Chapters (50)
- ABOUT THE BOOK
- ABOUT THE AUTHOR
- TITLE PAGE
- INTRODUCTION
- A NOTE ON THE ILLUSTRATIONS
- TITUS GROAN
- The Hall of the Bright Carvings
- The Great Kitchen
- Swelter
- The Stone Lanes
- ‘The Spy-Hole’
- Fuchsia
- ‘Tallow and Birdseed’
- A Gold Ring for Titus
- Sepulchrave
- Prunesquallor’s Knee-Cap
- The Attic
- The Frivolous Cake
- ‘Mrs Slagg By Moonlight’
- Keda
- ‘First Blood’
- ‘Assemblage’
- ‘Titus is Christened’
- Means of Escape
- ‘A Field of Flagstones’
- ‘Over the Roofscape’
- ‘Near and Far’
- ‘Dust and Ivy’
- ‘The Body by the Window’
- ‘Ullage of Sunflower’
- Soap for Greasepaint
- At the Prunesquallors
- A Gift of the Gab
- While the Old Nurse Dozes
- Flay Brings a Message
- The Library
- In a Lime-Green Light
- Reintroducing the Twins
- ‘The Fir-Cones’
- Keda and Rantel
- The Room of Roots
- ‘Inklings of Glory’
- ‘Preparations for Arson’
- The Grotto
- Knives in the Moon
- ‘The Sun Goes Down Again’
- ‘Meanwhile’
- ‘The Burning’
- And Horses Took Them Home
- COVER
‘Yes. There’s nothing to wait for, is there?’
‘Only the Breakfast. It won’t be just yet.’
‘Why not?’
‘Because I heard the bell go in the corridor.’
‘So did I. That means there’s a lot of time.’
‘I want to look at my profile, Cora. Turn it now.’
‘All right. How long shall I be, Clarice?’
‘Be a long time.’
‘Only if I have a long time, too.’
‘We can’t both have a long time, silly.’
‘Why not?’
‘Because there isn’t one.’
‘Isn’t one what, dear?’
‘Isn’t one long time, is there?’
‘No, there’s lots of them.’
‘Yes, lots and lots of beautiful long times.’
‘Ahead of us, you mean, Clarice?’
‘Yes, ahead of us.’
‘After we’re on our thrones, isn’t it?’
‘How do you know?’
‘Well, that’s what you were thinking. Why do you try to deceive me?’
‘I wasn’t. I only wanted to know.’
‘Well, now you do know.’
‘Do know what?’
‘You do know, that’s all. I’m not going any deeper for you.’
‘Why not?’
‘Because you can’t go as deep as I can. You never could.’
‘I’ve never tried, I don’t suppose. It’s not worth it, I shouldn’t think. I know when things are worth it.’
‘Well, when are they, then?’
‘When are they what?’
‘When are they worth something?’
‘When you’ve bought something wonderful with your wealth, then it’s always worth it.’
‘Unless you don’t want it, Clarice, you always forget that. Why can’t you be less forgetful?’
There is a long silence while they study each other’s faces.
‘They’ll look at us, you know,’ says Cora flatly. ‘We’re going to be looked at at the Breakfast.’
‘Because we’re of the original blood,’ says Clarice. ‘That’s why.’
‘And that’s why we’re important, too.’
‘Two what?’
‘To everyone, of course.’
‘Well, we’re not yet, not to everyone.’
‘But we will be soon.’
‘When the clever boy makes us. He can do anything.’
‘Anything. Anything at all. He told me so.’
‘Me, too. Don’t think he only tells you, because he doesn’t.’
‘I didn’t say he did, did I?’
‘You were going to.’
‘Two what?’
‘To exalt yourself.’
‘Oh, yes, yes. We will be exalted when the time is ripe.’
‘Ripe and rich.’
‘Yes, of course.’
‘Of course.’
There is another silence. Their voices have been so flat and expressionless that when they cease talking the silence seems no new thing in the room, but rather a continuation of flatness in another colour.
‘Turn your head now, Cora. When I’m looked at at the Breakfast I want to know how they see me from the side and what exactly they are looking at; so turn your head for me and I will for you afterwards.’
Cora twists her white neck to the left.
‘More,’ says Clarice.
‘More what?’
‘I can still see your other eye.’
Cora twists her head a fraction more, dislodging some of the powder from her neck.
‘That’s right, Cora. Stay like that. Just like that. Oh, Cora!’ (the voice is still as flat), ‘I am perfect.’