Back The Name of the Star
Chapters (48)
  1. Title Page
  2. Copyright Page
  3. Dedication
  4. THE RETURN
  5. Chapter 1
  6. Chapter 2
  7. Chapter 3
  8. Chapter 4
  9. Chapter 5
  10. Chapter 6
  11. Chapter 7
  12. Chapter 8
  13. Chapter 9
  14. PERSISTENT ENERGY
  15. Chapter 10
  16. Chapter 11
  17. Chapter 12
  18. Chapter 13
  19. Chapter 14
  20. Chapter 15
  21. THE STAR THAT KILLS
  22. Chapter 16
  23. Chapter 17
  24. Chapter 18
  25. Chapter 19
  26. Chapter 20
  27. Chapter 21
  28. Chapter 22
  29. Chapter 23
  30. Chapter 24
  31. INNER VILENESS
  32. Chapter 25
  33. Chapter 26
  34. Chapter 27
  35. Chapter 28
  36. Chapter 29
  37. Chapter 30
  38. Chapter 31
  39. Chapter 32
  40. WHITE’S ROW, EAST LONDON NOVEMBER 9 2:45 A.M.
  41. TERMINUS TERIMNUS
  42. Chapter 33
  43. Chapter 34
  44. Chapter 35
  45. Chapter 36
  46. Chapter 37
  47. Chapter 38
  48. Acknowledgements

And with that, art history began. Mark was a full-time conservationist at the National Gallery, but he was coming in to teach us about art every Saturday. We were, he informed us, going to begin with paintings from the Dutch Golden Age. He distributed some textbooks, which weighed about as much as a human head (a guesstimate on my part, obviously, but once the Ripper was mentioned, body parts tended to come to mind).

It became immediately clear that even though this was a Saturday class under the general label of “art and enrichment,” this was not just a way of killing three hours that might otherwise have been spent sleeping or eating cereal. This was a class, just like any other, and many people in it (Mark checked) were planning on taking an A level in art history. More competition.

On the positive side, Mark informed us that on several Saturdays we would be going to the National Gallery to see the paintings up close. But today was not one of those days. Today we were going to look at slides. Three hours of slides isn’t as horrible as it sounds, not when you have a reasonably interesting person who really likes what he’s talking about explaining them. And I like art.

Jerome, I noticed, was a careful note taker. He sat far back in his chair, his arm extended, writing quickly in a loose, relaxed hand, his eyes flicking between the slide and the page. I started to copy his style. He took about twenty notes on each painting, just a few words each. Every once in a while, his elbow would make contact with my arm, and he’d glance over. When class was over, we fell in step beside each other as we walked to the refectory. Jerome picked up right where he left off.

“The Flowers and Archers isn’t far from here,” he said. “We should go.”

“We . . . should?”

Again, I knew many students at Wexford could legally drink, because you only had to be eighteen. I knew that pubs would be a part of life here somehow. But I hadn’t expected someone, especially a prefect, to invite me to one. Also, was he asking me out? Did you ask people to crime scenes on dates? My pulse did a little leap, but it was quickly regulated by his follow-up.

“You, me, Jazza,” he said. “You should get Jazza to come, otherwise she’ll start stressing from day one. You’re her keeper now.”

“Oh,” I said, trying not to sound disappointed. “Right.”

“I have desk duty at the library until dinner, but we could go right after. What do you think?”

“Sure,” I said. “I . . . I mean, I don’t have plans.”

He put his hands in his pockets and took a few steps backward.

“Have to go,” he said. “Don’t tell Jazza where we’re going. Just say the pub, okay?”

“Sure,” I said.