The Plague Stone: A Novel by Gillian White | eBook

Read an Excerpt

The Plague Stone

A Novel

By Gillian White

OPEN ROAD INTEGRATED MEDIA

CHAPTER 1

Now I am not a superstitious man. I can't afford to be. I work all day with icons and masks, totems and artefacts ... relics musty with magic from bygone times when superstition gripped the world. If I believed in any of it I would go crazy.

But superstitious or not, by the time my investigations ended, I understood why the villagers of Meadcombe unanimously demanded the removal of the Plague Stone from their midst, from their memories and from the centre of their village square.

They imagined they could ask and it would be done ... just like that! No forms, no official investigations, nothing! Bulldozers in, men with tin hats, excavate the megalith, into the lorry and away with it ... dumped somewhere, anywhere, so long as it was away from Meadcombe and out of their sight.

It doesn't work like that. There are forms to be filled in, enquiries to be made, you can't just move something that has been a feature of an area for millions of years. The Plague Stone was well-documented. It was listed, an ancient monument. It belonged to the nation. History had woven itself around the place where it stood.

Tourists flocked to see it. Scarred like an old whale, barnacled and beached by time, it was the sort of thing you travel to see and then wonder why you bothered. It was the kind of object you need to touch rather than look at. You feel it like a thousand fingers have felt it before you, and try to absorb the reality of its great age. You can't. The brain can't tolerate that sort of timelessness. It's grotesque. Humiliating for humanity, hopeless as standing on the moors and opening out your arms so that time can come in. It wasn't so much its bulk, and that was impressive enough, it was the aura of the thing.

Before the petition arrived at the Ministry's door I had never even heard of Meadcombe. By the time my investigations were finished, I knew it well—I knew some of the survivors personally. The police made their own enquiries of course, and most of those I have read. My reports were professional, short and to the point. I used the facts. But there are other considerations besides facts, considerations nearer to the truth but in which the authorities take no interest. Human nature ... the peculiar oppression of English village life, the behaviour of women, social roles and expectations and downright evil ... the fuel that fired the magic pot hundreds of years ago.

Atmosphere. There has to be atmosphere. The bleak streets of a modern new town could not have nurtured the phenomenon, could they?

So imagine ... there is no sign at all of the gathering storm. No wind, nothing. In olden days, on nights like these, while paling autumns gave way to winters, old women told tales at chimney corners as they sat by their cottage fires.

Night—and the village of Meadcombe is buried by the mauve candlewick of the surrounding hills. White, it peeps from its covers like a slumbering unicorn curved round a church spire horn. Whitewashed walls, gloss gates, and, by day, Persil-white washing flapping on its garden lines.

The Plague Stone has always looked uncomfortable slumped in the centre of the square like that. In such an ordinary village. Out of place. Sinister, even. It glares down through pitted, stony eyes at its spindly sibling, the war memorial, as if that structured edifice is vulgar, as if a puff of wind might easily bear it and its wretched lists of irrelevancies away. For the Plague Stone is much, much older, and is not here on a petty whim of man. The Plague Stone, wrought from the birthing of the earth, spewed from a bubbling, white-hot womb, was ground into its present position millions of years later by a creeping, glacial tide. And no one can say for how many millions of years it will stay.

After nightfall on the nineteenth of September, three dark wishes hit the Plague Stone simultaneously. One comes from across the road, from a cottage bedroom which overlooks the village square. From a cottage where tatty rose heads fall back lifelessly from the trellis, petals veined and tinder dry, like the cheeks of the old woman in the brass bed upstairs.

The second wish comes from the girl who sits beside the Stone itself, irreligiously stubbing out a cigarette end on its wide, granite base, and the third comes out on the smell of frying onions, through the cosy red mullioned windows of the village pub.

Each wish in its own way is evil, but the wishers do not think so. Each wish is directed at God, in the form of a prayer, but the Plague Stone intercepts the straight line between the wishes and the church spire, deflecting them.

The first wish comes from Marian Law. And it is that her mother-in-law will die tonight ... or if not tonight, certainly some time soon.

The second comes from Melanie Tandy, and it is for freedom from this sodding village, her sodding family and sodding school.

The third wish comes from Sonia Hanaford, and it is that Paul and she will somehow stave off the mortification of bankruptcy.

I talked to friends of Marian Law.

Marian's wish, most naturally, comes in the form of a prayer. Not that she believes, not that she has ever believed, but the habit dates right back to childhood ritual, semi-buried, that she learnt at her desk in the one-roomed village school. She is searching through the window, weary-eyed, for the church, and the Plague Stone gets in the way.

'God, I can't bear it,' she says not quite standing, holding her back, after putting away the orthopaedic slippers and slipping Constance's fat white feet between the sheets. 'My burden is too heavy. Let her die, dear God. It would be a release—oh God, it would be a mercy! Help me, help me, please somebody help me.'

Where, she wonders, is breaking point. And she treads heavily on the stairs that take her down into that roaring cavern of silence where she is always alone.

At least you've got the children, people said, seven months and three days ago, when Roger died. Yes, she has the children. But they are never home.

I talked, at the hospital, to Janey Tandy. It was uphill work. I talked to her acquaintances ... or those who would agree to talk to me.

Janey Tandy would have been the first to uphold her daughter Melanie's wish for freedom. The Tandys' little, respectable home, in a row of six farm-workers' cottages next door but one to the Laws', crackles with tension every time the girl comes home. And even when she isn't there her petulant, aggressive face dominates the sitting room as obviously as the gilt-framed mirror over the fireplace, clanking a little on its chains, ghostly, when the fire gets too hot.

'Jesus Christ let me get out of this place,' mutters the changeling child, the dark-haired daughter, the small, neat, olive-skinned one with the fringe cut straight as a Russian doll's across the top of her eyes. The years she has spent in the village have all been dishonest, she knows, although, as a child, she never had a choice. She was never one of these people, for, although born in the village, she was not of it in the way that her father was. Just as the Stone had no choice ... part and yet never really part. For a second a flaring match throws her shadow across the Stone, it leaps up thinly, cobweb-frail, and shrinks as the brilliance fades and dies.

I found the villagers were always keen to talk about the Hanafords.

Nobody but husband Paul, and perhaps the twins, would have underwritten Sonia Hanaford's wish for a monetary miracle, for everyone, especially her friends, would cruelly enjoy to watch the downfall of the snobby inhabitants of The Manor ... they would be glad to know of the looming drama, secretly feeling that Sonia has not suffered enough, not suffered as they have done. She never looks as if she has suffered. She never talks as if she has suffered. And it's hard having a friend like that. No, Sonia has never really been one of them. Sonia has led a superficial, easy existence compared, they think, to their own firsthand dealings with grief and penury. And Sonia and Paul Hanaford, although he is a local lad, are nouveau riche, Yuppies, and don't know how to possess money graciously like, for instance, the ancient Bloggs family who have farmed the local estates for generations.

'Stan, we're basically only asking for a loan.' Sonia Hanaford is begging as she wishes, wringing her hands and begging over a plateful of Chicken Kiev. 'Wanker,' she thinks, as she pleads, the habitual disdain wiped right off her face.

Stanley Hanaford's empurpled, manic face glares at her over a dish of braised celery. Her use of the word 'basically,' has got up his nose. Father-in-law, secondhand dealer, rich Stanley Hanaford with his heavy gold watch on his hairy white arm, who could help them if he wanted to, would also be happy to see his son go under, mainly because of his deplorably snooty wife. Sonia, naturally, regrets that she hasn't been nicer to this brute of a man, wishes she had welcomed him and his sparse-haired peroxide wife into their gracious home, wishes she had treated him with courtesy over the years instead of a kind of patronising, aloof disgust.

But even now, with all the worries and pressures that sit like a yoke upon her paisley-scarfed shoulders, she feels embarrassment at being seen with him here in the Weary Ploughman. A huge-headed man of sixty who has always longed to be a cowboy, look at him in his pink shirt, denim jacket and high-heeled cowboy boots ... God, please, don't let Paul go bankrupt. Don't let me be beholden to people like Stan for ever!

'A hundred thousand, Stan,' she says, and the secondhand dealer's piggy little eyes turn redder under Sonia's frosty glances.

She fears she is wasting her time, and that Paul's last plan has gone the way of all the others.

Meadcombe. I wandered round it. I probed its history. It would have become a town but the railway missed it. Its hills were too high.

In prehistoric times, the Stone was of such a height and size that, to the hunter passing by, it soon became a landmark. Presently, two woodland paths converged here. One, two huts were built where the paths met, and a primitive village was born.

Centuries passed. In those days a squirrel could leap from tree to tree the length and breadth of the land. The Jacobite rebellion, and Lord Henry Grey's Jacobite friends tucked secret messages in the Stone's crevices ... to be collected. These were fetched away early in the mornings by a small boy called Nog who wore laurel leaves in his hair for luck. One morning he was seen and pursued by the King's men. The leaves were washed off in fast-flowing river water and they caught him. Nog was boiled alive in a cauldron ... so the story goes ...

'It's funny,' thinks Marian Law, settling down into her chair beside the woodburner thirty yards from the Plague Stone with stout stone walls between. She puts her stockinged feet on the handmade rug, woven with autumn colours and speckled with cinders that take the effect of fallen leaves. She has half an hour of peace and quiet before the children come home from their evening out. She's never sure whether she looks forward to their return or not. 'It's funny how life erupts every now and then, like a volcano, changing landscapes with rivers of lava, covering the world with dust. Then it settles for a while, you just get used to how it is, and then there's another explosion.'

Having children was an explosion. Carving out new routes ... routes to schools, to doctors' surgeries, to nursery groups and other children's parties. The dust—fish fingers, plimsolls, nappies, Lego, pantomimes, firework nights ...

Roger's death was just such an explosion ... dusty, yes, and it certainly hasn't settled yet, the new routes are still being scorched into the weeping earth of her soul. Great, searing ruts. Long routes, lonely routes, going to Tesco alone and up the stairs to bed. But this time one great gob of a molten spume has solidified into the form of Roger's mother. Constance, who has cunningly waited until after his death to go so viciously senile ...

'It's funny,' she thinks, angrily, pooled in the light of a standard lamp which she prefers to the harsher light of the paper bamboo ball in the room's centre. 'It's funny, and it's so unfair.' She aches with the missing of him. She aches because she cannot complain to him about his mother, because big, fat incontinent Constance with the Eton crop and the dew-dropped moustache seems to be the only lasting legacy he has left her. And she can't remember what Roger looked like any more. All she can see when she tries to conjure him back is the way his overlarge Adam's apple jerked when he laughed ... something she never liked very much. And there's not a lot to laugh at now, Roger, is there? CAN YOU HEAR ME, I SAID, IS THERE?

She aches. She aches.

Melanie Tandy thinks she will go home now. Not that she ought to go home because her mother will be worried. That sort of thinking doesn't enter Melanie Tandy's range of imagination ... deliberately. She will go home because she is getting cold and she fancies a cup of coffee and a bacon butty. As usual there is nothing doing in this Godforsaken dead-end hold of a place. Angrily she shoves another cigarette end into the scarlet post box in the ivy-covered wall.

Meadcombe is quiet at night. In the distance a farm dog barks. Far away a train shushes through the darkness. But nearer there is nothing. Not even from the Weary Ploughman, the Mecca of Meadcombe, the jovial, cosy heart of the place.

Yes, the Weary Ploughman says it all, thinks Melanie, with its firedogs, its cobwebby corners and its two-faced, simplistic suggestions of real ale and mung bean stews. Just so that the overfed can pretend to be peasants.

Melanie would love to squat in the square, raise her head and howl at the obscenity of all of it. People are starving, dammit, and yet the people of Meadcombe file into church with their sizzling new clothes and their roasts neat in the oven. People are homeless, yet the residents of Meadcombe clean cars and browse through brochures. The world is ending, but the householders of Meadcombe spray their bogs with pine, tearing away at the very edges of the atmosphere.

They all pretend to like each other. In reality they only like themselves. And a good drama, oh yes, they love a drama. She doesn't want to be like them. The sallow colour of her skin proclaims her different, she thinks. She wishes she was black. She doesn't want to grow up and have hanging breasts and pubic hair that sprouts from the gusset of her swimming costume like her mother's does. The irony, bloody smell that comes from her every month is bad enough. Her body is letting her down, her mother is letting her down, her father is letting her down, everyone is letting her down, and it's worse because she lives in a horse's arsehole like Meadcombe.

Good thinking, deep thinking Melanie Tandy. The dark child of fourteen years who can see through it all and wants to change and punish. It's her age.

'Oh, give me land lots of land ... don't fence me in ...' Stan's juke box choice plays incredibly quietly, almost tastefully. It's hardly worth putting the money in. Doubtless My Way will be next. It's one of his favourites.

Now she knows there isn't a hope in hell of getting a penny out of him, Sonia can relax and act as bored as she likes. She wastes precious energy by despising Stan, but she doesn't care. And she drinks too heavily tonight. It's just the thought of telling the children they'll have to leave the school they love and go, with the other village kids, by bus, to the comprehensive. No good explaining the horrors of this to Stan, he just wouldn't understand.

A police photo-fit, that's what he looks like, with his vast, square face divided clearly into four sections and a drooping Mexican moustache of the sort you get in Mr Potato Head packs. Little eyes and great big fat lips. And cowboy silver hair.

He will not grow old, she thinks, as we that are left grow old, because he bloody well doesn't give a damn about anything or anyone.

'Coffee?'

'Yes, I'll have some coffee.'

Her own hair is thick and brown and curly, and she still has some of her Greek suntan left ... they didn't take the children. They left them with friends. The suntan goes well with the gold coin bracelet at her wrist, and the green eyeshadow over her dark brown eyes. Stanley Hanaford also wears a bracelet ... a large, be-ringed bracelet that puts her in mind of bulls' noses. She stares at it as she says, 'So you don't think ...' She toys with the pudding, spoon loose in long fingers.

(Continues...)

Excerpted from The Plague Stone by Gillian White. Copyright © 1990 Gillian White. Excerpted by permission of OPEN ROAD INTEGRATED MEDIA.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

The Plague Stone: A Novel

eBook

Customer Reviews

Read an Excerpt

The Plague Stone

A Novel

OPEN ROAD INTEGRATED MEDIA

Customers Who Bought This Item Also Bought

Recently Viewed

The Plague Stone: A Novel

eBook

Customer Reviews

Read an Excerpt

The Plague Stone

A Novel

OPEN ROAD INTEGRATED MEDIA

Customers Who Bought This Item Also Bought

Recently Viewed

Related Subjects