Reading, reviewing and collecting all modern children's books . . . from J.K Rowling to Philip Pullman, as well as up and coming authors. This is for like-minded enthusiasts, who are as passionate about modern day children's' authors as we are. So enjoy, communicate and share the love of books with us.
Wednesday, 19 March 2014
Mr Ripley's First Look: Charlie Fletcher - The Oversight - First Adult Fantasy Novel
Charlie Fletcher, author of the Stoneheart Trilogy, is about to publish his first fantasy novel for adults, The Oversight, which will be published early 6th, May by Orbit UK. Read the first Sample chapter here.
CHAPTER 1 The House on Wellclose Square
If only she wouldn't struggle so, the damned girl.
If only she wouldn't scream then he wouldn't have had to bind her mouth.
If only she would be quiet and calm and biddable, he would never have had to put her in a sack.
And if only he had not had to put her in a sack, she could have walked and he would not have had to put her over his shoulder and carry her to the Jew.
Bill Ketch was not a brute. Life may have knocked out a few teeth and broken his nose more than once, but it had not yet turned him into an animal: he was man enough to feel bad about what he was doing, and he did not like the way that the girl moaned so loud and wriggled on his shoulder, drawing attention to herself.
Hitting her didn't stop anything. She may have screamed a lot, but she had flint in her eye, something hard and unbreakable, and it was that tough core that had unnerved him and decided him on selling her to the Jew.
That's what the voice in his head told him, the quiet, sly voice that nevertheless was conveniently able to drown out whatever his conscience might try to say.
The street was empty and the fog from the Thames damped the gas lamps into blurs of dull light as he walked past the Seaman's Hostel and turned into Wellclose Square. The flare of a match caught his eye as a big man with a red beard lit a pipe amongst a group standing around a cart stacked with candle-boxes outside the Danish Church. Thankfully they didn't seem to notice him as he slunk speedily along the opposite side of the road, heading for the dark house at the bottom of the square beyond the looming bulk of the sugar refinery, outside which another horse and carriage stood unattended.
He was pleased the square was so quiet at this time of night. The last thing he wanted to do was to have to explain why he was carrying such strange cargo, or where he was heading.
The shaggy travelling man in The Three Cripples had given him directions, and so he ducked in the front gates, avoiding the main door as he edged round the corner and down a flight of slippery stone steps leading to a side-entrance. The dark slit between two houses was lit by a lonely gas globe which fought hard to be seen in murk that was much thicker at this lower end of the square, closer to the Thames.
There were two doors. The outer one, made of iron bars like a prison gate, was open, and held back against the brick wall. The dark oak inner door was closed and studded with a grid of raised nailheads that made it look as if it had been hammered shut for good measure. There was a handle marked "Pull" next to it. He did so, but heard no answering jangle of a bell from inside. He tugged again. Once more silence greeted him. He was about to yank it a third time when there was the sound of metal sliding against metal and a narrow judas hole opened in the door. Two unblinking eyes looked at him from behind a metal grille, but other than them he could see nothing apart from a dim glow from within.
The owner of the eyes said nothing. The only sound was a moaning from the sack on Ketch's shoulder.
The eyes moved from Ketch's face to the sack, and back. There was a sound of someone sniffing, as if the doorman was smelling him.
Ketch cleared his throat.
"This the Jew's house?"
The eyes continued to say nothing, summing him up in a most uncomfortable way.
"Well," swallowed Ketch. "I've got a girl for him. A screaming girl, like what as I been told he favours."
The accompanying smile was intended to ingratiate, but in reality only exposed the stumpy ruins of his teeth.
The eyes added this to the very precise total they were evidently calculating, and then abruptly stepped back and slammed the slit shut. The girl flinched at the noise and Ketch cuffed her, not too hard and not with any real intent to hurt, just on a reflex.
He stared at the blank door. Even though it was now eyeless, it still felt like it was looking back at him. Judging. He was confused. Had he been rejected? Was he being sent away? Had he walked all the way here carrying the girl – who was not getting any lighter – all for nothing? He felt a familiar anger build in his gut, as if all the cheap gin and sour beer it held were beginning to boil, sending heat flushing across his face. His fist bunched and he stepped forward to pound on the studded wood.
He swung angrily, but at the very moment he did so it opened and he staggered inward, following the arc of his blow across the threshold, nearly dumping the girl on the floor in front of him.
"Why–?!" he blurted.
And then stopped short.
He had stumbled into a space the size and shape of a sentry box, with no obvious way forward. He was about to step uneasily back out into the fog, when the wall to his right swung open.
He took a pace into a larger room lined in wooden tongue-and-groove panelling with a table and chairs and a dim oil lamp. The ceiling was also wood, as was the floor. Despite this it didn't smell of wood, or the oil in the lamp. It smelled of wet clay. All in all, and maybe because of the loamy smell, it had a distinctly coffin-like atmosphere. He shivered.
"Go on in," said a calm voice behind him.
"Nah," he swallowed. "Nah, you know what? I think I've made a mistake—"
The hot churn in his guts had gone ice-cold, and he felt the goosebumps rise on his skin: he was suddenly convinced that this was a room he must not enter, because if he did, he might never leave.
He turned fast, banging the girl on the doorpost, her yip of pain lost in the crash as the door slammed shut, barring his escape route with the sound of heavy bolts slamming home.
He pushed against the wood, and then kicked at it. It didn't move. He stood there breathing heavily, then slid the girl from his shoulder and laid her on the floor, holding her in place with a firm hand.
"Stay still or you shall have a kick, my girl," he hissed.
He turned and froze.
There was a man sitting against the back wall of the room, a big man, almost a giant, in the type of caped greatcoat that a coachman might wear. It had an unnaturally high collar, and above it he wore a travel-stained tricorn hat of a style that had not been seen much on London's streets for a generation, not since the early 1800s. The hat jutted over the collar and cast a shadow so deep that Ketch could see nothing of the face beneath. He stared at the man. The man didn't move an inch.
"Hoi," said Ketch, by way of introduction.
The giant remained motionless. Indeed as Ketch stepped towards him he realised that the head was angled slightly away, as if the man wasn't looking at him at all.
"Hoi!" repeated Ketch.
The figure stayed still. Ketch licked his lips and ventured forward another step. Peering under the hat he saw the man was brown-skinned.
"Oi, blackie, I'm a-talking to you," said Ketch, hiding the fact that the giant's stillness and apparent obliviousness to his presence was unnerving him by putting on his best bar-room swagger.
The man might as well be a statue for the amount he moved. In fact—
Ketch reached forward and tipped back the hat, slowly at first.
It wasn't a man at all. It was a mannequin made from clay. He ran his thumb down the side of the face and looked at the brown smear it left on it. Damp clay, unfired and not yet quite set. It was a well made, almost handsome face with high cheekbones and an impressively hooked nose, but the eyes beneath the prominent forehead were empty holes.
"Well, I'll be damned . . ." he whispered, stepping back.
"Yes," said a woman's voice behind him, cold and quiet as a cutthroat razor slicing through silk. "Oh yes. I rather expect you will."