? Were they from last night, or earlier? Three days was a gamble.

The empty empties I crushed and put in the recycling; the part-empties I left by the sink. Then I sat on the sofa. The drilling had not stopped, or even subsided, but I had a little insulation in my head now, and it was at the other end of the flat. And only on the one side, for now. I felt pretty good, relatively. The meeting with Pierce was set for eleven, a civilised time, and I wasn’t expected in the office until Thursday. That was an aeon away. All that mattered was not screwing up the Pierce interview – and I was unusually well-prepared. I had actually read Pierce’s books and many of his articles; that was the reason I wanted to interview him in the first place. I just had to focus and stick to it for a couple of days, and the Polly-threat might recede, give me some time and space to get my head together, to make some changes, stabilise things.

‘Getting myself back on track, yes indeed,’ I said to the tree. ‘What do you have to say about that? Two interviews today, and they’re both going to go great.’

It had nothing to say about that.

The TV and DVD player were on standby, not completely off; they had done this themselves during the night. So discreet, so obliging. I turned the TV on and switched to the news. London Blaze, said the red caption beside the crawl.

‘… real concern isn’t the fuel but some of the additives used in some of these related processes, which we understand were on the site.’ Not a newsreader voice but the unpolished, hesitant voice of an expert, speaking over pre-dawn helicopter footage of the fire, hungry orange squirts of flame, the smoke column like a thick black neck attached to a head that was buried in the ground, swallowing, chewing, consuming. Around it, a necklace of twinkling blue lights.

‘So just how concerned should we be?’ The interviewer, a female voice, cut in. I liked this question. I wanted to precisely calibrate my concern.

‘Well, as I say,’ the interviewee, a male voice, said, ‘it’s not really a question of the fuel but the other chemicals that may have been present; now we don’t know what these were exactly, not as yet, but we understand there were substantial quantities of material on the site, and some of these can be, well, you wouldn’t want to put them on your cornflakes, ha ha, but still the question as always is one of quantifying risk.’

One of those morning interviews, then, when the interviewee’s time isn’t particularly important and there are unending minutes to fill. Slightly informative noise had to be created to cover the real interest, the pictures. Not the helicopter any more: footage from the ground, also shot before dawn, of fire crews directing inadequate-looking streams of water into a pulsing orange hell, the ground a reflecting pool in which coiled hoses wallowed.

My can was half empty already, its comforting weight gone, its top warm. I returned to the kitchen and topped it up from the one-third-full can I had found behind the lamp. Waste not, want not. The coldness and fizz of the remaining half of the fresh lager would take care of the flatness and warmth of the older stuff. But as a precaution, I poured it through a metal tea-strainer I kept beside the sink. In the past there had been instances when I had watched, horrified, as a glob of mould had slipped from a too-far-gone can into perfectly good beer. It was heartbreaking to have to pour it all down the sink. And there had been times when I had not washed it away, and they were even worse. But the strainer, found in a charity shop, had been a useful investment. This time nothing was intercepted, and the found beer frothed in a reassuring way. I had three cans in the fridge. That would probably do me for the morning.

‘Chances of a serious reaction are one in a million, one in 10 million really,’ the television voice was saying.

‘Ten million people in London,’ I said to the TV, ‘so one poor bastard …’

I tried to drink from the refilled can, but misaligned the aperture with my mouth, dribbling beer down the front of my T-shirt.

‘Shit.’

I ran the back of my wrist across my chin. The drilling, which had paused for breath, chose that moment to resume. I hated the pauses in the drilling more than anything, because they invited the thought that the noise might have stopped for good, which was seldom the case. The builders on the other side were now making their own contribution: a hammer-blow, perhaps metal against metal, which repeated eight or nine times, then stopped, then started again. Through the flat, from the direction of the street, came the throat-clearing sound of a diesel engine and a steady rattle of machinery.

I threw the tree an angry glance. It was planted in next door’s back garden, another of their multiple insults. Through the splattered glass of the kitchen ceiling, I saw a flash of white in its black limbs.

A cockatoo, sitting in the tree, looking down at me.

No, not possible.

I changed my position to get a better view through one of the cleaner patches of grimy glass. The white shape ducked from view. I stepped back. There it was again – not a cockatoo, but a white plastic bag caught in the branches.

Pacing back to the sofa, I took my laptop from my shoulder bag and switched it on. The noise was intolerable, something had to be done. What, exactly, I did not know, and as a renter my options were limited.

To: dave@davestocktonlets.co.uk

Subject: Re: Re: NOISE

Hi Dave,

I had never met Dave, my landlord, but he was pleasant enough on email, if he replied. We had corresponded about the noise before and he made sympathetic sounds and said there was little he could do. But emailing him was my only outlet. The owners of the neighbouring houses were never around, of course – even when their homes weren’t the building sites they are now, I never saw them. Even if I could reach them, why would they do anything for me, a private tenant? I was simply nothing as far as they were concerned.

The email got no further than the salutation. Through the drilling, I heard an agitated rattling of my letterbox, then a triple chime on my doorbell. That special knock, this time in the morning, meant I knew at once who it was, and I groaned. Her, one of the ones from upstairs.

I wasn’t dressed but there was little point. The lager had soaked into the T-shirt and contributed to any pre-existing odours.

When I opened the front door I tried to stay mostly behind it. The icy air made me flinch. Her breath was fogging; she was dressed in running gear, a headband holding back dark blonde hair, her top a souvenir from the London School of Economics. She had been jogging on the spot, but stopped when I appeared, and took the headphones out of her ears.

‘Bella.’

‘Jack. Hi, you’re up!’ she said, surprised.

‘Every morning,’ I said. Bella had forced me out of bed on a couple of weekdays before the coming of the drills, and now she behaved as if I had a lie-in every day. If only I did. ‘Hard to sleep with the noise.’

‘I’ve been running,’ she said.

‘Cold,’ I said.

‘Are you in today?’

‘No, sorry.’

‘Really? Not at all?’ Bella said. She cocked her head to one side, a gesture that said: it’s OK, you can tell Bella, just admit that you will be lounging around in your flat all day and all will be well.

‘Really,’ I said. ‘I’m interviewing people.’

‘Ooh!’ she said, flashing her eyes wide. How did she get her lips to be so sparkly? Just looking at them made mine feel like sandpaper. The brick-dust was so thick in the air you could practically see it.

‘New job?’ she asked.

This took a moment to parse. ‘No. No! I’m interviewing people. For my job.’

She frowned. ‘To take over from you?’

I rubbed my eyes, feeling the grit in them. ‘No. I’m interviewing them for the magazine. The magazine I work for. In my job.’

‘Okey-dokey,’ she said, sceptical. ‘Will that take all day? Only we’re expecting a delivery.’

‘All day,’ I lied. ‘Can’t you get it delivered to your office?’

Her face pinched in consternation. ‘Ooh, no. It’s furniture.’

‘Sorry. Why did you arrange for it to be delivered today if you’re not going to be in?’

‘Well,’ she said with a little hauteur, ‘I expected you to be in.’

I felt that she had laid out a space for another sorry from me, but she wasn’t going to get it. ‘’Fraid not.’

She flicked her eyes downward and I made a small shuffle further behind the door.

Smiling brightly: ‘OK. You’re not dressed. I won’t keep you in the cold. Hope your interview goes well!’

I smiled back and started to close the door. She popped her earbuds back into her ears and turned towards the steps back up to the pavement.

‘Bella,’ I said, stopping her. ‘You guys own upstairs, don’t you?’

‘Sure,’ she said, as if startled by the implication that any other living arrangement could exist.

‘Have you complained to next door?’ I said. ‘Both next doors. About the noise. The building work.’

‘No,’ Bella said. ‘We’re out all day working, so …’

‘But, the dust,’ I said. ‘The dirt.’

She shrugged. ‘Thing is, it’s their property, isn’t it, so really they can do what they like with it.’

‘I guess so.’

In truth, I didn’t mind Bella as much as I might. She at least kept her low opinion of me heavily gilded with courtesy and cheer – I imagine she has no idea how she comes across. It’s him I can’t stand, Dan, her husband. A prime Mumford. I would happily murder Dan.

The front door sticks a little when it’s closed, and on occasion it needs a real bang to shut properly. This bang dislodged something from the letter flap, and this something fell with a turn that suggested the beat of a white wing.

A postcard from my parents: pretty toy-like buildings lined up on a picturesque quay. Could be anywhere. Copenhagen, Amsterdam, Stavanger, Lübeck. Five years ago, Dad had retired, and Mum had decided to join him. So this was victory, for them. They shared a belief – a widespread and wholesome belief – in the fixed path of virtue. School, as a path to University, as a path to a Proper Job (proper – an important qualifier, that). All this was the infrastructural spine that supported Marriage, Mortgage, Family and Responsibilities. But what was at the end of this path? What lay at the sun-touched horizon? What was the reward? Retirement, that’s what.

This might make them sound stuffy and orthodox – brittle mannequins of small-minded propriety cursed with a dissolute son. (My younger sister, a pharmaceutical chemist at Sheffield University, has done a little better at cleaving to the path.) Not true and not fair. They were never less than loving and supple in their accommodation of my occasional efforts to remove myself from the path. Their belief in the path manifested itself more subtly. Any unhappiness, for instance, could be diagnosed as deviation either past or planned. Miserable at school? I needed to treat it as a means to an end, the end being university. Restless and unmotivated at university? Again, its only purpose was as a step leading to the next step – head down, push on. Unable to save a mortgage deposit? Perhaps I should consider getting a more solid, more proper job – or moving back to Two Hours Away (by the faster train), the southern provincial city in which I was born. Love life problematic? Perhaps a Proper Job would yield more suitable candidates. None of this advice was delivered with self-righteousness or coercion, it was all meant honestly and kindly. And who could blame them for their belief in a system that had served them perfectly?

But just as the Correct Route Through Life had supplied its own built-in justifications, its completion had robbed it of purpose. My parents had spent their whole lives working dutifully, rewarded daily with the certitude that they were doing the right thing. The arrival of the real reward – comfortable retirement, two decent pensions, mortgage paid off, children through university and out of the house – had deprived them of the satisfaction of dogged, stately progress.

They went a little crazy.

When I was growing up, I never saw my parents argue. They disagreed at times, or frowned at each other, but never did they engage in that basic ritual of relationships, the big argument. Not in my sight, anyway. I have no inkling of what script discussions or creative disputes went on behind the scenes of their performance as Mum and Dad. But on stage, they were pros.

In the first year after their retirement, they argued: long, flamboyant arguments with epic scope, stirring chiaroscuro and elaborate, intertwined plots and subplots. Late in life, they found that they shared a gift for holding a really poisonous row.

They supplied their own reviews of these arguments. Ever since I turned eighteen, Dad had routinely taken me out for ‘a pint’ at the local pub. A pint, precisely: two half-pints of bitter, followed by a further two ordered with hints of wicked indulgence and declamations that that had never been the plan. After his retirement, those drinks turned into discussions of the arguments. ‘Your mum and I have been arguing a lot,’ he would say, every time, as if he didn’t say the same thing every time. He never criticised her, and I truly believe that it would never even occur to him to do so. But he would sadly acknowledge the fact of the arguments, without giving the slightest detail as to what might be causing them, and expect me to be sympathetic.

(My sister reported that she was getting the exact same from Mum, often at precisely the same moment. Mum did criticise Dad, but only in the vaguest, most all-encompassing terms: ‘Your Father!’, uttered as if his very existence was an affront we had all quietly tolerated for too long.)

Then, a transformation. After about a year of arguments, including the hellish Christmas of 2012, my parents decided they needed a holiday. For twenty-five years, French beaches had known their presence in the summer. Their knowledge of the French coast was probably rival to that of Allied high command, June 1944. But this time, in the spring of 2013, they went on a city break, to Brussels on the Eurostar.

They stayed four nights and I received three postcards. Dad ate a horse steak. Mum ate a waffle sold from a van. They were photographed in front of the Atomium, the Palais de Justice, the Tintin Museum, the restaurant where Dad ate the steak, the van from which Mum purchased the waffle, and the headquarters of the European Commission.

A mania took hold. An addiction, maybe. No city in Europe was safe. It didn’t really matter where this postcard came from, and I already knew the gist of what was written on the back. It would join a small pile of very similar postcards on the kitchen counter, next to a cork board thoroughly covered with a bright collage of classical columns, Gothic spires, Moorish palaces, Dutch gables and high pitched Nordic roofs.

The era of arguments came to an end. So began the era of city breaks.

Standing in the icy doorway for so long had completely thrown me off my stride. I opened another can of Stella, forgetting that I already had one on the go.

All the cans in the fridge were empty by the time I left the house, and so were the half-empty cans I had found. I would have to pick up more, but then I would have needed to make a run in any case. Three cans or fewer was completely insufficient, dangerous. The horrible thought that there was no alcohol in the flat would be at or near the front of my mind all day.

In other regards the morning was going well. I had showered, put on (mostly) clean clothes, and set out at a reasonable time. My bag was double-checked for all the things I needed: two digital voice recorders, my old one and my new one, and spare batteries for them. After the recent disaster with F.A.Q., I was taking no chances.

Also in the bag were Pierce’s books: two novels, the mugging book, and the cash-in collection of non-fiction that his publisher had put out the Christmas that the mugging book was at the top of every broadsheet ‘books of the year’ list. Actors, MPs, television historians, baking competition hosts, they all exerted themselves to overstate how luminous, powerful, searing, important, draining, life-affirming, etcetera, etcetera they had found Night Traffic. I felt quite resentful about all this, because I had been reading Pierce for years. My copy of Night Traffic was the softback Panhandler Press edition with the cheap cover art, not the classy Faber edition that appeared when the award shortlists and reviews started to pile up, and which is still inescapable on the Tube.

I had been reading Pierce since his first novel, Mile End Road, came out in 2009. This was a fairly conventional story of twenty-somethings finding love, losing it, finding it again and then losing it for a second and final time. But the few reviews it received praised its rendering of twenty-first-century London life and its (at the time) unusually realistic depiction of the mobile phone and social media habits of young Londoners. It was longlisted for a couple of prizes and did not trouble any bestseller charts.

Pierce’s second novel, Murder Boards, had the good fortune to appear just before the 2011 riots. To capitalise, the post-riot paperback was given a sensational cover, with a movie-like strapline: THE CITY IS ABOUT TO EXPLODE. This bore little relation to its contents, 500 pages of non-linear narrative and cut-up technique told from the multiple viewpoints of its spectral cast of characters. It was concerned – obsessed, really – with missing persons and unresolved crimes, and steeped in police jargon and the imagery and phrasing of TV news. At times, it appeared to be deliberately opaque and confusing, as if the reader were an investigator confronted with contradictory accounts of events and inscrutable enmity between characters, between reader and author, between author and reality, with the objective truth of the past unknowable. To give up on Murder Boards was to play Pierce’s game, to take on the role of the indifferent bystander, the grazing TV viewer, the desensitised inquisitor, the impatient and unsympathetic bureaucracy. The reader’s natural frustration with a long and frankly exhausting experimental novel was thus subverted. Read to the end or put the book down unfinished – either way, Pierce won. Reviewers were divided. One-third of them hailed Pierce as a genius, another third called him a charlatan. The remainder made it obvious they did not understand the book, and maybe had not even finished it, by playing it safe with cautious praise.

After the modest success of Mile End Road, Faber had poached Pierce from Panhandler and put out Murder Boards with much ballyhoo, but despite a brief life as an edgy fashion accessory and social media prop, it was a resounding commercial failure. Whatever happened, Pierce was back at Panhandler for his third book, Night Traffic. Maybe the big house took fright at the thought of releasing a long essay covering many of the same themes as the chunky, expensive literary novel that was stinking up its balance sheets.

But since the appearance of Murder Boards, Pierce had acquired a small and eager following, myself included. His post-riots essay for 3AM Magazine, ‘Beneath the Paving Stones, the Fire’, had circulated on Twitter and Tumblr for more than a month, and was republished by the New York Times. Pierce had been writing essays about London for years, but now his writing became more adventurous, more scandalous, and funnier. He was able to arrange gonzo escapades that other journalists – again, myself included – could only dream about. A night spent with criminal fly-tippers, dumping trash on street corners and narrowly evading the police. Searching for forgotten IRA arms caches in north London back gardens. A memorably hilarious excursion with three Russian heiresses, the daughters of Knightsbridge-resident oligarchs, to find and consume authentic East End jellied eels.

In the summer of 2012 – the ‘Olympic summer’, we journalists are now apparently bound by law to call it, although for me personally it has darker connotations – Night Traffic appeared. Short, extraordinary, explosive. Night Traffic was an account of an incident the previous year in which Pierce had been mugged by a group of youths, no more than teenagers, in a quiet part of his native east London. Finding Pierce’s mobile phone and about £20 in cash to be insufficient reward for their effort, the youths had shown the author a blade, marched him to a cashpoint and forced him to withdraw £300. He spent more than half an hour in their company, crashing through an immense range of emotions from outright terror to perverse bonhomie and back to terror. Afterwards he had been too traumatised to appreciate that he should report what had happened to the police. A dark week was spent shut up in his flat, turning the events of that night over and over in his head, before he realised that he did not want to report it after all. Instead he would compose his own report, tackle the matter as a writer, as a journalist. He returned to the scene during the day and at night, and retraced his steps. He tried to find witnesses. He searched for the youths, sitting out through the small hours. He tried to get CCTV footage of the incident, without success. And he found himself coming to a transgressive acceptance of what had happened: that his ordeal had been a natural part of the ecology of the city and the economy of the night, that it was all preordained and the product of order, not disorder – and, most controversially, that violence might be a salutary urban force, ‘the street seeking balance’.

Night Traffic was not quite an ‘Overnight Success’, as the headline of Pierce’s Guardian interview put it. Panhandler was a small operation, based in Ipswich, and only managed to get it into a few larger bookshops. But Pierce’s cult reputation got it under all the right noses, and even before its official publication there were rumours and previews promising that it was special. Then came a month-long bombardment of long, shining pieces by heavy-hitters: Will Self in the Guardian, Geoff Dyer in the Telegraph, Michael Moorcock in the Independent, Rebecca Solnit in the TLS, Iain Sinclair in the LRB. Panhandler’s first printing sold out immediately and it rushed a deal with Faber for a mass-market paperback, which hit every bookshop in the UK and Ireland just as the award shortlists started to roll in. Knopf bought US rights for six figures. By early 2013, Pierce was a rare creature: a literary celebrity. He even made a brief, ill-at-ease appearance on The One Show, during which, in a first for that programme, he used the word ‘epiphenomenal’.

Then he disappeared, or as close to ‘disappeared’ as you can get while still living in London and being verifiably alive. The last post he made on Twitter was to announce the cancellation of two forthcoming events; the account shut down a couple of weeks later. Emails bounced back to their senders. The slim hardback of collected essays came out in late 2013 and Pierce did nothing to promote it – no interviews, no readings, no appearances.

Night Traffic had attracted some controversy. The police had helped sales by criticising Pierce’s decision not to report the crime, and his freelance investigations. A Daily Mail columnist had attacked Pierce for ‘celebrating’ urban violence. One or two bloggers had taken against the book, claiming that it perpetuated stereotypes about the inner cities and deprived young people, although there was never much wind in the sails of this accusation; some corners of Twitter griped about ‘poverty tourism’. But the reasons for Pierce’s withdrawal from view remained stubbornly enigmatic. One theory was that he had taken fright at the sudden attention; another held that it was all a ploy, a stunt, an over-exposed author’s effort to recharge mystique. There were rumours of grand secret projects, but nothing more than rumours. I had been astonished when F.A.Q. said Pierce had been consulting with them on the mapping software that underpinned Tamesis. Consulting how? Doing what? Tamesis’s workings were obscure, purposefully so – Quin had this whole spiel about concealing some aspects of how the application worked. ‘Open but dark systems’, ‘benevolent spookiness’, ‘network chiaroscuro’. You can see all that on Quin’s TED Talk, or his presentation to the RSA. I forget which.

But I digress.

Writing profiles isn’t hard – there are rules to remember, but anyone can learn those rules. For instance, don’t slam your readers with great slabs of biography. Don’t regurgitate the subject’s CV all over the page. That information needs to be broken into digestible morsels and stirred into the writing. I learned that in my first job in journalism, shortly after I graduated in 2004. See?

Another rule is: don’t keep the reader hanging around. Like Eddie said, listen out for that strong opening. You have to start with a bang. The beauty of this is that even a disastrous interview with an obstructive subject can be turned to your advantage. If Pierce was rude and unhelpful, if he refused to answer questions and insulted my parents, I could still write the piece to my advantage – as a gonzo exercise, to use Pierce’s own tactics against him, or as self-deprecating humour. It took a bit of skill, but it was possible. I had started the calamitous Quin interview with his reaction to my late arrival. Indeed, it was a gambit I had worked hard in recent months as my preparation had grown more and more threadbare, and anyway it was so heavily used in the Sundays it has become cliché.

Yet another rule – and this applies to all feature writing, not just profiles – is that you need what’s called a ‘nut graf’. This is a paragraph or a line, near the start of the piece, that tells the reader what the article is about. It poses the question that the feature sets out to answer. So for Pierce, I’d like the nut graf to be along these lines: What made this acclaimed author suddenly shut himself off from the world – and why is he opening up now?

To ask that, of course, I’d need to get a good answer to that question. Because I have a nut graf of my own: Am I going to be fired this week?

At Victoria Station, there were unusually large numbers of people standing on the forecourt, not rushing about, and for a horrible second I thought the Underground entrances might be closed. This often happens in the mornings, as Victoria is always overcrowded and they have to shut the gates to stop a dangerous crush developing on the platforms. But it was well past the peak of rush hour and people were freely coming and going. Those commuters who were standing around outside were all facing in the same direction, towards Victoria Street, and they were all looking up at the sky.

I had been walking with my head down and my earphones in, thinking about Pierce, about what I was going to ask him. Little else had registered, apart from the coldness of the morning and the weakness of the light. I raised my eyes to see what the others were seeing.

The sky to the east – that is, towards the greater part of London – was poisoned. There are winter days when snow-filled clouds trap the land in unshifting twilight and the location of the sun is a mystery. But this occultation was deeper and darker than that, and lower and more sinister. Not storm-grey but the grey of truck tyres and industrial soot, intensifying to near-black at its thickest point. The plume. It had scented the air with a petrochemical tang that brought a solvent sting to the sinuses. I suppose I should be grateful to my neighbours for coating my sensory organs with a fine layer of pulverised brick and plaster, protecting me from the great fire’s morning bouquet.

I picked up a Metro from an untidy heap by the top of the Tube stairs. ‘Two Hurt in Inferno’ said the front page headline; a subheading added ‘Fuel Plant Blaze Rages Through Night’. On a normal morning I wouldn’t read Metro but I wanted to see more pictures of the fire, in particular more pictures from above. I can’t say what prompted this desire, but it was ardent and sudden.

‘I don’t like it,’ a young woman standing nearby said to her colleague. ‘I don’t like it. I just don’t like it.’ They were looking at the plume, but I didn’t know if they were talking about it.

A short hop on the Victoria Line, a transfer through the labyrinth of Oxford Circus, then a longer stretch on the Central Line. Rush hour had eased enough for me to get a seat and examine the paper.

As well as the cover, the fire had been given two inside spreads. The editors had clearly intuited that it would be a major topic of conversation on the morning commute and in the city’s workplaces, and had done their best to cater for that curiosity. Pages four and five were straight reporting: pictures of the fire crews, details of the evacuation, hasty facts about the toxicity of the smoke, and – best of all – a top-down Google Earth view of the fuel facility with numbered spots: ‘Minute by Minute: How Blaze Spread Beyond Control’.

Better yet were pages six and seven: ‘Your Pictures of Barking Inferno’. What an age this was for the gawper and the rubbernecker – at last, satiety. Sam from Leyton had captured an apocalyptic black pillar dwarfing a twilit terrace of houses. Ann from Maida Vale contributed a picture from Hampstead Heath, probably taken around lunchtime: London as Mordor, an inverted black pyramid spewing darkness at its eastern edge. In the foreground of this image, other people could be seen on the Heath, also taking photos with their phones. Lee from Southend had another angle, the smoke cloud from the east, the western horizon kohled, sunset cancelled. My favourite image was by James from Crystal Palace: the view from a passenger seat of a plane approaching City Airport. The horrifying size of the plume was made clear: the leg of an elephant with a foot of fire stamping down on the estuary; London a grimy circuit board experiencing a fatal short. It’s not a long journey from Oxford Circus to Liverpool Street and I made it no further into the newspaper.

At Liverpool Street I had arranged to meet the photographer, Alan, who was coming in by train from Essex. But when I got to the Kindertransport memorial by the tube entrance, Alan wasn’t there. Last time we met – the Quin interview – I had had a heavy morning and had kept him waiting for half an hour. He had not been pleased. Was he taking revenge? But, no – or at least, not yet. To my surprise, I was three minutes early.

The memorial was a handy place to meet, but an uncomfortable object to spend too much time around. It’s very small, almost too small, as if it is somehow embarrassed, which is a bad vibe for a memorial. Its size also makes it look a little kitsch, and I can never see the two bronze children without thinking of the charity collection boxes for the blind that used to be found in every pub. And then, having been struck by those thoughts – every time – I am embarrassed to have felt that way about a reminder of the Holocaust, and the little bronze children are full of reproach.

The equilibrium I had briefly experienced on the train was gone, and I began to choke up again. My options were limited. The pubs were just now opening, and in any case there was no time. On the station concourse there was a little food and wine shop, but where could I discreetly drink a can?

‘Jack.’

I had drifted away from the memorial, into the middle of the concourse; Alan had come up behind me, packhorse-heavy with bags, tripods, reflectors and other equipment.

‘Alan. Hi.’

‘You look a bit lost, mate,’ Alan said, full of cheer and heartiness. He was a short, muscly man somehow well-served by his receding hairline, which gave him an aura of toughness and experience. He combined this with a plain-speaking, no-airs, working-man demeanour – all ‘mate’ and ‘pal’ – that I suspected was a carefully cultivated pretence. Nevertheless, it was enough to set me – provincial bourgeois – ill-at-ease, eager to demonstrate my own (entirely affected) rough-diamond nonchalance. I had the same ridiculous problem with plumbers.

‘Yeah, no worries,’ I said, regretting every word as I spoke it. Was I supposed to be Australian? ‘I was just thinking about getting a coffee.’

‘Now you’re talking,’ Alan said. He checked his watch with a flourish. Chunky metal strap, hanging loose. ‘Yeah, plenty time, plenty time.’

We crossed to a little coffee booth, Alan’s many bags clanking against my nerves. I ordered two black coffees. Coffee might help, for a time.

‘Jack, mate, this Q&A guy …’

This took me a moment to parse. ‘You mean F.A.Q.?’

‘Yeah.’

I didn’t like this direction. Alan had had real trouble getting Quin’s portrait. He had wanted to shoot the designer in the Tamesis nerve centre, where a giant screen streamed live data from the app. But Quin had refused, and was steadfast in his refusal, fretting about client confidentiality and industrial espionage. The alternative offered was his characterless office, which Alan hated. Eventually, using the combination of charm and un-embarrassable persistence that is a standard part of the photographer’s kit, Alan got Quin up on the roof of Bunk’s Shoreditch building. The London skyline made a good backdrop for the creator of Tamesis. But the very next day I got an agitated phone call from Quin – the first of many – insisting on picture approval. Compounding all this was the rush caused by our – by my – lateness. I would prefer never to hear the name Quin again, but it continued to dog me.

‘Can you nudge your people?’ Alan said. ‘I haven’t been paid.’

‘Shit. Alan, I’m sorry, I’ll give them hell.’

‘I knew I could count on you,’ Alan said.

The coffee was too hot to hold for long and I had to continually switch it between hands as the pain became unbearable. Alan did not appear to be affected. He even sipped his.

‘Do you want a hand with those bags?’ I asked.

‘Nah,’ Alan said, redistributing the load around his body with a practised sequence of heaves and shrugs. ‘Used to it. Like to keep everything with me.’

‘Very sensible.’

‘You drinking that? We’ve got to get a shift on.’

‘Uh, I’ll take it on the train,’ I said, changing hands.

The eastbound Central Line platform was quiet, but I would have been happiest turning right and walking along it to find its quietest part. Alan had different ideas and turned left, where there was only a short stretch before the platform ended. Again, he said this was habit – it was where the rear of the train would be, and there would be more room, in theory, for his bags. I doubted his reasoning. I doubted his Tube sense. And we were left standing in an awkward corner between two staff-only doors, right by the tunnel mouth. One of those doors was a concertina-like affair, which I found gravely unnerving. Warning signs. Cabinets closed with inspection tape, like a crime scene. My discomfort was ticking upwards at regular, frequent intervals. The coffee could only be tolerated for ten seconds or so in one hand before it had to be passed to the other, and was still too hot to be sipped. I tried, once, and scalded the roof of my mouth and the middle knuckles of the fingers of my right hand. While the pain of that had subsided, stickiness had spread between all my fingers, across my palm, and down to my wrist. I wanted to wash my hands in icy water, and to splash that water against my face. I wanted to be holding a cool can, fresh from the fridge. How had Alan drunk his so quickly? His innards must be Le Creuset.

‘Do you got it with you?’ Alan said, without intro.

‘Got?’ I said. ‘It?’

‘The mag,’ Alan said. ‘The one with the F.A.B. piece in it. Want to see how it came out.’

Had he asked for one? I couldn’t remember. I had considered bringing along a copy of the magazine to give to Pierce, but I hadn’t written anything in the most recent issue, and I knew he had already seen the one with the Quin interview – besides, I wasn’t too proud of that one. If I went through the back issues until I found a feature I was proud of, I’d be taking him a copy from three years ago, and that just seemed plain odd.

‘You weren’t sent one? You should have been sent one.’

‘Nah.’

‘Typical.’

‘Muppets,’ Alan said, shaking his head. Wanting to align myself with Alan, against the muppets, I tried to think of an equivalent term of cockney abuse.

‘Ragamuffins,’ I said. Then winced.

Alan frowned. ‘You need to have a word. You guys used to be the best, a right treat to work with – good as Monocle, good as Condé fucking Nast. Taxis, expenses, assistants …’

‘Times are tough.’ I couldn’t remember the last time Eddie had sprung for a taxi. The no taxis rule was so strict and long-established it might be in the Old Testament.

‘How’d it turn out?’

‘It turned out fine.’ It had been, perhaps, half a step from becoming an unstoppable meltdown that rendered my career an uninhabitable fallout zone. But the photography was not at fault.

I really didn’t care to have that piece – and the multiplying failures in the magazine’s treatment of its freelancers – brought up again. And I had a fearful premonition as to how this morning was going to go. Alan, I suspected, was going to get on with Pierce a lot better than me. I would be left on one side, stammering, watching them form an easy, down-to-earth rapport. I had too much at stake, I was just too impressed by Pierce, almost star-struck. Alan would not be so hindered, and would chat freely, drop impressive names, and they’d find they had friends in common; I’d be left going oh-please-sign-my-books-Mr-Pierce and where-do-you-get-your-ideas-from. I wasn’t too worried about appearing drunk – I am an expert at concealing it. If anything the problem was that I was not drunk enough, that I would freeze up, that my hands would shake, that I’d be visibly, palpably ill-at-ease. Not even that: visibly ill, lacking, empty. Perhaps Pierce would be cool, offer me a glass of wine, a bottle of something from the fridge? Those bottles were always tiny compared to a good, solid, weighty can, but it would be something. But it was futile to hope, we’d be there at 11 a.m., no one offers their guests booze at 11 a.m.

Fuck Alan and his relaxed, class-transcending bonhomie. He would ruin the whole morning.

A recorded announcement played.

‘Did you hear that?’ I said. ‘Inspector Sands.’

‘I wasn’t listening,’ Alan said. ‘What did they say?’

‘“Inspector Sands to the operations room”,’ I said. ‘It’s code. It means there’s a fire alarm that needs to be checked out.’

‘And this Sands guy’ll do it?’

‘No. There is no Sands. It’s just a code. When there might be a fire somewhere but they don’t know and they don’t want to cause any panic.’

‘I didn’t hear anything.’

‘That’s the point, it’s a very bland, boring, routine message, people tune it out, don’t know what it means.’

‘You know what it means,’ Alan said. ‘Can’t be that secret.’

‘Seriously, though, can you smell burning?’

I asked because I could smell burning – the acrid smell of an electrical fire, melting copper, blistering insulation. We must be surrounded by equipment handling the Underground’s canalised lighting, all of it out of warranty, overdue for replacement, caked in dust. I had seen it in documentaries. The men who went into the tunnels at night. The Tube acts as a giant vacuum cleaner, sucking human detritus from the light into the darkness. I could see those documentaries again, now, in my mind’s eye: a gloved hand bringing up a smoking grey fistful from the ballast around the tracks, like a robot submersible on the ocean bed. This accreted dust and hair burned very well.

‘I can’t smell anything,’ Alan said.

He was wrong, surely. Though it did not seem to be stronger, I felt that the smell had become inescapable; perhaps because I was more focused on it, it had begun to block out all other sensations, almost as if it were welling up within me, a toxic spasm in the lungs rather than a scorched and poisoned breath from the tunnel.

I looked about to see if anyone else had smelled fire, expecting others on the platform to raise their heads, frown, sniff the air – the herd detecting danger, abandoning their quiet little worlds of phone and newspaper to confront an environment that had become unsafe. But no one raised their eyes, no one even stirred. Couldn’t they sense it too? How could they all be so oblivious?

The breeze from the tunnel grew stronger, and I could see it now, see the smoke, a steadily thickening haze carried on the back of the column of air pushed out by the approaching train. And I could feel it on my skin, in my eyes, hot and stinging. I raised my hand to my face and did not lower it. I was hot to the touch. I coughed, and fell into a fit of coughing, unable to stop. Hair and skin, on fire in the darkness, one of those coal seam fires that burn for decades, inextinguishable, slow death to the communities above. I felt ready to vomit.

‘You OK, mate?’

Alan was scowling at me, but not without kindness. I barely registered his expression, though; behind him, the sealed panels looked about ready to start jetting smoke, opaque and heavy yellow-stained smoke, any second it would begin.

‘We’ve got to get out of here,’ I said, barely able to speak, each word displacing more poison into my lungs.

‘What? Train’ll be here in a second.’

A second was too late. The air was going, it was gone, no way to get at it. Suck it in and the poison would come too, into the blood, into the brain. Then the light. It was almost too late. I needed cold air, cold water on my face, coldness in my throat.

‘I’m sorry,’ I said. And I ran.

THREE

Self-control came easier back in the cold street air, but I still felt that my inside was coated with grime and soot. Coughing would not shift whatever had been exhaled from the tunnel. My efforts instead brought up a belch that made me rush to the nearest bin, ready to puke. But I did not, disappointing the couple of passers-by who had turned their heads and scowled. I sat on a stone step with a view of the top of the station escalators, waiting for the alarms, the stern announcements, the fire engines.

Wishing for them, in fact. A real emergency, an event that I could live through. I knew the shape of it: an exodus up those escalators and a crowd forming around me. Long minutes of confusion and shared fear and excitement, people thrown together, enjoying the interruption to their routine even as they cursed it. Then the adrenalin would turn to cold and boredom and mere annoyance and we would all call our offices or appointments and tell them we were late.

Or more serious than that, and my imagination was disgustingly eager to spill the details into my reverie: a fire in the tunnel, fumes spreading fast, national news, fatalities, this stretch of line closed for days, an inquiry, a slow trickle of consequences over months and years: fund-raising, one or two of the survivors being held up as inspirational figures for saving others or overcoming horrible injuries, marathons completed, popular books written, mayoral bids considered. A plaque at this station, perhaps only feet from this cold stone step, and if I came by this way with someone, I’d go a little quiet and break my pace, and I’d say, ‘I was here that day, when it happened,’ in a voice that really stressed how I didn’t talk about it often but it had stayed with me, picturing a great dignified weight, the memory of those x souls, my gratitude at having escaped in time, tempered with noble guilt at being a survivor, my respect for the emergency services. Perhaps poor oblivious Alan would be among the x, intimately involving me, bringing the whole sad story closer, making it far more authentic.

Or nothing. The same steady procession out of the station. No sirens, no evacuation, no space-suited firefighters, no strengthening fountain of smoke from the depths. I wanted there to be an emergency not for ghoulish reasons, but because the alternative was an internal emergency. The smoke, the suffocating need to escape – for me that was real, but it never happened to anyone else.

There was real smoke out here, though: the darkness in the east, over the roofs of Bishopsgate, behind the spires of finance, where I was supposed to be. Perhaps that was the source of my fascination with the Barking fire – that, at least, was real, really happening; other people around me could see it too, it was in the papers. For the first time in months, the city was in sync with me.

Eleven a.m. – the time Alan and I were supposed to arrive at Pierce’s house. I was cold and my joints were stiff from sitting on the step. Adjacent to the station entrance was a pub.

I had been caught up in station evacuations before, as I suppose every regular Tube user has – or any regular passenger on any subway network anywhere in the world. A couple of times I had seen fire engines arrive. But I had never smelled smoke, not so much as a match’s worth, let alone the thick clouds that had almost suffocated me on the platform with Alan.

When the bombs went off on 7 July 2005, I was living in a shared house in Fulham, and working my first job. My commute, District Line to South Kensington, took me nowhere near the bombs, and I had only just left the house when it all happened. The station was already closed when I arrived, and the pavement outside was filled with a restive and palpably upset crowd. No one knew what was going on, exactly, although the look on the faces of the staff made it obvious it was no signal failure. At that moment, an early report about a gas explosion was being shown to be tragically wrong. We were told to go home, and I did, to find one of my housemates already there and full of rolling news and internet rumour. We watched together. After about half an hour, when it was completely clear that services would not be resumed, I called the office, and the phone rang unanswered. I tried my boss’s mobile – he was at home as well.

Thinking about it now, that was the first time I took an unscheduled day off work. After a couple of hours watching the news, mostly unspeaking but for occasional expletives and blasphemies, I went to the fridge, intending to make us both a cup of tea, and saw that there were four cans of Grolsch in there, left over from the weekend. (The very thought that beer could be lying untouched, forgotten, in the fridge from Sunday until Tuesday dates this memory for me.) I took two of these cans through to the living room and was hailed as a stalwart foe of extremism and a doctor of the human spirit. The kettle boiled, and cooled, without further attention. We finished those cans, and the other two, and went out for more. When our other housemate came back, he found us both convincingly drunk.

The mood took an uncomfortable turn not long after that when my day-long drinking partner made some broad statements about Muslims, and collective responsibility; he alluded to retaliation, without specifics; and he spoke as if confident that we all shared his urge to punish, to strike back. This seemed pathetic and futile to me, the bombers having obliterated themselves, and I disagreed strenuously, impressed with my own tolerance and ardent forgiveness – rather full of it, really. The other housemate sided with me and the day ended on an ugly note of disharmony.

I was at home during the commemoration of the tenth anniversary of the bombing. I don’t recall if this was a scheduled or unscheduled absence. Next door had not yet started its renovation; I woke mid-morning and switched on the TV after opening my first can, expecting Homes Under the Hammer. But instead there was a live broadcast of the ceremonies at St Paul’s Cathedral. I watched, disturbed at the mismatch between the ancient ritual and anachronistic dress happening now, and the memories of the very modern catastrophe then. And disturbed at the unsimple range of emotions brought up by the day, the date. Shock, anger, grief, yes, yes, yes. All those, of course. But also that strange sense of liberation when the day’s pattern is broken, and the comfortable comradeship of the beers at noon, on a workday; and the unpleasant way the day had ended; because to call that ‘unpleasant’, could it be inferred that I found something pleasant before then? Which meant awful guilt. I hated the way my housemate had held the bombers’ co-religionists to blame, the way he easily swung his anger around to face a whole community, our neighbours as well as our fellow Londoners and Britons. But I wished my own reaction was that simple and stupid. In the following days I heard the sirens in the streets, felt the tension.

For a year or two after the bombs, I occasionally had nightmares of being caught in an attack or other disaster on the Tube; trying to flee down lightless tunnels, being trapped in carriages filled with smoke, bodies everywhere. In the hellish summer of 2012, those nightmares returned to my waking mind, one of several choice scenarios served up to me as I lay shaking and sweating in bed, completely awake.

We want beginnings. Start late, finish early. Get stuck in. ‘X is running late, and here I talk about how rude their PRs are’, ‘X was born in blah and spent their early years blah-de-blah’, ‘I meet X in this or that restaurant or hotel and here are three paragraphs describing that setting in not-very-amusing detail’ – these are called ‘long drop’ intros and are frowned upon.

But what if a situation can only be understood with reference to the past? What if some behaviour just appears to be senselessly self-destructive without that reference?

And what if you look into that history, knowing the key to be there, but can’t find it? It must be there, for where else could it be?

This day, then, 7 July 2005, more than ten years ago – the first day I stayed home from work and got drunk. Where the nightmares of dust and smoke and burial began. Was that the Rubicon, the tipping point? No; it was a unique and terrible day, and afterwards I went back to work as normal and it was still quite possible to leave beer in the fridge unopened and forget about it, and so it was for months or years after that. Perhaps there were underlying traits and tendencies and pathologies that could be traced back further, but at that point in my life I was only as fucked-up as the average person. Although …

More than ten years ago. Mine was a very long drop.

Alan was not dead, or trapped and blinded in a sweltering hell while rescue workers battled to reach him. He was alive, and above ground, and calling my phone.

I surveyed the pub: a big, bland railway Wetherspoon’s. It was almost empty and nearly silent, no music, no one playing fruit machines, no football, no giveaway background noises. There was only one other customer, a guy about my age, who was using his phone to take a picture of his shoes. A radio was playing in the kitchen, but it was safe to answer the call.

‘What the fuck, man?’ Alan was whispering, in a quiet place himself. There was anger in his voice, but it was not ruling over other emotions: confusion, and perhaps even concern.

‘Alan, hi.’

‘What the fuck happened to you, man?’

‘I was sure I could smell smoke. It was freaking me out.’

‘That’s … There wasn’t any smoke, man.’

‘I’m sorry.’

‘It’s Oli you want to be sorry to, you need to get here sharpish. I’m here now, said you were delayed. Where are you, are you on your way?’

‘Yes.’ About a third of a pint left.

‘We’re doing the shoot. Get here fast and I think you’ll be OK.’

‘OK. Thanks. Sorry.’

‘Oli’s a nice guy. You’ll be fine if you get here in the next five, ten minutes.’

‘Sure.’

‘Can you do that?’

‘Sure.’

I didn’t like this ‘Oli’ business one bit. Exactly as I had feared, they were bonding. I gave thought to an additional half-pint, but on this occasion moderation triumphed.

Pierce lived just off a Victorian garden square concealed behind Mile End Road – one of those hidden pockets of the East End that could be mistaken for Chelsea or Islington or my own Pimlico. For a nauseating moment I thought he might have the whole terraced house as his own, but there were two doorbells, with Pierce’s at the top. I rang, exchanged a couple of crackly words through the intercom, and heard feet on stairs.

I had seen Pierce’s picture in the newspaper profiles that had appeared before his seclusion: a round face under a shaved scalp, a combination that verged on the potatoey. But no potato had those eyes, dark and furious, always directed hard at the camera. No soulful chin-stroking or writerly gazing into space – arms crossed like a bouncer, staring you down. Only the photo on the back cover of Mile End Road differed: dark curly hair, retreating a little, glasses, the slightly affronted look of someone caught by surprise. Before he had settled his image. In Night Traffic, Pierce had speculated as to what had made him a target for muggers: he was five foot eight, a couple of inches shorter than me, and a little chunky. When he opened the door, though, he seemed at least my height and more; the slight doughiness of his frame manifested as pure presence and force. The eyes didn’t pin me down or fix on me like a laser or any of those clichés of command. It was as if he barely noticed me, catching my own gaze once, then breaking away, turning back into the hall.

‘Jack, yeah?’

‘Mr Pierce, great to meet you at last, I—’

‘Alan’s just left, surprised you didn’t see him.’

I was relieved. ‘Yes, I’m sorry I’m so late, I—’

‘Close the door, yeah? Just slam it.’ He was three steps up the stairs already, not looking back.

Pierce had the top two floors of the house – a flat more than twice the size of mine. At once I wondered if he owned or rented: the usual London question. Except that’s not the London question, not exactly. The question is: How are you here? How do you make it work? How do you supply what the city demands? More than half my salary went on the rent of my dark little flat and I dreaded the next increase. I was not making it work. How, then, did Pierce? The secret, shameful side of the London question was the accompanying desire to hear that the answerer was not making it work, that they were drowning in debt or crippled by mortgage payments or the flat had untreatable toxic mould or was the site of a recent and savage string of murders. Anything that would make one’s own failure sting a little less.

The flat was, at first, as you’d expect: I was led into a short corridor lined with knee-high piles of books, magazines, loose papers and copies of the Guardian and Standard. Like my own home. I knew at once what I’d find in the living room: a wall given over to bookshelves, either Ikea or built-in, wedged with books and decorated with a self-conscious sprinkling of postcards, invitations, photographs, mementoes and so on.

Wrong. At least two upstairs rooms had been knocked through to form Pierce’s living room, which ran all the way from the front of the house to the back, with big windows at each end. This yielded a long side wall that would have been perfect for metres of shelves. But this wall was instead filled with a huge map of London.

‘Map’ is in fact not a useful term to describe what Pierce had made. In the south, Biggin Hill and Purley were at skirting board level; the northern stretch of the M25, where it runs past Waltham Abbey, was at the ceiling cornice. The outer outline of Greater London was just about recognisable, as was the blue vein of the Thames where it widened in the east, and a few exposed green patches at Richmond, Blackheath, Epping and elsewhere. The rest of the city was obscured by a thick aggregation of matter, which lifted and shivered when Pierce threw open the door and walked into the room. It was a layer of sticky notes, index cards and clippings – several layers, from the look of it, anchored by hundreds of coloured thumb-tacks. Further notes encrusted the wall to the left and right of the map; the room also contained four metal filing cabinets and the usual living-space furniture: a three-piece suite facing a telly at one end of the room, a dining table and chairs at the other.

‘Wow,’ I said.

‘The map?’ Pierce said with a pained expression. ‘I’ve been meaning to take it down.’

‘What? Why? What is it for?’

He didn’t answer, and instead waved an arm in the direction of the cracked brown leather sofa. ‘Sit. Sit. Coffee? Tea?’

‘Coffee would be great,’ I said, taking off my coat. I had to move a couple of magazines off the sofa in order to make a place for me to sit: a TLS and a Time Out. But before I sat I remembered the need for colour. Ignore Pierce’s instruction, check out the room. I approached the map.

The cacophony of information from the wall was overwhelming, and the accumulated ephemera was rarely less than five layers deep, obscuring most recognisable features. I traced the line of the river upstream until I found Pimlico. Notes on the surface included ‘Monster Tavern’, ‘Millbank Prison – Austr.’ and ‘Dolphin Square sex ring’. These were all scrawled in black and red biro on small Post-its and snippets of notepaper, some no larger than postage stamps. But beneath them was a much larger note, an index card inscribed with fat black marker pen, obviously one of the first things pinned to the wall when the map was new. To read it I had to move other accretions out of the way, revealing the letters one by one. It said: MISTRESS CITY.

‘Bick,’ Pierce said, making me jump. An orange Post-it, its adhesive exhausted, floated to the floor; I saw one or two were already there. ‘Unusual name – as in Bic ballpoints?’

‘With a k,’ I said, realising that Pierce must know the spelling perfectly well, having seen my name in emails. ‘As in Bicker. Or Bickle.’

‘Ha,’ Pierce said – definitely said, spoken, not a laugh. ‘“You talkin’ to me?”’

‘That’s why I’m here.’

‘It’s a pity it’s not Bic like the pens,’ Pierce said. He spoke with his back to me, busy making coffee in a small kitchen through an arch. ‘That would be a good name for a writer. I’m interested in nominative determinism. The idea that your name has power, that it influences what you choose to do in life. You’re, I don’t know, Mr Heal, so you become a doctor.’

Should I be recording this? I wondered. I fumbled one of my digital voice recorders out of my bag, switched it on, and dropped it into the breast pocket of my shirt. ‘Like our mutual friend,’ I said.

Pierce stopped what he had been doing – pouring milk into a little jug – and frowned over his shoulder at me.

‘F.A.Q.,’ I said, surprised he needed prompting. ‘Given that he’s all over the internet.’

‘Aha,’ Pierce said. ‘Well, that doesn’t count. It’s concocted. Francis is his middle name. Eric Francis Quin. He ditched the Eric and added the A in the nineties. The A doesn’t stand for anything.’

‘I didn’t know that,’ I said.

‘Not many people do, I think,’ Pierce said. ‘He doesn’t publicise the fact. I only know ’cause I’ve been to his flat. I saw some post there and asked about it. I think he’s embarrassed by it now. I mean, FAQs are a bit dated. A bit web one-point-oh for Francis. A bit of sleight-of-hand with the facts on some bulletin board twenty years ago and it ends up haunting him like that.’

‘Yeah, embarrassing,’ I said. I was starting to feel a bit wobbly. In the past, my legs had betrayed me when others were watching and it was a misfortune I wanted to avoid with Pierce. Especially as it was all going well so far – my lateness barely remarked upon, not having to compete with Alan, Pierce proving chatty, not the surly, laconic artist-hermit I had expected. ‘He should update it.’

‘Ha, yes,’ said Pierce. ‘S.T.F.U., maybe.’

I returned to the sofa. ‘Did Alan get any pictures of you with the map?’ I asked, full of hope. It would make a great opening-spread image, Pierce against this conspiracy-theorist palimpsest, the city and the surgeon of its dark heart. What a way into the piece. It would write itself.

Pierce approached carrying a tray, on which there were two steaming mugs, a bowl of sugar and a milk jug. This struck me as a touch genteel, the little white milk jug in particular, which isn’t bad as material goes – people acting against type. What would an ‘in character’ Oliver Pierce have offered me? Supermarket whisky? A line of speed? A punch to the throat?

Mention of the map made Pierce wince again. He settled into an armchair. ‘Yeah, he did. But do you have to talk about the map? Like I say, I’ve been meaning to get rid of it.’

‘Sorry. It’s hard to ignore. Perhaps if you told me what it was for, and why it’s not needed any more … Wait, hang on.’ I didn’t want to take any chances with this, and fished my other DVR from my bag. ‘Do you mind if I record this?’

Pierce shook his head, assenting. I turned on the DVR and set it on the coffee table between us. Two DVRs, one on the table, one in my pocket – one would have to work.

‘After I wrote Night Traffic – no, before that, even, I had been lumped in with all that psychogeography lot, Iain Sinclair and Will Self and so on, and I … well, I didn’t like that. There are so many people doing that shit now. All the fucking lost rivers, ghost Tube stations, all that shit – I’m just so fucking sick of that. It makes me want to puke. It was getting boring ten years ago, it’s just intolerable now. And the whole ideological project that goes along with it, all about tracing out the London of the Kray twins and the industrial past as a revolt against the corporate takeover of … I mean, I fucking hate what London is becoming, what it has become. Fucking hate it. This fucking shiny cloakroom for the biggest bastards in the world. But one of the reasons they come here is because of the trendiness, the grit, all that fucking mystique-sludge that’s getting dredged up from the Thames 24/7. Did you read my eels piece, with the Russian girls, the oligarchs’ daughters, Anastasia and that? They fucking loved all that. They had read Mile End Road, that’s why they got in touch with me, like I was a fucking tour guide. One of them had a copy of Ackroyd’s London biography, she brought it along. The East End, that’s what they wanted. The Blind Beggar, sarees, National Front, Jack the Ripper, they wanted all that as much as Knightsbridge and Chelsea. So what could I do? Trying to get the city back by writing about all that stuff, that was doomed. It’s just advertising, it just sucks in more cash. In the end, that’s one of the things that motivated me to write Night Traffic, to do something that wasn’t shabby-chic but terrifying, something …’

He trailed off, staring into space, in the direction of the window. Then he turned his attention to his coffee, putting in a slug of milk and a lump of sugar from the bowl. I wanted him to complete the quote. It was hard to believe how well the interview was going, to have this great mass of quotable, fiery material up front, but I desperately wanted him to finish the thought. My eyes flicked to the DVR on the table, making sure the red light was lit, and the timer was counting upwards.

‘Something real?’ I supplied. ‘Something true?’ If he accepted either of those, I could stitch the word into the quote and make it whole.

‘Do you take yours black?’ Pierce asked, offering me the milk. ‘Anyway. I was trying to think of other strategies. I thought I might try to shut down the psychogeography business in London once and for all. If I could write the ultimate psychogeographical index of London, gathering up and pinning down every mystical wrinkle, backwoods fact and obscure snip of folklore – a psychopedia of London – I could make the field obsolete. A Key to all Mythologies, like Casaubon in Middlemarch. And that’s the problem: the Casaubon Complex. It can’t be done. Not that London is somehow special, although it is very big and very old. But I could take a lifetime doing it and it still wouldn’t be finished. And what if I did finish it? A 5,000-page, multi-volume slab of what amounts to pub trivia; it would only fuel the fire. It would be on the Zaha Hadid coffee table in every penthouse in Docklands.’

He turned in his chair, away from me, towards the map, shoulders hunched, tense. ‘I squandered months, years.’

‘Is that what you’ve been doing since Night Traffic?’ I asked. I couldn’t help but feel disappointed. As secret projects went, it was not what I expected, not very exciting, and not even going to happen.

‘No, no,’ Pierce said, looking back at me, scowling. ‘I stopped working on that ages ago. When Quin got involved. He came to one of my readings, for Murder Boards. Said he was a fan. Said he was working on a new mapping system for London, part map, part social network – this was Tamesis, but at the time they had a code name for it, Canny Valley. He wanted my input. Obviously, mapping, maps, I told him about my map. He loved it. He had this place swarming with Bunk staff, photographing, scanning, measuring, indexing, getting everything. Not just the psychopedia, some of the stuff I had gathered for Murder Boards too. Quin in the middle, sitting where you are now, laptop on his lap, issuing commands. Commands I didn’t even understand. Then they left. And they didn’t leave a trace. It was like Burning Man. But they did leave me a toy.’

Pierce leaped out of his seat, and the abrupt movement made me jump. He went over to one of the filing cabinets, opened the top drawer, and took out a tablet computer.

‘An interface for updating the map,’ Pierce said, returning to his armchair. He had switched on the tablet and handed it to me. ‘If I added anything, they wanted to know it.’

The tablet was showing the Bunk logo, cheerful italic sans-serif capitals pushing into the future. The many-pointed star around the B was spinning as the software loaded: a sight familiar to anyone who has used Tamesis, Roamero, Trenchr, or any of Bunk’s other apps. Then, a welcome screen: a picture of the wall-map with HI, OLIVER! In big, friendly letters over it. TOUCH ANYWHERE TO BEGIN. I touched the screen. A login box appeared.

WHOOPS! YOU DON’T HAVE PERMISSION TO DO THAT.

PLEASE VERIFY BUNKMATE I.D.

‘Yeah, it doesn’t work any more,’ Pierce said. ‘I’ve been locked out. I guess F.A.Q. doesn’t want me mucking around in Tamesis now that it’s live and everyone uses it. We had a bit of a falling-out and I don’t think he trusts me any more.’

This was news to me. When Quin had mentioned Pierce back when I interviewed him last summer, it was to name him an inspiration, collaborator and friend. ‘An agent of the true city,’ Quin called him. A couple of weeks ago he had suggested I interview the author, leaving no impression that the ardour had cooled.

‘What did you fall out about?’ I asked.

Pierce shifted in his seat uncomfortably. ‘Various things. I found out he was writing navigation software for the Met.’

‘For the Met? The police?’

‘Yeah. They’ve got this drone – unmanned aerial vehicle – kind of a prototype. Except it doesn’t work. It’s junk. They – the Met – thought part of the problem might be the onboard software. And since mapping is Bunk’s big thing, Quin’s big thing – Roamero, Tamesis, all that – they asked him to take a look. All hush-hush. The trouble with Quin is curiosity. For all his radical pose, he’d agree to anything if it meant being able to poke around inside the hot brain of a police vehicle. He was embarrassed about it and he told me – partly because he wanted to excuse himself for having agreed to take a look, I think – that it was a total turkey. A dodo. Classic bureaucratic fuck-up. Barely up to the job of finding a lone pick-up in the desert, let alone spotting who’s carrying the knife outside a Camden pub. “It’ll never do what they want it to do,” he said. And’ – Pierce gestured towards the TV, which was turned off – ‘it turns out he was right.’

I didn’t know what this last part meant, but I was too preoccupied with the rest of what Pierce had said to pick up on it. Quin, working with the police? His image had a wide stripe of anti-establishment idealism, coloured by tech-industry optimism: giving people the tools to get around the Man, direct democracy, that sort of thing. During one of the surveillance scandals he had been on Channel 4 News to say that he would never give user data from Roamero or Tamesis to the police or GCHQ. They hadn’t asked, but Quin had seen a public relations opportunity and seized it with both hands. He was on form – articulate, scornful, glowing with righteousness. The only time Cathy Newman managed to wrongfoot him was when she asked how he would feel if criminals exploited Tamesis. The strangest expression appeared on his smooth, innocent face, certainly not an expression one tends to see on these TV interviews: distraction, deep focus, as if he were repeating the question to a deeper part of himself. ‘I can’t imagine how criminals would use something like Tamesis,’ he said at last.

The thought that he could go from that idealistic naïf to being a man designing software for a police drone was staggering. But I was here to interview Pierce.

‘Let’s get back to you,’ I said. ‘What are you working on at the moment?’

‘Not very much, to be frank.’

‘Nothing, really?’

Pierce sighed. ‘Well, there was the grand psycho-concordance of London that ate up so much time and energy. Ever since I abandoned it I have been a bit stuck.’

‘No plans? Ambitions?’ I must sound like Polly, I thought, and that reminded me of her neat list of times and her, if you get a moment, mandatory tasks.

Pierce sighed again, bringing his whole upper body into the action, shoulders slumping – as if the will to go on was visibly deserting him. It was bizarre that the voluble, gossipy creature of a couple of minutes ago should yield to this exhausted, taciturn presence.

‘The encyclopedia was part of a broader project – if you can call it a project, more of an ambition,’ he said. ‘The same project, in fact, as Night Traffic. An attempt to discover something about the city. I don’t know where that project is going now.’

I checked the DVR, but only out of instinct, and watched the seconds climb, recording useless, dud material.

‘So this larger project …’ I began.

Pierce rolled his eyes. ‘You know that stuff they used to put in shower gel? I think they’ve banned it. These little particles, little grains of plastic. It was always called, I don’t know, “dermabrasion microbeads” and I guess most people thought it was pumice or pulverised seashells or something, but it wasn’t, it was plastic, tiny specks of plastic. All this plastic going straight down the plughole, into rivers, into the ocean. Fish eating it. Seabirds eating it. It was poisoning everything. Those big swirling garbage patches in the oceans, they’re not all Lucozade bottles and Ninja Turtles, most of it is this plastic dust that is almost too small to see. But it’s choking up everything. Anyway, that’s what I think of when I read a lot of writing about London: synthetic grit. Plastic that makes you feel a little better for a moment or two, a little invigorated, and then it poisons the world.’

This reminded me of a few passages from Night Traffic – Pierce had written about sitting in his flat after the attack, surrounded by novels and non-fiction about the gritty, grimy, real city having just encountered genuine crime, and feeling that he was surrounded by fraud, including his own work – especially his own work.

‘You talk about that in Night Traffic, don’t you? About craving an authentic experience in the city, something not commercial and not nostalgic, not packaged, but real …’

‘Yeah, yeah,’ Pierce said, although there wasn’t much in his reply that was affirmative. Instead he appeared embarrassed, with those broad shoulders still hunched forward, staring into his coffee as if he expected the cadaver of a family member to come bobbing to its surface. ‘That, that’s what I wanted to do.’

I tried not saying anything – that old trick of barristers and psychotherapists – to see if he volunteered more information, but nothing came. The DVR recorded the silence of the room, the small sounds of the leather seats, a muted police siren from the direction of the main road. This was going exactly the way that Freya had predicted: he simply did not have anything new to say, and was unwilling to return to subjects he had talked about in the past. A few quotes about a years-old book and abandoned projects weren’t going to be enough, and not enough time had elapsed for this to be a Whatever-Happened-To piece, all melancholy thoughts about the fleeting nature of fame and the callous muse. Those weren’t the magazine’s style, anyway: Eddie wanted fresh, up-and-coming, ahead of the curve, stylish. Not worn-out artists and their sadsack regrets. It’d be ten pages on De Chauncey, then, about his suits and his cars and the secrets of his success.

The coffee Pierce had made was good, but I wondered if he had left it too long on the stove. As I drank it, I was becoming more and more aware of a burned taste accumulating in my mouth.

‘The reaction to Night Traffic was extraordinary,’ I said. ‘Did you feel overwhelmed? Is that why you …’ I realised that I did not have a good way to describe exactly what it was that Pierce had done. Withdrawn from view? Become a hermit? Fucked up his career, just as he was now fucking up mine? ‘Why you stopped writing?’

At last, a strong reaction: Pierce looked up sharply and the eyes got me again. ‘Stopped writing? What makes you say that?’

‘Everything you’ve been saying,’ I said. ‘No new books, no journalism, not even working with F.A.Q. – you sound completely blocked.’

‘Blocked,’ Pierce said, pronouncing the word with complete neutrality. ‘That’s an interesting way of looking at it. A block. You’re a writer, you must know this: when you’re blocked, it’s never a problem with whatever you’re doing at that moment, it’s a problem with what you’ve already done. It’s a problem in the past, not in the present. You have to go back in order to fix it.’

Fascinating. He could sell that to the writing magazines, maybe, but I couldn’t sell it to Eddie. Was the coffee hotter than I thought? A wisp of steam flexed over my cup. I blew on it and it fled, but I didn’t know if it had been steam, or smoke, coming from elsewhere, but it must have been steam. Rings formed and shunted in the black surface of the coffee. I put the cup on the coffee table with a bump and shut my eyes.

No. Not here. Not now.

‘I don’t understand,’ I said, keeping my eyes shut. Perhaps I sounded upset, or weary, or irate, but I didn’t care. ‘You sounded very eager to talk to me when we got in touch, but now it sounds as if there’s not much you want to say.’

I opened my eyes. The smoke was close to the floor, not yet reaching for my throat. Pierce was staring at me.

‘How long has that been going on?’ he asked, with a downward gesture of the eyes.

‘The … What?’ It took superhuman effort that I was able to even find those two unconnected words. ‘The smoke?’

‘Smoke?’ Pierce said, frowning. ‘That!’ he repeated, pointing at my right hand.

My hand was shaking quite badly, a rapid, rocking action that started at the wrist and magnified through the fingers, causing them to quiver and quake in a very noticeable way. I stilled it with my left hand in what I hoped looked like a calm and natural action; in reality I was clamping down on it like a farm dog on a rat.

‘I had an uncle who got the shakes,’ Pierce said. ‘He used to stay with us at Christmas. Divorced, and my cousins had their own families by then and didn’t want to know. I don’t have any colourful stories about him. He didn’t get shitfaced and fall about or anything like that. It was painfully clear that he was on his best behaviour, for us, for his brother. By the middle of the afternoon his hands would be shaking so badly he was barely able to roll a cigarette. He died when I was a teenager – when he was only in his fifties.’

I didn’t say anything. I didn’t want to associate myself with Pierce’s tragic uncle, and I didn’t know what else I could say. What I wanted to do was to come up with a story that would pass off the shaking as something other than what it was, but my mind was blank, nothing came. I could not construct an alternative universe in which the comparison was unfair. It was fair. All I could do was stay quiet.

‘I must admit, I don’t often think about that uncle,’ Pierce continued. ‘Remembering him now, what comes to mind is … He was my father’s older brother but you would never have guessed that from looking at them. Sure, he looked older, more beaten-up, but he completely deferred to my father, let himself be ordered about, nagged, all very meekly. Almost like a child.’

‘Maybe he wanted that,’ I said, and I was surprised to find myself talking at all, and interested to know what I was going to say next. ‘Someone taking charge. A voice outside the head.’

Pierce stared hard at me, not with and not without kindness, as if slightly refracted by a thick layer of invisibly transparent material between us.

‘Quin told me you were a drunk,’ Pierce said.

I had never been called that before. The word was there, always at the periphery of my thoughts about myself, but I put great effort into excluding it.

‘He said you were steaming drunk when you met him, and that you smelled of old booze,’ Pierce went on. ‘He wasn’t impressed. You know him – a monk. Fresh pomegranate and plain yoghurt for breakfast, cycling everywhere. Determined to see in the singularity. Your thingie, your Dictaphone, was out of batteries and you tried to make notes. The interview was full of mistakes and quotes lifted from other places.’

Some sort of noise was made in response to this – a cough, an ‘mm-hm’ – but the organism making that noise was very far away now. If I had not been sitting down, I knew I would have fallen by now. I knew that as a fact. As it was, I wanted to close my eyes again and slump sideways onto Pierce’s ancient sofa, to feel the cracked brown leather cool on my cheek, to let sleep come. The grey was closing in around my vision.

‘Not the first time, right?’

I shook my head. ‘I’ve been sloppy,’ I said, the words slipping.

‘Jesus,’ Pierce said. ‘Are you OK? You look like you’re going to be sick.’

‘Could I have a glass of water?’

‘Sure.’ He rose at once and disappeared into the kitchen. A cupboard opened, a tap ran. ‘I’m not trying to get you into trouble. You can relax.’

He was wrong about that – I could in no way relax. Just try to relax, when the gathering shadow that’s been chasing you for months appears in front of you, its terrible face bared, and you know that all this time you have been running straight to it. And ‘relaxing’ suggested tension, tightly wound muscles, stiff sinews. That was not how I felt. I felt undone, as if I were unravelling, unspooling. Pierce returned with a tall glass of tap water, which he placed in front of me, but he did not sit. Instead he went back to the kitchen.

There was a single ice cube in the water, a tiny kindness that I found almost overwhelming, and which did more to convince me that Pierce meant me no harm than anything he said. In putting these truths to me, he had spoken without condemnation or judgement but in the tone of a professional, a counsellor or doctor – or a sympathetic interviewer.

‘Thank you,’ I said, late. I took a sip of the water. Putting the glass back on the table, I saw that the DVR was still running, its red light still lit, counter still counting. This would all make uncomfortable listening, if I ever got around to that stage.

When Pierce came back, he was holding two small cut-glass tumblers and a bottle of whisky – Maker’s Mark, with the melted plastic around the neck of the bottle to look like a wax seal. Though I dearly wanted a drink, the sight of the bourbon filled me with fear. There was the usual reflexive secrecy of the addict – the fear of being seen indulging in addictive behaviour, a fear married to shame. But there was more. I tend to avoid spirits, even wine. Deep in me, I knew that it was too easy to overdo it that way. And by ‘overdo it’, I don’t mean getting incapably drunk – that was the work of every evening. I meant killing myself.

‘I don’t usually drink whisky,’ I said.

‘What do you usually drink?’

‘Stella.’

‘Stella. Huh. Wouldn’t have guessed. Wait.’ Pierce was off again, another trip to the kitchen. A fridge door rattled open, bottles clinked, a bottle top clattered against a hard surface.

‘Not Stella, but.’ It was a bottle of Czech lager.

‘Thank you.’ Still, the reflex reflexed – don’t let him see you drink – though it was clearly far past the point of being important, and that bottle, condensation making a stripe of light down its side, was the most welcome sight in the world. The mists receded, the world sharpened again, just from the sight of that hard green glass.

‘How many people know?’

I didn’t know what he meant; the question interrupted my thrill at having that cold bottle in my hand. ‘About the, er, problems with the articles, or about the drinking?’

‘Both. Either. I assume they are related phenomena.’

Pierce’s attitude, I realised, his demeanour, was entirely journalistic. Pleasant enough, but that pleasantry was like the soft toy dangling in the dentist’s office to distract child patients from what else was there. The equipment. I had been right about his professional mien, I recognised it – I was being interviewed.

‘No one,’ I said.

‘Really?’ Pierce’s eyebrows rose.

‘Maybe one or two people in the office have suspicions,’ I said, thinking of Polly. And Kay.

‘Quin likes data,’ Pierce said. ‘He was raised by spreadsheets, I don’t know. When he is confronted with a problem, he digs out all the data he can find, digs and digs and digs, and eventually the problem just isn’t there any more. When you have enough computing power, and enough eager employees and interns, you can do amazing things. When you have enough data.’

In a ball of numbness, I was hyper-aware of the cool weight of the bottle in my hand, the tiny interactions of the pads of my fingers against glass and condensation. I took a deep drink from it, realising as I did so that I had been deliberately delaying that moment – the usual ostentatious show of restraint, the one I used in pubs, drinking in company, to show that I didn’t have a problem. It was entirely surplus to requirements here. All the rules had changed; they had been changed by strangers, indeed, when I had always assumed that the confrontation would come from someone close to me. I knew how that felt, from the ending with Elise: the walls folding in, the ceiling coming down, crushed, trapped, suffocated. That was how I had imagined it, when I had dared to imagine it, or found the thought inescapable: with Eddie and Polly in the aquarium, with Eddie in the publisher’s office upstairs, with Kay.

But this was different. I wasn’t crushed and I wasn’t trapped. Which is not to say that I wasn’t afraid: on the contrary, the thought of a vengeful Quin in possession of this kind of information and talking about it with others as he had plainly talked about it with Pierce – that was chilling.

‘So Quin guessed?’ I asked. ‘About me?’ What I wanted to ask was: what kind of proof does he have? Anything I can’t lie my way around?

Pierce grunted, a bitter dreg of a chuckle. ‘Guessed. Yeah, Quin is great at “guessing”. Gifted really. Quin “guessed”.’

‘I don’t understand what this has to do with me. Or … I mean, I see what it has to do with me, but I don’t know what … why Quin said all this to you.’

‘He was angry,’ Pierce said. ‘With you, and with me. Are you still recording this?’

‘Yes.’

‘Switch that off for a minute, would you?’

‘Sure.’ I picked the DVR off the coffee table and pressed the off button.

‘Inaccuracy makes Quin angry,’ Pierce said. ‘Deliberate inaccuracy especially so. He says one of the biggest challenges Bunk faces is filtering out the lies from social media. Like when someone tells Tamesis that they’re in the office when really they’re in the pub.’

Acid bubbled up within me. Pierce’s sarcastic tone earlier could be understood – Quin hadn’t guessed at all.

‘He doesn’t care about the social reasons for that sort of thing, the niceties,’ Pierce continued. ‘It’s just bad data, it corrupts his models. I asked him why he wanted anything to do with my map, with the kind of research I did for Murder Boards. He said that he was trying to run a stochastic analysis of apocrypha and myth. But he … I had a lot of research material for Night Traffic around in the flat, and he looked at all that too. Without asking.’

Pierce had been taking very small sips from his whisky before this, as if unfamiliar with its taste, or at least unfamiliar with its taste at this hour. Now, however, he took a deep draught, draining his glass.

‘The thing about Night Traffic,’ he said, with a little lick of his lips, ‘is that I made it up. None of it happened. None of it is true.’

I swallowed. Pierce was glaring at me, full eye contact, judging my reaction, as if he were trying to read my thoughts about what he had said.

He wouldn’t be able to. My thoughts were: He doesn’t know about the second DVR. The one that was in my shirt pocket. The one that was still recording.

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