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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After a week or two, he cunningly worked on my feelings, suggesting that if I were to teach his son and daughters some Latin and a little Greek for half an hour each morning, he would be able to remit a modest proportion of the fees my aunt paid him for my upkeep. For the first week of this instruction, he sat in the parlour reading a book as I made the children con their grammars and chant their declensions. Then he took to leaving me alone with them, at first for a few minutes only, and then for longer.

"You have a gift for instructing the young," the doctor said to me one evening.

"I show them no mercy. I make them work hard."

"You make them wish to please you."

It was not long after that he declared that he had done all he could for me. My aunt took me to her lodgings in a narrow little street running up to the Strand. Here I perched like an untidy cuckoo, mouth ever open, in her snug nest. I filled her parlour during the day, and slept there at night on a bed they made up on the sofa. During that summer, the reek from the river was well-nigh overwhelming.

I soon realised that my aunt was not well, that I had occasioned a severe increase in her expenditure since my foolish assault with the Waterloo Medal, and that my presence, though she strove to hide it, could not but be a burden to her. I also heard the groans she smothered in the dark hours of the morning, and I saw illness ravage her body like an invading army.

One day, as we drank tea after dinner, my aunt gave me back the Waterloo Medal.

It felt cold and heavy in the palm of my hand. I touched the ribbon with its broad, blood-red stripe between dark blue borders. I tilted my hand and let the medal slide on to the table by the tea caddy. I pushed it towards her.

"Where did it come from?"

"The magistrate gave it to me for you," she said. "The one who was kind, who had served in the Peninsula. He said it was yours, that you had earned it."

"I threw it away."

She shook her head. "You threw it at Captain Stanhope."

"Does not that amount to the same thing?"

"No." She added, almost pleading, "You could be proud of it, Tom. You fought with honour for your King and your country."

"There was no damned honour in it," I muttered. But I took the medal to please her, and slipped it in my pocket. Then I said – and the one thing led to the other – "I must find employment. I cannot be a burden to you any longer."

At that time jobs of any kind were not easy to find, particularly if one was a discharged lunatic who had left his last teaching post without a reference, who lacked qualifications or influence. But my aunt Reynolds had once kept house for Mr Bransby's family, and he had a kindness for her. Upon threads of this nature, those chance connections of memory, habit and affection that bind us with fragile and invisible bonds, the happiness of many depends, even their lives.

All this explains why I was ready to take up my position as an under-usher at the Manor House School in the village of Stoke Newington on Monday the 13th of September. On the evening before I left my aunt's house for the last time, I walked east into the City and on to London Bridge. I stopped there for a while and watched the grey, sluggish water moving between the piers and the craft plying up and down the river. Then, at last, I felt in my trouser pocket and took out the medal. I threw it into the water. I was on the upstream side of the bridge and the little disc twisted and twinkled as it fell, catching the evening sunshine. It slipped neatly into the river, like one going home. It might never have existed.

"Why did I not do that before?" I said aloud, and two shopgirls, passing arm in arm, laughed at me.

I laughed back, and they giggled, picked up their skirts and hastened away. They were pretty girls, too, and I felt desire stir within me. One of them was tall and dark, and she reminded me a little of Fanny, my first love. The girls skittered like leaves in the wind and I watched how their bodies swayed beneath thin dresses. As my aunt grows worse, I thought, I grow better, as though I feed upon her distress.

3

Once again, I walked to save money. My box had gone ahead by carrier. I followed the old Roman road to Cambridge, Ermine-street, stretching north from Shoreditch, the bricks and mortar of the city creeping blindly after it like ants following a line of honey.

About a mile south of Stoke Newington, the vehicles on the road came to a noisy standstill. Walking steadily, I passed the uneasy, twitching snake of curricles and gigs, chaises and carts, stagecoaches and wagons, until I drew level with the cause of the obstruction. A shabby little one-horse carriage travelling south had collided with a brewer's dray returning from London. One of the chaise's shafts had snapped, and the unfortunate hack which had drawn it was squirming on the ground, still entangled in her harness. The driver was waving his blood-soaked wig at the draymen and bellowing, while around them gathered a steadily expanding crowd of angry travellers and curious bystanders.

Some forty yards away, standing in the queue of vehicles travelling towards London, was a carriage drawn by a pair of matching bays. When I saw it, I felt a pang, curiously like hunger. I had seen the equipage before – outside the Manor House School. The same coachman was on the box, staring at the scene of the accident with a bored expression on his face. The glass was down and a man's hand rested on the sill.

I stopped and turned back, pretending an interest in the accident, and examined the carriage more closely. As far as I could see, it had only the one occupant, a man whose eyes met mine, then looked away, back to something on his lap. He had a long pale face, with a hint of green in its pallor and fine regular features. His starched collar rose almost to his ears and his neck cloth tumbled in a snowy waterfall from his throat. The fingers on the windowsill moved rhythmically, as though marking time to an inaudible tune. On the forefinger was a great gold signet ring.

A footman came hurrying along the road from the accident, pushing his way through the crowd. He went up to the carriage window. The occupant raised his head.

"There's a horse down, sir, the chaise is a wreck and the dray has lost its offside front wheel. They say there's nothing to do but wait."

"Ask that fellow what he's staring at."

"I beg your pardon, sir," I said, and my voice sounded thin and reedy in my ears. "I stared at no one, but I admired your conveyance. A fine example of the coach-builder's craft."

The footman was already looming over me, leaning close. He smelt of onions and porter. "Be off with you, then." He nudged me with his shoulder and went on in a lower voice, "You've admired enough, so cheese it."

I did not move.

The coachman lifted his whip.

Meanwhile, the man in the carriage stared straight at me. He showed neither anger nor interest. There was an impersonal menace in the air, as pungent as gas, even in broad daylight and on a crowded road. Like an itch, I was a minor irritant. The gentleman in the coach had decided to scratch me.

I sketched a bow and strolled away. I did not know the encounter for what it was, an omen.

4

Stoke Newington was a pretty place, despite its proximity to London. I remember the trees and rooks with affection. The youngest boy in the school was four; the oldest nineteen and so nearly a man that he sported bushy whiskers and was rumoured to have put the baker's girl with child. The sons of richer and more ambitious parents were prepared for entry at the public schools. Most, however, received all the learning they required at Mr Bransby's.

"The parents entrust their sons' board and lodging to us as well as their tuition," Mr Bransby told me. "A nutritious diet and a comfortable bed are essential if a boy is to learn. Moreover, if a child lives among gentlefolk, he acquires their ways. We keep strictly to our regimen. It is an essential foundation to sobriety in later life."

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