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Intervals of Darkness

Story-by-story: Night of the Fox

The inspiration for this story should be pretty obvious: British films with titles that begin ‘Night of the…’

That is, Night of the Demon from 1957 and Night of the Eagle from 1962.

The hero of the story is pretty obviously based on Dana Andrews, Brian Donlevy, Macdonald Carey, and other American actors who washed up in Britain when their careers began to founder.

Lots of low-budget British B-movies of the 1950s and 1960s have American stars looking bleary-eyed and rumpled round the edges, taking whatever work they could get.

A minimalist 1960s film poster with a vicious looking eagle and a screaming woman.
A poster for 1962’s Night of the Eagle.

The story was also prompted by conversations with my pals Jamie Evans, Rory ffoulkes and Stephen Graves, at various points, about the extent to which folk horror is ‘played out’.

I wanted to have a go at writing a folk horror story which hit all the prescribed beats while also presenting some new images and ideas.

What are those prescribed beats? I don’t want to spoil the story but let’s just say that I think The Wicker Man is prime folk horror and Witchfinder General isn’t, really, despite its place in the canon.

Also in the mix were my memories of visits to Tewkesbury and Lübeck, which both have intriguing networks of alleys and courts – survivors of mediaeval street patterns. Tewkesbury also has its old Mythe Road – what a street name!

This story shares the name of its setting, Newhamstead, with another story in the collection, ‘British Chemicals’. As I said in the post about that piece, I’m not sure if they’re the same town or not. But I would be surprised if I don’t use the name again, when it feels right.

The idea of a village being absorbed into a post-war new town appealed to me because I’ve spent quite a bit of time thinking about new towns.

In 2017, I co-wrote a book about pubs under the name ‘Ray Bailey’ and spent time visiting places like Harlow and Stevenage. And I’ve written here about the uncanny potential of new towns.

Finally, I should also admit that a significant inspiration – almost the spark for the story – was an American on Twitter sharing their astonishment the first time they heard a British person say, completely in earnest while offering to pour tea: “Shall I be mother?”

What a weird country this is.

A quote from Thom Willis: "“You don’t know what you're getting next – Cronenberg in a dingy terrace, Tim Powers jumping at shadows, M.R. James in a piss-soaked alley. The canvas feels bigger than Municipal Gothic.” Next to it is the cover of the book with someone being stalked through a dark space by an unseen figure.

Intervals of Darkness will be published on 7 September. You can pre-order the eBook now.

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books Intervals of Darkness

Story-by-story: Second Homes

I lived in Penzance in Cornwall for six years, including several stormy, boarded-up off-seasons. This story is about how that felt – and about the distinctly haunted landscape.

I used to observe the coming and going of people throughout the year, and the rhythms of the tourist industry. Repainting and repointing in the run up to Easter. And the general air of exhaustion in early autumn.

I was especially struck by how silent Mousehole seemed in the gaps between holidays, when the second homes and rental properties were empty.

(See also: Bait, dir. Mark Jenkin, 2019.)

On Scilly, in Marazion, and in various other places, I’d pick up interesting details about how things worked – like the chip shop owners who shut for the winter and disappeared to Florida.

Another influence, though not directly referenced, was the Solomon Browne disaster of 1981. When the Penlee lifeboat went out in a storm to save crew and passengers aboard the MV Union Star. Sixteen people died including eight lifeboatmen from Mousehole.

This tragedy suffused the village and the area. The old lifeboat house was a permanent memorial on the coast path and The Ship Inn has a plaque and photographs of the lifeboat crew. Children and relatives of crew members still live in the area.

This sadness offers a strange contrast to the Instagram-friendly lifestyles of people from ‘up country’ who only come down when there’s a reasonable chance the sun will be out.

I can’t claim to have totally sussed Cornwall in six years. I doubt you could do that in four centuries. But I learned enough to tell this small story.

A note on ‘granfer’

A couple of stories in this collection use the West Country word ‘granfer’ – that is, grandfather.

I’ve heard it used naturally and without affectation in both Cornwall and Bristol, hundreds of miles apart.

I like it because it adds a bit of regional texture without doing the impenetrable Jarge Balsh thing.

In another story, however, I have ‘gramps’. One reason for that is that, as a kid in Somerset, I heard it used quite frequently – but never ‘granfer’.

The other quite weird reason for ‘gramps’ over ‘granfer’ I’ll reveal in a later post in this series.

A quote from Verity Holloway: "Impressively eerie and packed with shocks... moments of powerful poignancy and startling strangeness. You'll want to linger over these stories." Next to it is the cover of Intervals of Darkness with a black background and red details. The illustration is of a person casting a long shadow. Nearby is another shadow suggesting a lurking but hidden figure.

Intervals of Darkness will be published on 7 September. You can pre-order the eBook now.

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books Intervals of Darkness

Story-by-story: British Chemicals

The third story in Intervals of Darkness draws on research I did for an article published in Fortean Times a few years ago about a haunted factory.

My dad worked at the factory in question and we often talked about what might have made it feel spooky.

Point: the land was ancient, with old ghosts.

Counterpoint: everyone was exhausted and off their tits on chemical fumes.

This story, which Rowan Lee has suggested recalls the work of Nigel Kneale, is an attempt to explore that line between rational explanation and genuine supernatural experiences.

I also had in mind Danny Robins’s radio and TV series Uncanny which, especially in more recent episodes, has included ‘cases’ which seem less than convincing.

I asked myself in what context an account of a haunting might seem truly beyond doubt.

Perhaps being shared in private, behind closed doors, by someone who definitely isn’t seeking attention – and who has a strong commercial incentive not to have seen a ghost – might be convincing.

Working on this story on and off for the past couple of years I quizzed Dad to harvest convincing details.

Those were added to the stories I’ve been hearing for years about life working at British Cellophane, and other factories.

I also drew on my own teenage experiences of factory work, including the time I accidentally got high on solvents while cleaning a protective suit and floated across the shop floor giggling, unable to feel my legs.

Hints of worldbuilding?

The story takes place in a post-war new town called Newhamstead. That name also crops up 

in another quite different story in Intervals of Darkness, ‘The Night of the Fox’.

I’ve always loved the way H.P. Lovecraft and his literary circle casually reused the names of places, characters, forbidden tomes, and monstrous entities.

That there’s no particular coherence in the way they are applied (despite later attempts by nerds to tidy things up) only adds to the sense of intrigue.

See also: those throwaway references in Star Wars to the Kessel Run and the Clone Wars.

So, I don’t know if the Newhamstead in these stories is the same place, exactly, or if this will one day add up to a ‘cycle’, but I couldn’t resist the deliberate internal reference.

A quote from Rowan Lee: "Newman returns to haunted Britain with fourteen more wonderful stories... Fans of folk horror and weird fiction find a lot to love..." Next to it is the cover of Intervals of Darkness with a black background an illustration, in red, of a person casting a long shadow as they emerge from a doorway. Another shadow is nearby, implying the presence of a second, unseen person.

Intervals of Darkness will be published on 7 September. You can pre-order the eBook now.

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books Intervals of Darkness

Story-by-story: Men Who Live in Caravans

The second story in Intervals of Darkness is unusual in that it’s not overtly supernatural – but it could have been, with a couple of tweaks, and is certainly, I think, weird.

It’s also one of the most personal, close-to-the-bone things I’ve ever written. In the sense that I sort of hoped my family wouldn’t read it.

It’s about a man who lives in a caravan on farmland, scraping a living with shift work.

This could describe more than one of my own late relatives, several people my parents have known over the years, and several people I’ve encountered in pubs up and down the West Country.

The specific trigger – the thing that put it on my to-write list – was a particular caravan in a particular field. It was overgrown, tangled among branches, and green with moss. And yet there were signs that someone was living in it.

(That’s it above.)

I stared at it for a long time, took a photograph or two. Then I thought about an uncle who died in a caravan in the corner of a field, and was discovered by my dad when he went round with his regular care package one weekend.

With a few wrong turns, that could have been Dad, too. Or me.

But, fretting about class, I tied myself in knots over this for a while.

Did I have the right to tell this story?

Was it inherently snobbish or sneering?

Eventually, I had a word with myself. Who else was going to write it if not me? And if I wrote it plainly, sincerely, honestly, I’d be using my small amount of privilege in a useful way.

Still, at first, I wanted to do what I usually do and hide behind the safety of a spooky story. An early draft ended, predictably, with more overtly supernatural events.

But, as with a story not in this collection, ‘The Architects’, I pulled back and let weirdness be a seasoning, rather than the sauce.

Writing it was an emotional experience. I had to stop several times, overcome with feeling, and even pushed to tears.

The feedback I’ve had since it was published at Minor Literatures suggests that people took the story as intended.

A drainage channel alongside a narrow country lane. There are reeds at its banks and algae on its surface. The landscape is flat.
The Mark Yeo at Rooksbridge in Somerset.

On ‘reens’

The word ‘reens’ crops up quite often in my stories. That’s because I grew up in Somerset which is sliced all across with reens, or rhynes.

They’re drainage ditches – a human intervention in the landscape.

One near my parents’ house, the Mark Yeo, was created in the 13th century.

I find them romantic and mysterious in a very specific, unromantic, un-mysterious way.

Sometimes, they look like shimmering, infinite mirrors running towards distant hills.

And at other times, they’re full of beer cans and algae.

A quote from John Grindrod: "Existing somewhere between Robert Aickman and J.G. Ballard, these blackly funny tales are sure to chill you, no matter how high you turn the central heating." Next to it is the cover of Intervals of Darkness with a black background and red details. The illustration is of a person casting a long shadow. Nearby is another shadow suggesting a lurking but hidden figure.

Intervals of Darkness will be published on 7 September. You can pre-order the eBook now.

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books Intervals of Darkness

Story-by-story: Poor Ned’s Head

The story that opens Intervals of Darkness is an example of magically frictionless fiction.

I saw a call for submissions on the theme of ‘water’ and then, only a little while later, visited the wreck of the Mary Rose in Portsmouth.

Being me, I was drawn to the cabinets filled with skulls found aboard the wreck. What must it feel like to be killed in action, lie in the mud for several hundred years, and then be put on display?

The facial reconstructions added another layer of weirdness. In curatorial terms, this is good interpretation. It helps civilians like me understand the past more clearly, in human terms. But all those disclaimers, and the careful choice of language… Those reconstructions are just informed guesswork, really. And they always look a bit… wrong. Talk about the uncanny valley.

My other half says that she likes being with me when an idea for a story strikes me. She recalls it happening very obviously on this museum visit – “Must find notebook… Must write down… Haunted skull… Eye to eye with… Must find notebook…”

Then I did something at which I’m worryingly good: quickly absorbed a bunch of writing about ships, sailing, and archaeology, and synthesised it into some plausible bullshit. It wouldn’t fool anyone who knows a lot about those subjects (I suspect Steve Toase might fling the book into a fire) but it’s enough to sell the story to most readers, I think.

Having successfully begged for an extended submission deadline I hammered out a first draft of the story in a couple of hours. And not much changed in the rewrite.

Maybe that impassioned drafting gave it a boost. I don’t think it’s an exaggeration to say that Verity Holloway, editor of Cloister Fox magazine, snapped it up – and she’s told me again since what a great story she believes it to be.

This was also the story that signalled a slight change of direction from Municipal Gothic. Not every story I write has to be set in those working class environments where I feel most at home.

It’s also the first time I’ve written a story intended to evoke Nigel Kneale. I was thinking about his particular niche – that intersection of technology and the spirit world, as in The Stone Tape – and wondered if and how a computer-generated model might become possessed.

The first review, from Rowan Lee, mentioned Nigel Kneale, though not in connection with this story, so that thread obviously runs throughout the collection.

Blooper reel

  • In the original draft of the story I had my ship, Faerie, sailing from Falmouth to Portsmouth, but sinking in Mount’s Bay. Revising it for Intervals of Darkness I thought, hold on, that doesn’t make sense… So now, she was bound for Kinsale instead.
  • The first draft of the story had the eyes as being in the ‘stern’ of the skull but it got fixed in the edit. Look, I told you I was blagging this.
A quote from Verity Holloway: "Impressively eerie and packed with shocks... moments of powerful poignancy and startling strangeness. You'll want to linger over these stories." Next to it is the cover of Intervals of Darkness with a black background and red details. The illustration is of a person casting a long shadow. Nearby is another shadow suggesting a lurking but hidden figure.

Intervals of Darkness will be published on 7 September. You can pre-order the eBook now.

Categories
Intervals of Darkness therapy

The self-loathing of the working class writer

I’d have been shy about calling myself a ‘working class writer’ a decade or so ago. Which is ridiculous, with hindsight – because what else am I?

The stories in my last collection, Municipal Gothic, and in my upcoming book, Intervals of Darkness, are mostly attempts to process my experiences as a working class kid.

But if that working class kid could hear me, a university graduate and professional, referring to myself in these terms, he’d be furious.

“How can you call yourself working class?” he’d ask, “with all your privileges and relative comfort in life?”

Back then, I thought being working class was a binary state.

I read and admired books by people like Alan Sillitoe but also hated them for moving to London, or France, and becoming part of the literary establishment.

How could they write about working class life when they weren’t living it?

I was an idiot, of course.

How would Sillitoe have found the time and energy to write if he also had to do night shifts on a production line, you know, to keep his hand in?

And how long did I think it took to become middle class? It’s not an overnight process.

What I came to realise is that you don’t ever really shed working classness. It’s baked in. It shapes your attitudes to life and your perspective on the world. In the negative sense, the scars are permanent.

For the first twenty years of my life, I was steeped in my working classness, even through four years at a not-very-working-class university.

Sure, I got a desk job, wore a suit, and stopped worrying quite so much about money – but working classness continued to affect my ability to connect with people, to get promoted, and to experience basic human happiness.

If I experience the slightest financial shock – an unexpected bill, for example – I completely flip out, and revert to being an anxious child. Even if, once I’ve taken a breath and counted to ten, I can easily afford to deal with it.

My dreams were, and often still are, set on council estates and in council houses. My stories always drifted back to those same settings – pubs, terraced houses, small towns, factories… Even if I wanted to write middle class fiction, I’m not sure I could.

The characters in my stories are often aspects of my late dad, his brothers, or my mum and her family, or of people I knew growing up.

And sometimes they’re versions of me. A clue to that is if the character in question is uptight, bewildered, and slightly detached from their surroundings.

What makes a working class writer? In my opinion, they’re someone with personal, first-hand experience of working class life. (Not someone whose grandfather was a miner.) And whose writing, consciously or otherwise, attempts to make sense of that experience.

Often, perhaps too often, that can feel limiting. What if you don’t want to write grim social realism? What if you don’t want to constantly confront your own experiences of poverty? Or, on the flipside, to feel obliged to write inspiring stories about the power of working class community.

Personally, I don’t want to be a Working Class Writer. I want to be a writer. I want to write what I want to write.

And I don’t want to agonise constantly about whether I’m presenting my working class characters with sufficient nobility, or making the right political arguments.

So, sometimes, I might get it ‘wrong’. But it’s not out of stupidity or ignorance, it’s because I’m battling my own subconscious, or attempting to exorcise a ghost of my own.

Intervals of Darkness will be published as an eBook and paperback on 7 September 2024. You can pre-order the eBook now.

Categories
Somerset

Obituary: Alan Newman, a lifelong bluesman from the Somerset Delta

Alan ‘Ginge’ Newman has died at the age of 75 after a lifetime of making and thinking about music.

He wasn’t a full-time musician, however, because like most people he had to work to support his family – that is, my mum, Eileen, my brother, Tim, and me. That he found time to pursue creative interests around night shifts, factory work, warehouse work, and even a stint digging graves, suggests just how strongly that flame burned.

He was born in 1948 at Woolavington on the Somerset Levels to Agnes and Ernest Newman, East Londoners who moved west for military service and war work and never went back. Alan loved Somerset, spoke with a wonderfully warm local accent, and flew a Somerset flag in his back garden until the day he died. Nonetheless, he felt those London roots, which manifested in an occasional imitation of his father shouting “Gertcha!” (via Chas & Dave) and his support for Arsenal.

His childhood was difficult in various ways. First, there was poverty. The Newmans lived throughout the 1950s in a rickety prefabricated house on a council estate appended to a village. He later recalled shivering beneath an Army greatcoat in an unheated bedroom with ice on the windows and he was utterly baffled by nostalgia for prefabs and post-war Britain.

Secondly, there was illness. Not expected to survive longer than a few minutes, he was named quickly by a nurse who borrowed his mother’s initials (Agnes Kathleen) to conjure up Alan Keith. He lived but thereafter spent months in hospital, and years in and out, with an undiagnosed respiratory condition.

Thirdly, there was the challenge of growing up in a family ruled over by a heavy-drinking, gambling, womanising bully whose time in the Royal Navy did nothing to sweeten his manners or temper.

It’s perhaps no wonder that Alan was an unruly child and teenager who drank his first pint of beer in a pub at the age of 12. Though ashamed of it for much of his life he spoke more openly in recent years about his adventures in joyriding and his juvenile criminal record for breaking into the village shop to steal cigarettes. In fact, one of his favourite stories was about returning from a screening of the 1962 film Some People at the Palace Cinema in Bridgwater to find his father furious after a visit from the police.

“Where have you been, boy?”

“In town to see Some People.”

“Oh, yeah? Some People? Well while you’ve been out, some bloody people have been here to see you.”

Though a scholar in his own way – more on that later – Alan didn’t enjoy school and was happier playing sports or, more often, mucking around with a gang of friends. He left Sydenham, the brand new comprehensive in Bridgwater at 15, with no qualifications and went straight into the world of work, where he would remain for 50 years.

He trained as an apprentice coachbuilder for a while, then became part of a demolition crew for Pollard’s of Bridgwater. “If you wanted something smashing with sledgehammers,” he later recalled, “you called the Newman boys.” There was also a stint in the Army which, to his great disappointment, was cut short because he failed a medical examination. (Or perhaps, as he once suggested, because he joined the Young Communist League hoping to meet liberated women, which wasn’t the done thing for people serving in the armed forces during the Cold War.)

Three young men on the steps of a 1960s council house. One has a guitar, one has a bass guitar, and one is holding maracas. They're dressed in typical 1960s style.
Alan (front, centre) with his brothers in one of the various incarnations of their band Ginger Ellis & the Dracos.

Like many teenagers in the 1960s he also developed an interest in rock’n’roll music and formed a succession of bands. Under a pseudonym he was lead singer and leader of Ginger Ellis & the Dracos. Later, in red velvet flares during the psychedelic era, he fulfilled the same role in The Keystone Kops, who even cut a single with ‘Can’t Stand No More’ on the A-side and ‘The Rise and Fall of a Persian Pig in E-Minor’ on the flip. Alan’s favourite band was The Rolling Stones whose first two albums, filled with R&B, rock’n’roll and blues covers, would form the template for his musical taste for decades to come.

Alan and Eileen met in 1970 in a Bridgwater pub on a busy Saturday night. He was 21, she was 17, and they were engaged by the following Thursday. They married in 1971. Drifting away from his own family he found a warm welcome from Eileen’s parents and the four of them became drinking buddies, chain smoking cigarettes, and playing the four-player card game euchre as they crawled the pubs of St John Street, Eastover, and into town.

Though he continued to buy and play records, loudly, he had less time to make music as he settled into a steady job at British Cellophane. Wading in troughs of solvent without adequate protection no doubt did some lasting damage but, at the time, he was simply happy to be bringing home the kind of money that paid for a house, a car, and a decent quality of life.

It was difficult to have children and took longer than expected. A secret Alan and Eileen kept for decades was that they ended up using the then pioneering technique of donor insemination (DI) via Dr Margaret Jackson’s clinic in Devon. Perhaps he felt embarrassed about this, or felt it to be a failing on his part, but as far as my brother and I are concerned, it shows the sheer generosity of his spirit. He suggested this because Eileen needed it, and committed fully to the experiment. And he was never less than doting as a father, and never gave us the slightest reason to doubt he loved us – which is not always the experience of people conceived through DI. When we learned the truth many years later, Alan’s first concern was whether it changed anything in his relationship with his sons. We were able to tell him that not only had nothing changed but, if anything, we respected and loved him all the more.

A man with curly ginger hair and a ginger moustache proudly displaying a trophy in front of a darts board.
Alan loved to play darts and got pretty good at it as a pub landlord.

In the 1980s, Alan and Eileen took on a decrepit Whitbread pub in Exeter which they ran for several years. Alan had a real talent for engaging with customers and creating a sense of community. His turn as Widow Twankee in the pub pantomime was a surprising success, again revealing an instinct for creativity and performance at odds with his macho persona. Unfortunately, it is and always has been tough to make a living in a tied public house, and the experience bankrupted them.

Alan hated to be unemployed and resented living in a council house, which became necessary in the aftermath. It was in this low period that his dormant interest in blues music resurfaced – perhaps because he was now feeling it in his heart. He acquired a cheap electric guitar, a Gibson Les Paul copy, and tried to learn to play. When that didn’t work, he switched to the bass guitar and realised he had found his instrument. Our house began to throb to the sound of walking 12-bar patterns, or the sparse moodiness of the bass part for ‘Stormy Monday’.

Working long night shifts plus overtime operating a lathe at Wellworthy’s in Bridgwater he had little time and even less energy. Blues bands would form around him, rehearse for a while, then break apart. All the time he kept listening to blues music, reading about blues music, and lecturing anyone who would listen about the career of Muddy Waters, or chord progressions, or the meaning of the obtuse lyrics of 1930s acoustic blues songs. What is a peach-tree man? Alan could tell you. The house was filled with books such as Paul Oliver’s The Devil’s Music. He was often to be seen in the crowd at gigs in Bridgwater, Taunton and further afield, at a time when blues music was a staple part of the offer at pubs and social clubs across Somerset.

As a performer, things finally came together at around the turn of the millennium when Alan met his great friend Les Leiper and they formed the band Witch Doctor. At last, he was part of an efficient gigging band that played most weekends in pubs across the region, with the thump-thump-thump of Alan’s bass providing a steady clock. His proudest achievement was playing multiple gigs at The Old Duke in Bristol, a legendary jazz and blues venue where he’d previously seen some of his own favourite bands perform. When Alan eventually left Witch Doctor it was partly because, being a man of his time, he was unable to express his frustrations in words. Quitting was the easier option.

In the years that followed, he joined or formed many more blues bands, each one with its own unique style and set list. The Blue Healers, for example, gigged in Bristol and elsewhere. Alan’s problem was that he wanted to play blues music, and nothing but blues music, and, inevitably, most bands would start to talk about adding soul or classic rock tunes to the set. ‘Mustang Sally’, though a fine song, did not belong in the repertoire of a blues band. Nor did ‘Sweet Home Alabama’. Again, although he got better at having these conversations, he would often simply leave rather than deal with conflict or awkwardness.

Alan retired from his final job as a warehouseman at 67. He’d been doing heavy, physical work for most of his life, and his body had begun to creak. His lungs, never quite 100% functional, began to fail him and he was diagnosed with both asthma and chronic obstructive pulmonary disease (COPD). You can’t help but wonder about all those jobs – demolition in the era of asbestos, factory work with baths of solvents – and the cold dampness of his childhood home. Still, in retirement, with two beloved dogs, he started to get fit, rambling with Eileen over the Mendips and across the Levels.

Both being village kids, at heart, they moved to the country, settling in Rooks Bridge. He would stand and stare at the landscape, listen to the birds, and relish the fresh air. His bands sometimes rehearsed in a nearby stable, or in the kitchen at the house, and the neighbours would turn off their TVs to listen.

During the pandemic his lung conditions put him in a high risk category and was effectively trapped in the house for several months. This did him no good and he emerged from successive lockdowns seeming suddenly much older and far less robust. A chest infection in 2023 never quite cleared and dragged him down for over a year. Finally, in August 2024, it got him. He died while receiving care at Weston General Hospital, not long before dawn.

That urge to make music, and to create, was with him until the end. Shortly before he went to hospital for this final stay, he started talking about recording a podcast, and also snuck an advert onto Facebook when Eileen wasn’t looking: did anyone want to form a blues band for some low key rehearsals?

Alan Newman, born November 1948, died August 2024.

Categories
crime Film & TV

The Todd Killings, Smooth Talk, and the allure of the creep

Everything about the American serial killer Charles Schmid sounds pathetic – so how was he able to command the loyalty of his teenage followers?

That’s a question grappled with by two films based on Schmid’s story, 1971’s The Todd Killings, directed by Barry Shear, and 1985’s Smooth Talk, directed by Joyce Chopra.

Both films ultimately share the same original source: a 1966 Life magazine article by Don Moser called ‘The Pied Piper of Tucson’.

That article is a masterpiece of true crime writing, available online, and also collected in a 2008 Library of America anthology. Moser painted a picture of a loser and weirdo who, in his early 20s, was still hanging around with school kids in Tucson, Arizona:

At the time of his arrest last November, Charles Schmid was 23 years old. He wore face make-up and dyed his hair. He habitually stuffed three or four inches of old rags and tin cans into the bottoms of his high-topped boots to make himself taller than his five-foot-three and stumbled about so awkwardly while walking that some people thought he had wooden feet. He pursed his lips and let his eyelids droop in order to emulate his idol, Elvis Presley. He bragged to girls that he knew 100 ways to make love, that he ran dope, that he was a Hell’s Angel.

But Schmid was somehow appealing to teenagers who saw not a creep but a local own-brand version of Elvis Presley:

He had a nice car. He had plenty of money from his parents, who ran a nursing home, and he was always glad to spend it on anyone who’d listen to him. He had a pad of his own where he threw parties and he had impeccable manners… He knew where the action was, and if he wore make-up—well, at least he was different… [To] the youngsters – to the bored and the lonely, to the dropout and the delinquent, to the young girls with beehive hairdos and tight pants they didn’t quite fill out, and to the boys with acne and no jobs – to these people, Smitty was a kind of folk hero. Nutty maybe, but at least more dramatic, more theatrical, more interesting than anyone else in their lives: a semi-ludicrous, sexy-eyed pied piper who, stumbling along in his rag-stuffed boots, led them up and down Speedway.

Schmid was more than “nutty”. He tortured at least one cat, for starters. Then, in May 1964 he convinced two young friends to accompany him as he kidnapped, raped and murdered 16-year-old Aileen Rowe. They helped him bury the body in the desert – and kept his secret.

A little later, in the summer of 1964, he met 16-year-old Gretchen Fritz at a swimming pool. He seduced her and they had a rocky year-long relationship. It culminated in the death of both Gretchen and her younger sister, Wendy, in August 1965. When he showed a friend called Richard Bruns where the bodies were buried in the desert, Bruns turned Schmid into the law.

Schmid was convicted of murder in August 1966 and sentenced to death. By June 1967 a film based on the story was in production.

A screengrab from The Todd Killings showing Skipper Todd with bushy long hair, shades, and a wide collared shirt.
Robert F. Lyons as Skipper Todd in The Todd Killings.

The Todd Killings: torn from today’s headlines!

The Todd Killings had a range of working titles like ‘Pied Piper of Tucson’, ‘The Pied Piper’ and ‘What Are We Going to Do Without Skipper?’

It was eventually released in 1971 with the action relocated from Tucson to the fictional town of Darlington, California.

Schmid became ‘Skipper Todd’ played by Robert F. Lyons, with his look and lingo brought up to date. Skipper has shaggy Mick Jagger hair, tight bell bottoms, and a green dune buggy. He also plays folk rock songs on an acoustic guitar, almost like a spare member of The Monkees, or Charles Manson.

Lyons really is good looking, though, and brings to the part a commanding arrogance. The children follow him because he has the qualities of a leader. In odd, intercut scenes he is shown lying to a US Army recruiter to wriggle out of fighting in Vietnam where, actually, he might have thrived as another William Calley.

Updates and poetic licence aside, the film is an otherwise relatively faithful recounting of the facts of the case.

It has a particularly strong opening: Skipper is burying a body in the desert, helped by a devoted young girlfriend and a panicky boy.

This is not a whodunnit, or a did-he-do-it, like Psycho. That this young man is bad is established from shot number one.

From the off, we also empathise with the bored kids who are groomed by Skipper Todd, even as we want to shake them by the shoulders and urge them to break free.

We even begin to understand why they would reward his madness and violence with devotion. They are weak, and their parents are weak, too. He is good at spotting weakness and filling the gaps in people’s live. He has everyone, both boys and girls, under an erotic spell.

Did Charles Schmid ever see The Todd Killings? He died in prison in 1975 so it’s just about possible. If so, he would probably have found it flattering.

A man with muscular arms and sunglasses leans over the door of a gold convertible. His head is tipped to one side. The name Arnold Friend is painted in script letters on the side of the car.
Treat Williams as Arnold Friend in Smooth Talk.

Smooth Talk: back to the future

More than a decade later a second film tackled the story more obliquely, and more artfully. Joyce Chopra’s Smooth Talk from 1985 was not based on Moser’s article but on a short story by Joyce Carol Oates, ‘Where Are You Going, Where Have You Been?’ first published in 1966.

In Oates’s version of the Schmid affair, which was distilled from Moser, the monstrous fake teenager is called Arnold Friend. He stalks, seduces and seizes a teenager called Connie while her well-to-do parents are out at a barbecue. It crams a lot into a few thousand words and presents small town America as a menacing, sickly place.

Smooth Talk expands on the short story significantly, using Oates’s original material to form only the final act of the film.

It also does something really clever with the period. Connie (Laura Dern) is a quintessential 1980s teenager straight out of a John Hughes movie, while Arnold Friend (Treat Williams) is a relic of the 1950s. He is a cheap knockoff of James Dean (Connie has posters of Dean on her bedroom wall) and therefore closer to the real Charles Schmid than Skipper Todd.

In this, there’s an echo of another film: Terence Malick’s Badlands from 1973, in which Martin Sheen based his performance as spree-killer Kit Carruthers on James Dean. Kit wasn’t based on Charles Schmid, however, but his near namesake, Charles Starkweather – another rural weirdo with a taste for teenage girls.

In some ways, Arnold Friend is a less complex character than Skipper Todd, or the real Charles Schmid. He’s a sinister stranger, not a ‘pied piper’ who everyone knows and admires. He’s clearly a much older man (Williams was 34 when he played the part), dressed anachronistically, and almost supernaturally sinister in his manner, like an avatar of the Devil after Connie’s living soul.

In this version of the story Arnold Friend doesn’t kill anybody – as far as we know. He stalks Connie and, eventually, convinces her to go for a ride. This is roughly where Oates’s story ends and in that version we’re left to speculate on her fate. But if you know it’s inspired by Schmid your speculation is likely to favour murder.

In the film, Connie returns. She is changed – an adult, now, and no longer innocent. But she is, at least, not dead and buried in the desert.

In almost every way Smooth Talk is the better film. Not least because it makes Friend/Schmid an exterior menace and puts in the turbulent mind of one of his victims.

The Schmids, they’re multiplying

There is something particularly dark and rich about this story which must be why filmmakers keep coming back to it.

There’s Dead Beat from 1994, which seems almost impossible to see; Lost from 2005, adapted from a novel by horror writer Jack Ketchum; and Dawn from 2014, which focuses on the sister of one of Schmid’s victims.

Schmid is not the only killer to have inspired multiple movies, though. In fact, it’s unusual for a notable serial killer not to have inspired multiple movies.

Leopold and Loeb are practically a sub-genre (Rope, Compulsion, Swoon). So is Ed Gein – the original model for six decades of psycho-slashers, from Norman Bates to Leatherface. And Badlands is by no means the only take on the Charles Starkweather and Caril Ann Fugate story.

As a writer of fiction I find it almost maddening that real life generates stories that are so much more out there than anything I could invent. If I’d created Charles Schmid as a character it wouldn’t have occurred to me to give him white foundation make-up, a fake mole, and shoes full of crushed tin cans. Real criminals are often both dumber and more interesting than their fictional counterparts.

More importantly, I don’t know if I’d have been able to look at Schmid through the eyes of a teenager and have them think, “That guy is cool, I love him, I’ll do whatever he says.”

Main image: A digital sketch based on several different photos of Charles Schmid composited, traced, and treated with textures and filters.

Categories
fonts

That mysterious font is Festive, not Stymie

What is that font? You know, THAT font? The chunky italic lettering you see on launderettes and council blocks, on post-war churches and new town butcher’s shops, across the UK.

The font you’re thinking of might well be ‘Festive’, a lettering style designed by Maurice Ward of Ward & Co, a sign-making company in Bristol, founded in 1952.

Launched in the early 1960s, Ward’s ‘Inter-signs’ product, manufactured under the Lettercast brand, used injection moulding.

Lettersigns was available in two styles, Festive and Block, and made it possible for anyone to mount their own custom signs with professional-looking 3D lettering.

Or, of course, the specific sign you’re thinking of might be in one of any number of similar lettering styles in the broader category of ‘Egyptian italic’.

Samples of Profil, Clarendon Bold Italic, Stymie Bold Italic and Amigo No. 1, four similar looking chunky italic fonts with serifs.
Samples of lettering styles similar to Festive cobbled together by me from various sources including The Studio Book of Alphabets, 1963.

Those include:

  • Egyptian Italic (an earlier Ward & Co style)
  • Festival Egyptian (an official style of the Festival of Britain)
  • Stymie Bold Italic
  • Clarendon Bold Italic
  • Profil
  • Amigo No. 1

First, then, let’s pin down how to spot Festive in particular.

How to spot Festive

Trade catalogues from Wards of Bristol include samples of Festive in print.

From this, we can see the most distinctive features of Festive, which can help us distinguish it from similar lettering styles in the wild.

A sample of a letter style with capitals A to Z and numbers 0 to 9.
A sample of Festive from a Ward’s catalogue from, I think, 1971.
A sign on a shop in Bristol advertising SOUP 'n' SANDWICH.
A shop sign in Bristol in Festive, author’s own photo.

First, there’s the unexpected serif at the apex of the capital A.

Then there’s the relative flatness of the round letters, like C and G.

And, of course, there’s the built-in beading – that outer line that traces the edge of each letter.

The origins of Festive

There’s a clue right there in the name: like almost every bit of flair in Britain’s mid-20th century public spaces, it came indirectly from the 1951 Festival of Britain.

One of its official lettering styles was ‘Festival Egyptian’, as depicted in the typographic handbook for designers.

A big 3D italic letter E with the word EGYPTIAN overlaid in the same style.
A page from A Specimen of Display Letters Designed for the Festival of Britain 1951 via Chris Mullen at The Visual Telling of Stories.

But why Egyptian? In around 1817, London type founder Vincent Figgins created a typeface he referred to as ‘Antique’.

A sample of Eight-Line Pica Antique with big chunky italic letters with serifs.
An 1834 sample of an italic variation of Antique. SOURCE: archive.org

It was fat, bold and easy to read from a distance.

Earlier examples of this style have been found but Figgins commercialised it and prompted imitations from other foundries worldwide.

These days, they’re known as slab serif fonts but in the 19th century, they were usually referred to as antique, after Figgins; or as either Ionic or Egyptian, in variations on the theme.

You can certainly see in Antique, especially when italicised, the seeds of the 20th century launderette signs and tower block titling.

But these in-your-face, ungainly display typefaces went out of fashion, like everything associated with the Victorians. They spoke of slums, music halls and Gothic mausoleums. They weren’t fit for the world of motor cars, aeroplanes and Streamline Moderne.

Then, in the 1930s, a revival began, achieving its full flowering with the 1951 Festival of Britain. This is documented in detail by Paul Rennie in this 2001 essay (PDF) but here are the key points.

First, the cover of John Betjeman’s first book Ghastly Good Taste, published in 1933 when he was still in his twenties, showcased a jumble of Victorian typefaces.

Then, in 1938, came Nicolette Gray’s book Nineteenth Century Ornamented Typefaces, celebrating Victorian lettering styles.

And in the same year, the architect and townscape designer Gordon Cullen personally produced (non-italic) slab serif lettering for the starkly modern Finsbury Health Centre. It is clearly ahead of its time and wouldn’t look out of place on a municipal building erected 20 years later.

The sign on the Finsbury Health Centre in chunky serif letters.
The Finsbury Health Centre in 1979. SOURCE: Gillfoto, via Wikimedia Commons, under a Creative Commons Attribution-Share Alike 3.0 Unported licence.

Though the British Government generally clung to clean, uncluttered sans serif typefaces such as Gill Sans for official posters (Keep Calm and Carry On, chaps) advertising designers and publishers dabbled in Victorian styles throughout the 1940s.

After World War II, In the run up to the Festival, committees and working groups were put together to consider every small detail, including typography. Gordon Cullen and Nicolette Gray were both on the Festival of Britain Typographic Panel.

Once the Festival was over, Festival style lingered. Lettering catalogues from the 1950s and 60s include, for example, Egyptian Italic, Rockwell Italic and Ultra Bodoni Italic.

A sample of a letter style with capitals A to Z, lower case letters a to z, and numbers 0 to 9.
A sample of Egyptian Italic from a Ward’s catalogue of 1971.

Maurice Ward wrote this of his Egyptian Italic, the immediate precursor to Festive, in a catalogue from 1962:

[This] face, together with its vertical counterpart is a harmonious combination of the best features of the Egyptian family of characters and is perfectly suited as an architectural letter on buildings. The popularity of these Egyptians is unquestionably due to the Festival of Britain in 1951 and no face characterises more aptly the word ‘Festive’.

And when Ward & Co (Lettercast) launched Festive in around 1963 it was labelled as “based on Egyptian Italic”, which was in turn a take on Festival Egyptian.

Two very similar capital letter As. One has no outer line and no serif at the top.
The A from Egyptian Italic (left) and from Festive (right).

Feelings about fonts

What’s fascinating about Festive is how it moves people emotionally, and obsesses them.

The writer Jason Hazeley has been trying to identify it for years, for example, referring to it as “That Font” or “Everywhere Bold Italic”.

And he is not alone. For a generation of British people, it represents the vanishing landscape of their childhoods, tied into ideas of nostalgia and even hauntology.

Graphic designers have often resorted to Profil as a close match – and, of course, Festive was never really intended to be used in print.

On social media, including a popular Flickr group, Stymie Bold Italic has incorrectly been used to describe this entire category of lettering styles.

It’s only recently, however, that illustrator and designer Richard Littler of Scarfolk fame managed to unlock the mystery – or, at least, bring together all the threads.

When he put out a call on social media his significant reach across multiple platforms, with exactly the right kind of people, brought to light:

The latter, a spectacular piece of work, has been sitting there for anyone to find since 2020, in a different domain of geekiness – if only type nerds had known to search ‘Inter-signs’ and ‘Lettercast’.

Personally, I’m a bit embarrassed not to have got there sooner. Back in 2020 I spent some time researching this seriously. I got in touch with Andy Ward, Maurice Ward’s son, who tipped me off to Egyptian Italic, and sent me photocopies of material he had at hand, at home, during lockdown.

And then Christine Daniel sent me photos of the back of some sign letters in her collection with ‘Inter-signs’ clearly marked on the back. But I couldn’t quite make those final links.

A Tweet from Christine Daniel showing some of her collection of plastic Inter Signs letters with trademark information on the back.
SOURCE: Twitter/X.

Together, though, we got there. The mystery has been solved. What a relief.

With thanks to Christine Daniel, Jason Hazeley, Richard Littler, Paul Rhodes and Andy Ward.

Categories
Fiction

FICTION: The Fugitive

In the late afternoon, slow-moving cloud came in off the mountains and burst over Maxton City. Main Street had just been macadamed the year before and the rain turned it into a stream.

Dan Todd used the storm as an excuse to drop into the Turkey Inn on his way home from the newspaper office. He had already dawdled and detoured. He was avoiding the road home, and the one-pot dinner he knew was being kept warm on the stove.

That damn black pot. The thought of it made his gut hurt. Hazel always did use too much salt, and never trimmed the fat off the meat. Which would be fine, which he could live with, if she cooked it long enough for the damn fat to render out, but damn her, she never did. It just stewed like white rubber, and then he wouldn’t sleep with it sitting on his gut.

The Turkey was an old wooden building, one of the oldest in Maxton. In recent years, however, the old half-height saloon doors had been replaced with shining new ones in chrome and glass. They looked out of place but a travelling salesman from the city had dazzled old Jim with talk of modernisation, hygiene and glamour. It was true that  they kept the dust out in summer. Dan pushed his way in and let the door swing behind him.

The bar was gloomy, and downright dark towards the back. Jim ought to have switched on the lamps, what with the storm having made it so dark outside, but he always waited until six o’clock. It was a point of principle.

The barroom was long and thin. The counter was of polished wood with big cut glass mirrors on the wall behind. A row of stools lined the bar and there were wooden booths with benches along the opposite wall. There was a cigarette machine, a gum machine, and a cardboard sign that said ‘Please pay when served’.

Music was coming from a radio on the counter, a big city dance band strangled through a small speaker. Dan didn’t recognise the song but could hear somebody crooning about the moon and loneliness.

Dan took off his hat, revealing fine, fair hair, and slapped the felt brim firmly against his hand. Rainwater scattered on the floor. He hung the hat on the stand by the door. Then he shook off his coat and hung that up, too. He used his handkerchief to wipe raindrops from his spectacles as he approached the bar.

‘Beer, if you please.’

Jim was a round, blank-faced man bald except for tussocks of hair above his ears. He poured a mug of Old Joe’s Lager Beer and placed it on a napkin on the bar.

Dan glanced along the counter to the only other customer.

He was a hunched, miserable looking man in a heavy plaid jacket with a sheepskin lining. His head hung over an almost-empty beer mug that was clutched in his thick, dark hands.

Dan had few friends. He didn’t need them. But that night, he wanted to talk, and he heard himself saying: ‘Buy you a beer, friend?’

The man looked up.

Dan had never seen such eyes. They were like those of a whipped dog, or a seasick stowaway. The whites were the colour of slow-baked cream.

‘Had a couple already,’ he growled.

Dan began to turn away.

‘Could handle another.’

Jim looked at Dan, who nodded. As Dan lifted himself onto a stool, Jim placed the beer in front of the stranger.

‘Obliged to ya,’ said the stranger. He pushed his spent glass away and lifted the fresh one, glittering with dew, in Dan’s direction.

‘Name’s Dan Todd,’ said Dan. ‘What do I call you?’

The man on the other stool turned slowly to look over his shoulder, the movement creaky and apparently painful. He turned back and glanced at Dan from under black, unruly brows.

‘Call me Grant.’

‘That your first name or your last?’

Grant took a long gulp of beer and rubbed foam from his stubble-covered upper lip.

Now he was settled next to Grant, Dan could detect a musk about the man that he didn’t like. Men often had a smell after a day’s work. Heck, even he needed to shower after a day baking in that miserable office which the old man insisted on keeping sealed like a diving bell. Grant’s smell, though, was rotten, as if he was sick and didn’t yet know it. It came out of his pores and in his breath whenever he turned a little towards Dan.

‘Hope you don’t mind a little company,’ said Dan, hoping that Grant would send him away.

‘I ain’t a big talker but I don’t mind listening,’ said Grant.

‘You might regret saying that, friend,’ said Dan with a dry laugh. He took his beer mug in his strong right hand and sipped a little. ‘I’ve got a lot on my mind.’

Grant rolled his yellow eyes towards Dan and waited.

‘Well, it’s just that, oh, well, a fellow gets so damn bored.’

‘Bored how?’

‘See, the thing is, I’ve never lived anywhere but Maxton,’ said Dan. ‘I didn’t even go to college, and I missed the war. Started writing for the paper when I was fourteen and I’ve been there ever since. I suppose it’s been quite different for you?’

‘I know the road, that’s true,’ said Grant. ‘Six states and five countries.’

With a sigh, Dan said, ‘Gosh. Doing what?’

‘Picking fruit. Crewing boats. Driving trucks. Peeling taters.’

‘I should have done all of that before I married,’ said Dan. ‘I should have done everything. Are you married?’

‘Was.’

‘Then you know how it is. The same conversations, the same dinners on the table, the same old flower arrangement on the stand in the hall.’

Grant grunted.

‘Sounds tough.’

Before Dan could reply Grant shivered as if an earthquake had shaken his body.

‘Got a fever?’ asked Dan, leaning back in his stool. ‘Get caught in the storm?’

‘Hungry, mostly,’ said Grant. ‘Ain’t eaten today.’

Dan waved a hand at Jim. The barkeep had slunk away to the far end of the bar to watch the rain on the glass but saw the movement from the corner of his eye.

‘Couple of sandwiches,’ he said.

Jim nodded and disappeared through a door into the kitchen.

‘You was saying about your wife,’ said Grant. ‘Them flowers in the hall.’

Dan knew he wasn’t really interested. It was just that he’d rather hear Dan talk than talk himself. Dan rubbed a hand through his damp hair and pushed his glasses tight to the bridge of his nose.

‘I shouldn’t have said anything,’ said Dan. ‘It’s not gentlemanly.’

‘You was saying about the dinners and the conversations.’

There was a suggestion of bitterness in Grant’s voice now. Jealousy, perhaps, Dan thought.

‘I don’t mean to complain,’ said Dan. ‘I don’t mean to boast either. We’re just like any other couple that’s been married five years. Not sick of each other, exactly, but—’ Well, he thought, maybe sick of each other is exactly right. ‘I like apple pie but I don’t want to eat it every damn day.’

Grant finished his beer in a single long pull as Jim returned with two thin, greasy sandwiches. Nobody came to the Turkey to eat. Grant flicked at one sandwich with a dirty nail, peeled back the bread, let it drop.

‘Another beer,’ Grant said.

‘Put it on my tab,’ said Dan. ‘I’ll take another, too.’

There was a sudden change in the air in the bar and the door made a booming sound as it was thrown open. Two men entered, followed by a gust of wind carrying about equal amounts of dust and rain.

Both were dressed in hunting clothes, plaid shirts and woolen caps, but Dan noticed immediately that they were wearing polished black city shoes.

‘Howdy,’ said one of the men with a broad, childlike smile. He was grey-haired, lean and tall. He looked everywhere but at Grant.

His companion was younger with rough red hair and a sharp jaw. His big teeth didn’t quite fit in his mouth. He looked directly at Grant and thereafter his eyes didn’t move from the shaggy figure at the bar.

‘What’ll it be?’ asked Jim.

‘Two beers,’ said the older man.

‘Not for me,’ said the other, still staring at Grant. ‘Coke, if you have it, or root beer.’

They took seats at the end of the bar, one looking at Grant, the other pointedly not.

‘My wife was a wonder,’ growled Grant, almost under his breath.

Dan turned so that his back blocked Grant from view. He did not know why he did this, only that he did not like the young red-haired man, not at all.

‘Not too good with the flowers or conversations but–’ He gave a low, howling whistle. ‘She was sure nice to be around. Sure knew how to make a feller feel like a million dollars.’

‘Then why did you leave her? Or let her go?’

Their conversation was now being held at a whisper and sounded more conspiratorial than perhaps they knew.

‘Somebody killed her,’ said Grant. He took hold of the beer glass in front of him and gave it four quarter turns with his dirty fingertips until it was back where it started.

Dan swallowed.

‘Somebody?’

‘Not me,’ said Grant, wearily. ‘Somebody. Something. They never did find out.’

‘Something? Who do you mean, “they”?’

Dan glanced towards the two men at the end of the bar and then back at Grant.

‘Who are those men?’

‘I ain’t never seen ‘em before today.’

‘Well, I just don’t know what to think,’ said Dan. He took a mouthful of beer, struggled to swallow, as if he’d forgotten how.

‘Don’t think nothing. We’ll finish our beers and then I’ll walk out of here. They’ll follow me and something will happen, who knows what. But it won’t matter none to you because you’ll be home with that wife of yours soon enough, feeling glad you ain’t me.’

For the first time, Grant laughed. It was a rough, raw bark.

‘The grass is always greener, they say,’ said Grant, ‘except there ain’t nobody looking at my lawn and wishing it was theirs.’

Grant drank some beer. He and Dan sat in silence for a minute before he drank the rest.

As he pushed back the stool it scraped on the boards and the two detectives, or special agents, or whatever they were, looked sharply in Grant’s direction. There was no jollity in the older man’s face now, and the younger man looked ready to wrestle a mountain bobcat.

Grant didn’t offer to shake Dan’s hand, which Dan was glad about, having seen his filthy nails and the blisters on his palms.

‘See you around,’ Grant said as he pushed past and headed for the bar’s front door. On the mat, he pulled up the collar of his plaid jacket and retrieved a woollen hat from his jacket pocket. He pulled the hat on tight, and low over his eyes. Then he stepped out into the blue evening light.

The moment the door was closed, the older of the two detectives threw a bill on the bar.

‘Keep the change.’

They rushed out into the street after Grant.

At last, when it was just Dan in front of the counter and Jim behind it, the two men spoke.

‘Policeman, I reckon. They believe he killed his wife,’ said Dan.

‘No smoke without fire,’ said Jim. ‘That feller stank of Folsom.’

‘I wouldn’t know,’ said Dan.

‘Some reporter,’ said Jim with a smile.

Jim checked his watch and switched on the lights. They filled the empty bar with queasy yellow light. The dance band on the radio finished with a flourish and a soap company spokesman began talking about how to avoid ‘scummy dishpan film’.

‘I’d better be going,’ said Dan. He looked at his glass of beer but didn’t finish it.


When he stepped outside he found the sky clear, the storm having blown on clean through the valley, and dusk coming on. There was a full, round moon rising faintly above the spikes of the ponderosa pine trees on the foothills.

Main Street was quiet, in that just-scrubbed silence that comes after a storm, and Dan could hear his own footsteps on the sidewalk as he tramped towards home. He was crying, just a little, because of the cold air in his eyes, he told himself, though he was thinking of Hazel and how sweet it would be to sit with her in front of the radio, even if there was nothing to talk about.

He could tell her about Grant, he supposed, but he wouldn’t. It would scare her, in lots of different ways.

The next morning Dan left his house under a cold, clear sky, feeling rested and fortunate. He passed the fine old houses on the street, each spaced apart with room for a paddock or orchard, and smiled. Some had cars or pickup trucks parked outside, none of them new, but all well cared for and clean.

As he neared the end of the road, he saw that there were big black cars parked along the edge of the forest that led into the foothills. There were men in uniform, too. As he came closer, Dan saw Pete Nachel, the Sheriff, and two of his deputies. Pete was a tall man with a moustache whose points reached his jaw, like Wyatt Earp. His hat was trimmed with a gold cord. There were men from out of town, too, in black suits and black hats.

‘Morning, Dan,’ said Pete as Dan approached. ‘Hear any trouble here last night?’

Dan stopped and peered into the trees.

‘Walked this way at about six thirty yesterday evening and all was well. What’s the problem?’

Pete looked towards the out-of-towners who were busy supervising a photographer.

‘Couple of G-Men dead in the gully. Followed one of them public enemies up this way. Been tracking him for months. Man named Grant.’

Dan swallowed hard and licked his dry lips.

‘Golly. And he shot ‘em?’

Pete pursed his lips and shook his head slowly.

‘Well, no. They’re cut up pretty bad. They say he done it with a knife. In a frenzy, they say. That’s how his wife got it.’

‘Did they find a knife?’

Pete squinted and tipped his head to one side.

‘Well, maybe it was a knife, maybe it wasn’t.’

‘What do you mean?’

Pete took off his hat and drew his long fingers through his thin hair.

‘This is still wild country round here, Dan, and I say an animal done it.’ He nodded firmly. ‘Biting and tearing, damn near minced… Yes, an animal. Can’t be nothing else. A man couldn’t have done it, not like that.’

Dan stood silently, staring down into the darkest part of the forest, and thought to himself: Old Grant never did eat that sandwich, hungry as he was.

Main image: Yreeka, California, by Lee Russell, 1942, in the public domain via the Library of Congress.