Brick Lane (97 page)

'Hush,' said Shahana. 'You'll give it away.'

The girls guided Nazneen along with one hand on hers and the other in the small of her back. Nazneen heard voices, the ones that passed her and the ones that melted far away. She heard music played on strings and piped from on high. There were thuds too, like boots having the mud knocked off them. And a faint whooshing that came and went like the wind in a tunnel.

'Where are we?'

'You sit here with Razia. We'll organize everything.'

'Shall I peep?' she said to Razia, when she could tell that the girls had gone.

'You could try,' said Razia, 'but then I'll have to poke your bloody eyes out.'

Nazneen rested her arms on the table. She could smell fried food, old leather, the warm, used smell of air that has been in countless nostrils, a hint of talcum powder, furniture polish and the sharp skin of limes. She breathed deeply. It was the furniture polish that smelled of limes.

'We're ready. We're ready,' said Bibi.

They stood her up and turned her round. Shahana untied the knot at the back of her head.

'Go on. Open them.'

She opened her eyes.

In front of her was a huge white circle, bounded by four-foot-high boards. Glinting, dazzling, enchanting ice. She looked at the ice and slowly it revealed itself. The criss-cross patterns of a thousand surface scars, the colours that shifted and changed in the lights, the unchanging nature of what lay beneath. A woman swooped by on one leg. No sequins, no short skirt. She wore jeans. She raced on, on two legs.

'Here are your boots, Amma.'

Nazneen turned round. To get on the ice physically — it hardly seemed to matter. In her mind she was already there.

She said, 'But you can't skate in a sari.'

Razia was already lacing her boots. 'This is England,' she said. 'You can do whatever you like.'

THE END

ACKNOWLEDGEMENTS

I am deeply grateful to Naila Kabeer, from whose study of Bangladeshi women garment workers in London and Dhaka
(The Power to Choose)
I drew inspiration. Thank you to Naila for her comments on the manuscript, and also for lunch.

I would like to thank everyone at Transworld for their tremendous support, Nicole Aragi for wisdom (provided) and wonders (performed), and Mari Roberts for getting things under way. Colin Robinson and Grant and Wendy Bardsley gave me encouragement at all the necessary moments and valuable observations on the manuscript. I am indebted to my parents and my brother for many discussions over the years, and to my father in particular for handing down stories. Syful, Sofia, Naema, Ali, Shofiur and everyone else who gave up time to talk to me – thank you. To Simon I owe special thanks for being my first and most patient reader.

NOT THE END OF THE WORLD

Kate Atkinson

'MOVING AND FUNNY, AND CRAMMED WITH INCIDENTAL WISDOM'
Sunday Times

What is the real world? Does it exist, or is it merely a means of keeping another reality at bay?

Not the End of the World
is Kate Atkinson's first collection of short stories. Playful and profound, they explore the world we think we know whilst offering a vision of another world which lurks just beneath the surface of our consciousness, a world where the myths we have banished from our lives are startlingly present and where imagination has the power to transform reality.

From Charlene and Trudi, obsessively making lists while bombs explode softly in the streets outside, to gormless Eddie, maniacal cataloguer of fish, and Meredith Zane who may just have discovered the secret to eternal life, each of these stories shows that when the worlds of material existence and imagination collide, anything is possible. . .

'I CAN THINK OF FEW WRITERS WHO CAN MAKE THE ORDINARY COLLIDE WITH THE EXTRAORDINARY TO SUCH BEGUILING EFFECT . . . LEFT ME SO FIZZING WITH ADMIRATION'
Observer

'EXCEPTIONAL . . . SHARP, WITTY AND COMPLETELY COMPELLING'
Daily Mail

'AN EXCEPTIONALLY FUNNY, QUIRKY AND BOLD WRITER'
Independent on Sunday

0 552 77105 8

PEACETIME

Robert Edric

'HAS A SERIOUSNESS AND A PSYCHOLOGICAL EDGE THAT NINE OUT OF TEN NOVELISTS WOULD GIVE THEIR EYE TEETH TO POSSESS'
D. J. Taylor,
Sunday Times

Late summer 1946: the Wash on the Fenland coast. Into a suspicious and isolated community comes James Mercer, employed in the demolition of gun platforms. He befriends the wife and daughter of Lynch, a soldier soon to be released from military gaol. He also finds himself drawn to Mathias, a German prisoner with no desire to return home, and Jacob, a Jewish concentration camp survivor.

Lynch's return threatens violence; and in a place where nothing has changed for decades, where peacetime feels no different to wartime, Mercer finds himself powerless to prevent events quickening to their violent and unexpected conclusion.

'A MARVEL OF PSYCHOLOGICAL INSIGHT AND SUBTLY OBSERVED RELATIONS. ITS SPARE, UNADORNED PROSE HAS POETIC RESONANCE'
Ian Thomson,
Guardian

'EDRICS' LANGUAGE HAS A MYTHIC, ALMOST BIBLICAL QUALITY, WHERE EVERY WORD CARRIES DUE WEIGHT AND YOU HAVE THE EERIE SENSE OF THINGS BEING LEFT OUT . . . HAT MAKES EDRICS WRITING PROFOUND IS HIS REFUSAL TO BE TIDY OR DOGMATIC . . . HE IS A GREAT NOVELIST'
John de Falbe,
Spectator

'PEACETIME
GRADUALLY UNRAVELS THE CONTRADICTORY HUMAN IMPULSES THAT BIND LIVES . . . A MORAL DISSECTION OF LOYALTY, FORGIVENESS AND HATRED'
James Urquhart,
The Times

'A NOVEL OF AMBITON AND SKILL, AT ONCE A HISTORICAL MEDITATION, AN EVOCATION OF A DISINTEGRATING SOCIETY AND, PERHAPS MOST STRIKINGLY, A FAMILY MELODRAMA'
Francis Gilbert,
New Statesman

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