Andrew Taylor - The American Boy

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Winner of the CWA Historical Dagger for Fiction
The Richard and Judy Best Read of the Year (nominee)
***
'An enticing work of fiction… Taylor takes account of both a Georgian formality and a pre-Victorian laxity in social and sexual matters; he is adept at historical recreation, and allows a heady decor to work in his favour by having his mysteries come wrapped around by a creepy London fog or embedded picturesquely in a Gloucestershire snowdrift' -Patricia Craig, TLS
'Without question, the best book of 2003, and possibly the best book of the decade, is Andrew Taylor's historical masterpiece, The American Boy. A truly captivating novel, rich with the sounds, smells, and cadences of nineteenth-century England' -Manda Scott, Glasgow Herald
'Long, sumptuous, near-edible account of Regency rogues – wicked bankers, City swindlers, crooked pedagogues and ladies on the make – all joined in the pursuit of the rich, full, sometimes shady life. A plot stuffed with incident and character, with period details impeccably rendered' -Literary Review
'Taylor spins a magnificent tangential web… The book is full of sharply etched details evoking Dickensian London and is also a love story, shot through with the pain of a penniless and despised lover. This novel has the literary values which should take it to the top of the lists' -Scotland on Sunday
'It is as if Taylor has used the great master of the bizarre as both starting-and finishing-point, but in between created a period piece with its own unique voice. The result should satisfy those drawn to the fictions of the nineteenth century, or Poe, or indeed to crime writing at its most creative'-Spectator
'Andrew Taylor has flawlessly created the atmosphere of late-Regency London in The American Boy, with a cast of sharply observed characters in this dark tale of murder and embezzlement' -Susanna Yager, Sunday Telegraph
'Madness, murder, misapplied money and macabre marriages are interspersed with coffins, corpses and cancelled codicils… an enjoyable and well-constructed puzzle' -Tom Deveson, Sunday Times
***
Interweaving real and fictional elements, The American Boy is a major new literary historical crime novel in the tradition of An Instance of the Fingerpost and Possession. Edgar Allan Poe is the American boy, a child standing on the edge of mysteries. In 1819 two Americans arrive in London, and soon afterwards a bank collapses. A man is found dead and horribly mutilated on a building site. A heiress flirts with her inferiors. A poor schoolmaster struggles to understand what is happening before it destroys him and those he loves. But the truth, like the youthful Poe himself, has its origins in the new world as well as the old. The American Boy is a 21st-century novel with a 19th-century voice. It is both a multi-layered literary murder mystery and a love story, its setting ranging from the coal-scented urban jungle of late Regency London to the stark winter landscapes of rural Gloucestershire. And at its centre is the boy who does not really belong anywhere, an actor who never learns the significance of his part.

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I did not have to wait long to learn more. Part way through morning school Mr Bransby's servant came to fetch me. I found my employer in the parlour with a small man in grey, mud-stained clothes. Bransby was pacing up and down, his face redder than usual.

"Allow me to present Mr Shield, one of my ushers," he said, pausing to help himself to a large pinch of snuff. "Mr Shield, this is Mr Grout, the attorney who acts as clerk to the magistrates. I regret to say that a most shocking circumstance has come to light, one that may cast a shadow over the school."

Mr Grout had a face that was an appendage of his nose, like a mole's. "A man has been murdered, Mr Shield. His body was found early this morning by a watchman at a building plot not more than a mile and a half away. There is a possibility that you may be able to identify the unfortunate victim."

I stared in consternation from one to the other. "But I have never been there. I did not even know-"

"It is not the location which is our concern," the clerk interrupted. "It is the identity of the victim. We have reason to believe – I would put it no more strongly than that – that he may not be unknown to you."

Bransby sneezed. "Not to put too fine a point on it, Shield, Wavenhoe's Bank had an interest in this building projection."

"The bank hold the head-lease on the land themselves. Or perhaps I should say held? Grout wrinkled his nose. "Owing to the scarcity of money at the present time, the man who holds the principal building-lease, a Mr Owens, was compelled to apply to them for a series of loans. Unfortunately the money the bank provided was not enough to meet his obligations. The poor fellow hanged himself in Hertford a few months ago."

Bransby shook his head. "And now poor Frant has gone to meet his Maker. Truly an unlucky speculation."

"Mr Frant is dead?" I blurted out.

"That is the question," Grout said. "The watchman believes the body is Mr Frant's. But he met him only once, and that briefly, and he cannot be said to be a reliable witness at the best of times. At such short notice I have been able to find no one in the vicinity who knows Mr Frant. But I understand that he has – had, that is to say – a boy at the school, so I have driven over to see whether someone was able to identify the body; or not, of course, as the case may be. Mr Bransby tells me he has never met Mr Frant either, but that you have."

"Yes, sir, on several occasions. Tell me, what of Mrs Frant? Has she been informed?"

Grout shook his head. "It is a delicate matter. One would not like to tell a lady that her husband had been murdered, only to discover that the victim was in fact somebody else. Mr Bransby tells me you have been a soldier, sir, that you were in fact one of our glorious army at Waterloo. I hope I am correct in inferring that the sight of a man who has died a violent death may have fewer terrors for you than it would for a mere civilian."

There was a glazed expression on Mr Bransby's face. He gave me a tight smile and nodded. I knew I had little choice but to accept the role that he had allotted me.

Mr Grout bowed to my employer. "Mr Shield should be back in time for dinner."

"Well, the sooner this is done the better." Bransby fixed me with a glare. "We can only hope and pray that the unfortunate man does not prove to be Mr Frant."

A few minutes later, Mr Grout and I were driving briskly away in his whiskey. We rattled down Church-street and turned right into the High-street. It was on this road, not very far south from here, that I had met Mr Frant for the first time – in September, when I had walked to Stoke Newington to take up my situation at Mr Bransby's school. I remembered the meeting well enough – as one does when a man more or less threatens to set his servants on one – but he had never shown the slightest recollection of it. It occurred to me that now I had a possible explanation for his presence on the road that day, one that perhaps also accounted for Mr Frant's bad temper: he had been inspecting one of his failing investments.

We turned into a narrow lane between tall hedges. As we bounced and slithered along on a surface of rutted, frozen mud, I glimpsed market gardens and scrubby pasture over the tops of the hedges. Grout squeezed the whiskey into an opening on the left that led to a large field. There was little grass to be seen – merely heaps of sand and gravel, stacks of bricks, and above all mud. Few walls were higher than my waist. The plot looked as if it had recently suffered an artillery bombardment, leaving two rows of ruins separated by an immense heap of spoil. Grout pulled up beside a wooden shed. For a moment we looked out over the dismal scene.

"I believe the design is for twenty houses facing each other across a communal garden," Grout said. "Wellington-terrace. Mr Owens drew up the plans himself. According to the prospectus, Londoners will flock to benefit from the healthy air."

"One can see why he felt obliged to hang himself," I observed.

"I agree – it is not a happy place. Nothing has gone well for the scheme from start to finish."

The door of the shed opened and a man came out, touching his hat.

"Ah, there is the constable." Grout raised his voice. "Well, where is he?"

"We brought him in here, sir, just as you said."

Grout glanced at me. "Are you ready, Mr Shield? Then let us wait no longer."

We jumped down from the whiskey and followed the constable over the caked mud into the shed. My eyes adjusted slowly to the gloom. A small stove burned in the corner and filled the air with heavy, acrid fumes. A man huddled beside it, a clay pipe smouldering in his mouth. In the shadows at the back of the shed was the shape of a door laid upon trestles. On the door lay the long, dark mound of a body. I sniffed: in the smoke were other smells: the tang of spirits and the dark effluvium of the charnel house.

Grout indicated the man by the stove. "This fellow's name is Orton, Jacob Orton."

"Late of the Seventy-Third, sir," said Orton in a mendicant's whine. "And I have a testimonial from my company commander to prove it." He raised the hand holding the pipe in a parody of a military salute and a shower of sparks flew like meteors through the air. "They called me Honest Jake in the regiment," he said. "That's my name, sir, that's my nature."

"Are there no more lights in here?" Grout demanded.

"It is a terrible dull day, to be sure," Orton said, sucking on his pipe.

Grout darted towards him and seized his lapels. "Are you sure you heard nothing in the night? Think carefully. A lie will cost you dear."

"As God is my witness, sir, I was sleeping as sound as a babe in his mother's arms." Orton snuffled. "I could not help it, your worship."

"You're not paid to sleep: you're paid to watch."

"Drunk as a pig," said the constable. "That's what he means, sir."

"I don't deny I took a drop of something to keep out the cold."

"Drank so much the Last Judgement could have come without him noticing anything out of the way," the constable translated. He nodded towards the silent shape that lay on the trestles. "You've only got to look at him to see he didn't go quietly. Ain't that right, Mr Grout?"

The clerk ignored the question. He turned aside and tugged at the sacking over one of the windows, which were small and set high to dissuade thieves. The sacking fell away, revealing an unglazed square. Pale winter daylight spread reluctantly through the little cabin. Orton whinnied softly, as though the light hurt him.

"Stow it," said the constable.

"He moved," Orton whispered. "I take my oath on it. I saw his hand move. Just then, as God's my witness."

"Your wits are wandering," Grout said. "Bring the lantern. Why is there not more light? Perhaps we should have left the poor man where he lay."

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