Close Modal

Smile

A Novel

Look inside
Paperback
$16.00 US
5"W x 7.74"H x 0.57"D   | 6 oz | 24 per carton
On sale Oct 16, 2018 | 224 Pages | 978-0-7352-2446-9
From the author of the Booker Prize winning Paddy Clarke Ha Ha Ha, a bold, haunting novel about the uncertainty of memory and how we contend with the past.

"It's his bravest novel yet; it's also, by far, his best." -- npr.org

“The closest thing he’s written to a psychological thriller."– The New York Times Book Review

Just moved into a new apartment, alone for the first time in years, Victor Forde goes every evening to Donnelly’s for a pint, a slow one. One evening his drink is interrupted. A man in shorts and a pink shirt comes over and sits down. He seems to know Victor’s name and to remember him from secondary school. His name is Fitzpatrick.

Victor dislikes him on sight, dislikes, too, the memories that Fitzpatrick stirs up of five years being taught by the Christian Brothers. He prompts other memories—of Rachel, his beautiful wife who became a celebrity, and of Victor’s own small claim to fame, as the man who would say the unsayable on the radio. But it’s the memories of school, and of one particular brother, that Victor cannot control and which eventually threaten to destroy his sanity.

Smile has all the features for which Roddy Doyle has become famous: the razor-sharp dialogue, the humor, the superb evocation of adolescence, but this is a novel unlike any he has written before. When you finish the last page you will have been challenged to reevaluate everything you think you remember so clearly.
"Smile is a novel that's as original as it is brutal, and as painful as it is necessary. Doyle asks us not just to consider the ravages of post-traumatic stress, but to feel them, or as closely as we can, anyway. It's his bravest novel yet; it's also, by far, his best." --Michael Schaub, npr.org

“Has anyone written as beautifully as Doyle on how love and violence lean right up against each other in childhood? . . . From the Booker Prize winning Paddy Clarke Ha Ha Ha to Smile, Doyle’s books bruise and cheer at the same time.” The Boston Globe

“Doyle was determined to write a novel that shocked – and succeeded . . . This is a performance few writers could carry off: a novel constructed entirely from bar stool chatter and scraps of memory. But you can’t turn away." --Ron Charles, The Washington Post

“The closest thing [Doyle’s] written to a psychological thriller . . . showcases his well-loved facility for character and dialogue.  His ear and eye are peerless.” – The New York Times Book Review

“Doyle's finest work since The Woman Who Walked Into DoorsSmile combines tropes from the various strands of Doyle’s career . . . and merges them into a unique novel, one that is terribly moving . . . Like all good literature, [Smile] will inspire debate but also admiration for the courage of a hugely successful writer who refuses to be predictable and uses the novel to challenge both the reader’s sense of ease and the nature of the form itself.” 
The Guardian

“The fear of honest disclosure is central to Mr. Doyle’s newest novel, Smile, about the lies men tell to make themselves appear normal . . . Mr. Doyle’s signature clipped dialogue is still a feature of Smile, but this short, effective novel is about the truths that emerge when, despite himself, Victor lets himself talk.” The Wall Street Journal

"Another of Doyle's rich and sympathetic character studies." --The New York Review of Books

“[Doyle] employs his sly humor and unparalleled ear for banter between convincingly imperfect characters to craft an unsettling work of psychological suspense . . . [an] artful meditation on pain, memory, and how we build the stories of our lives. It is his most powerful and sobering novel since The Woman Who Walked into Doors.” – The Seattle Times

“Beautifully written, and beautifully observed . . . Reading Smile, one is swept along – as in all Doyle’s novels – by the vibrancy of language, the vivid sense of character and place, but nothing prepares you for the final few pages where, in a twist of imaginative brilliance, everything you have read is turned completely on its head.” The Daily Telegraph
 
“Mesmerizing . . . akin to The Woman Who Walked Into Doors, but, to my taste, much better:  deeper, more psychologically astute, more gut-wrenchingly powerful.” – The Minneapolis Star Tribune

Smile is no easy maneuver: tackling a sensitive subject with the grace and gravity it deserves, and freshly delivering what readers expect in Doyle’s fiction (wit, dialogue, and the accuracy of youth). That Doyle is also, 30 years in, inventing new ways of storytelling is brave and notable.” St. Louis Post Dispatch

“[A] marvelous novel from this Irish master . . . in a novel that hinges on the fallibility of memory, a narrator’s misremembering of a crucial point is expected.  What is unexpected it quite how far Doyle takes this . . . It says a lot about Doyle’s power that he is able to create such an intensely moving book that yet drops so much of itself as it approaches its end.” The Spectator

“Doyle’s command of voice is absolutely sure, his dialogue authentic and the Ireland his characters inhabit – still a patchwork of fifties pietism and noughties cosmopolitanism – completely available to his and the reader’s understanding . . . an absorbing and expertly told story.” Financial Times

“A thrilling, dark, yet often humorous, story about reconciling with one’s past.” -- Buzzfeed

“The first-person narrative is fresh and bracing from Page 1 . . . It isn't until the final pages that the reader understands just what Doyle has done, and it might take a rereading to appreciate just how well he has done it. The understatement of the narrative makes the climax all the more devastating.” Kirkus Reviews (starred)

“Doyle flavors a compelling character study with a soupçon of suspense, misdirecting readers for a powerful purpose that is only revealed at the shocking, emotionally charged ending.” ALA Booklist

“[Doyle’s] masterly language and honesty. . . [and] ability to convey so much meaning through rapid-fire dialog in the Irish vernacular is unsurpassed. . . Readers anticipating Doyle’s trademark wit and warmth will instead encounter a psychological mystery with an enigmatic ending that will have them flipping to the beginning looking for clues.” —Library Journal

Praise for the work of Roddy Doyle:

“There is not a writer currently working in the English language who can match Doyle for the fluency with which he tacks back and forth between the hilarious and the heartbreaking.”
—The New York Times Book Review

“One of the delights of Doyle’s work is its fearlessness. . . . In book after book he throws himself into the voices and hearts of his characters.”
—The New York Times Book Review

“No writer alive gives the utterly prosaic thoughts and routines of endless, uneventful days the rhythm and flavor of art better than Doyle.”
—The Philadelphia Inquirer
© Anthony Woods
RODDY DOYLE was born in Dublin in 1958. He is the author of ten acclaimed novels, including The Commitments, The Van (a finalist for the Booker Prize), Paddy Clarke Ha Ha Ha (winner of the Booker Prize), The Woman Who Walked Into Doors, A Star Called Henry, The Guts and most recently, Love. Doyle has also written several collections of stories, as well as Two Pints, Two More Pints and Two for the Road, and several works for children and young adults including the Rover novels. He lives in Dublin. View titles by Roddy Doyle
—Victor?

I looked up when I heard my name but I couldn’t see a thing. I was sitting near the open door and the light coming through was a solid sheet between me and whoever had spoken. My eyes were watering a bit – they did that. I often felt that they were melting slowly in my head.

—Am I right?

It was a man. My own age, judging by the shape, the black block he was making in front of me now, and the slight rattle of middle age in his voice.

I put the cover over the screen of my iPad. I’d been looking at my wife’s Facebook page.
I could see him now. There were two men on the path outside, smoking, and they’d stood together in the way of the sun.

I didn’t know him.

—Yes, I said.
—I thought so, he said.—Jesus. For fuck sake.

I didn’t know what to do.

—It must be –  fuckin’ –  forty years, he said.— Thirty- seven or -eight, anyway. You haven’t changed enough, Victor. It’s not fair, so it isn’t. Mind if I join you? I don’t want to interrupt anything.

He sat on a stool in front of me.

—Just say and I’ll fuck off.

Our knees almost touched. He was wearing shorts, the ones with the pockets on the sides for shotgun shells and dead rabbits.

—Victor Foreman, he said.
—Forde.
—That’s right, he said.— Forde.

I had no idea who he was.  Thirty- eight years, he’d said; we’d have known each other in secondary school. But I couldn’t see a younger version of this man. I didn’t like him. I knew that, immediately.

—What was the name of the Brother that used to fancy you? he said.

He patted the table.

—What was his fuckin’ name?

His shirt was pink and I could tell that it had cost a few quid. But there was something about it, or the way it sat on him; it hadn’t always been his.

—Murphy, he said.—Am I right?
—There were two Murphys, I said.
—Were there?
—History and French.
—Were they not the same cunt?

I shook my head.

—No.
—Jesus, he said.—I hate that. The memory. It’s like dropping bits of yourself as you go along, isn’t it?

I didn’t answer. I have a good memory – or I thought I did. I still didn’t know who he was.
He moved, and put one foot on top of a knee. I could see right up one leg of his shorts.

—Anyway, he said.—It was the one who taught French that wanted your arse. Am I right?

I wanted to hit him. I wanted to kill him. I could feel the glass ashtray that wasn’t there any more, that hadn’t been on the table since the introduction of the smoking ban a decade before – I could feel its weight in my hand and arm as I lifted it, and myself, and brought it flat down on his head.

I looked to see if anyone had been listening to him. I could hear the remains of the word ‘arse’ roll across the room. I hated this man, whoever he was.

But I nodded.

—Fuckin’ gas, he said.—And look at us now. Would he fancy us now, Victor?
—Probably not.
—Not me, anyway, he said.

He slapped his stomach.

—You’re not looking too bad, he said.

His accent was right; he came from nearby. He took a slurp from his pint – it was Heineken or Carlsberg – and put the glass back on the table.

—You’ve done alright, Victor, he said.—Haven’t you?

I couldn’t answer.

—For yourself, like, he said.—I see your name all over the place.
—Not recently.
—Fuck recently.

I wanted to go.

—You did great, he said.—We’re fuckin’ proud of you.

I wanted to move house, get back across the river. Home.

—Victor Forde, he said.—One of us.

A minute before he’d thought my name was Foreman.

—You married that bird, he said.

I shouldn’t have, but I nodded again.

—Fuckin’ hell, he said.—Good man. There’s no end to your fuckin’ achievements.
—Who are you? I asked.

He stared and smiled at the same time.

—Are you serious?
—I know your face, I said.
—My face?

He laughed. Straight at me.

—My fuckin’ face? he said.—Jesus. I was – what? – seventeen. The last time you saw me. Am I right?

I didn’t know – I didn’t know him. But I nodded.

—Will I give you a hint?

I didn’t nod this time.

—Síle Fitzpatrick, he said.

The name meant nothing.

—Who?
—Go on – fuck off. —I don’t know her.
—Síle. Fitz. Patrick.
—No.
—You fuckin’ do, he said.—Wake up, Victor. Síle. You fancied her. Big time. All of you did. She was a bike. Síle Fitzpatrick. She was the bike. Yis all said it.

I hadn’t heard that phrase, ‘a bike’, in years. It was like a piece of history being taken out and shown to me. A slightly uncomfortable piece of history.

—No, I said.
—Blonde bird, tall, Holy Faith, Bowie fan, woman’s tits.

She was starting to come together; I thought I was remembering someone.

—You all fancied her, he said again.
—And you didn’t?
—Well, I did. But I couldn’t.
—How come?
—She was my sister, he said.

The laugh exploded out of him, as if he’d been holding on to it for years. There was nothing funny in it. The girl was in my head now, Síle Fitzpatrick, but I wished she wasn’t. I wanted to tell him that I didn’t know her. But I could see her sitting on the low ledge outside the chipper, her back to the glass. I was inside, looking at her hair, her shoulders, her white uniform shirt tucked into her skirt. I wanted her to turn and look in. I wanted her to look at me.

—You remember me now, I bet.

I didn’t. But I remembered his sister.

—Yeah, I said.—I do now. Sorry.

What was his name? He’d been in my class for five years; he must have been. Fitzpatrick, Fitzpatrick.

I had it.

—Edward.
—Good man, he said.

I knew him, and I’d known him years ago. I knew his face and I’d known his face.

—Eddie, I said.
—I kind of prefer Ed these days, he said.—More adult.

He shrugged.

—Finally had to grow up, he said.

What he’d told me just before he’d laughed – one of the words came back and nudged me.

—You said ‘was’. You said she was your sister.
—Yeah, he said.
—Was, I said.
—Yeah.
— Sorry – , I said.—I don’t – . She’s not – ?
—Dead?
—Is she?
—No, he said.—No. We’re not close, just.
—Oh.
—Yeah.
—Grand.
—Say no more, says you.

The gap was beginning to close. ‘Say no more, squire’ –  the Monty Python line was straight from the schooldays.

—You meeting someone? he asked me now. —No, I said.—No. Just having a pint.
—Same as myself. D’you live near here, so?

I hesitated. I didn’t want to explain.

—Or just visiting? he said.—Slumming it for a bit.
—No.
—No?
—I live down the road there –  five minutes.
—Oh grand, he said.—So this is your local.
—Not really.
—Fuck this, he said.

He stood up and picked up his stool; he’d scooped it from under himself before he was upright. I didn’t have time to cower. But he turned to the table beside us and lowered the stool one-  handed while he grabbed a chair with the other and dragged it across to him. He sat down, and back.

—That’s better.

There was even more of his leg on show now. He didn’t seem to be wearing underwear.

—So, he said.—Yeah.

I waited.

—I was away myself for a bit, he said.
—Were you?
—Yeah, he said.—Here and there. Nothing special. But Síle. She’d love to hear from you.

He’d guessed it: Síle was the only thing I liked about him.

—I hardly knew her, I said.
—Go on to fuck.
—It’s true.
—Yeah, yeah, he said.—She fancied you. Big time. Had me plagued. Is he going to college? What’s his favourite Bowie song? Is he going with anyone? A right pain in the arse.
—‘Heroes’, I said.
—What?
—My favourite Bowie song.

He laughed. He sat back, almost lay back, and barked at the ceiling. There was grey pubic hair poking out of his shorts. He sat up, adjusted his crotch. Had he caught me looking at him?

—D’you know what? he said.—I’d say she’d still be interested in knowing that.
—What?
—Síle, he said.—She’d love to know that ‘Heroes’ was your favourite Bowie song. I don’t believe that, by the way. Now maybe, but we’re talking about – when? 1975 or ’6. ‘Heroes’ was released in 1977. So you’re spoofing. As usual. You can fuck off, so you can. Vict’ry.
 
I should have stood up.

—Remember we used to call you that? he said.

I should have just left. He might have followed me but I should have walked out and kept walking. I’d have been giving nothing away. Because I found out later, he already knew where I lived.

About

From the author of the Booker Prize winning Paddy Clarke Ha Ha Ha, a bold, haunting novel about the uncertainty of memory and how we contend with the past.

"It's his bravest novel yet; it's also, by far, his best." -- npr.org

“The closest thing he’s written to a psychological thriller."– The New York Times Book Review

Just moved into a new apartment, alone for the first time in years, Victor Forde goes every evening to Donnelly’s for a pint, a slow one. One evening his drink is interrupted. A man in shorts and a pink shirt comes over and sits down. He seems to know Victor’s name and to remember him from secondary school. His name is Fitzpatrick.

Victor dislikes him on sight, dislikes, too, the memories that Fitzpatrick stirs up of five years being taught by the Christian Brothers. He prompts other memories—of Rachel, his beautiful wife who became a celebrity, and of Victor’s own small claim to fame, as the man who would say the unsayable on the radio. But it’s the memories of school, and of one particular brother, that Victor cannot control and which eventually threaten to destroy his sanity.

Smile has all the features for which Roddy Doyle has become famous: the razor-sharp dialogue, the humor, the superb evocation of adolescence, but this is a novel unlike any he has written before. When you finish the last page you will have been challenged to reevaluate everything you think you remember so clearly.

Praise

"Smile is a novel that's as original as it is brutal, and as painful as it is necessary. Doyle asks us not just to consider the ravages of post-traumatic stress, but to feel them, or as closely as we can, anyway. It's his bravest novel yet; it's also, by far, his best." --Michael Schaub, npr.org

“Has anyone written as beautifully as Doyle on how love and violence lean right up against each other in childhood? . . . From the Booker Prize winning Paddy Clarke Ha Ha Ha to Smile, Doyle’s books bruise and cheer at the same time.” The Boston Globe

“Doyle was determined to write a novel that shocked – and succeeded . . . This is a performance few writers could carry off: a novel constructed entirely from bar stool chatter and scraps of memory. But you can’t turn away." --Ron Charles, The Washington Post

“The closest thing [Doyle’s] written to a psychological thriller . . . showcases his well-loved facility for character and dialogue.  His ear and eye are peerless.” – The New York Times Book Review

“Doyle's finest work since The Woman Who Walked Into DoorsSmile combines tropes from the various strands of Doyle’s career . . . and merges them into a unique novel, one that is terribly moving . . . Like all good literature, [Smile] will inspire debate but also admiration for the courage of a hugely successful writer who refuses to be predictable and uses the novel to challenge both the reader’s sense of ease and the nature of the form itself.” 
The Guardian

“The fear of honest disclosure is central to Mr. Doyle’s newest novel, Smile, about the lies men tell to make themselves appear normal . . . Mr. Doyle’s signature clipped dialogue is still a feature of Smile, but this short, effective novel is about the truths that emerge when, despite himself, Victor lets himself talk.” The Wall Street Journal

"Another of Doyle's rich and sympathetic character studies." --The New York Review of Books

“[Doyle] employs his sly humor and unparalleled ear for banter between convincingly imperfect characters to craft an unsettling work of psychological suspense . . . [an] artful meditation on pain, memory, and how we build the stories of our lives. It is his most powerful and sobering novel since The Woman Who Walked into Doors.” – The Seattle Times

“Beautifully written, and beautifully observed . . . Reading Smile, one is swept along – as in all Doyle’s novels – by the vibrancy of language, the vivid sense of character and place, but nothing prepares you for the final few pages where, in a twist of imaginative brilliance, everything you have read is turned completely on its head.” The Daily Telegraph
 
“Mesmerizing . . . akin to The Woman Who Walked Into Doors, but, to my taste, much better:  deeper, more psychologically astute, more gut-wrenchingly powerful.” – The Minneapolis Star Tribune

Smile is no easy maneuver: tackling a sensitive subject with the grace and gravity it deserves, and freshly delivering what readers expect in Doyle’s fiction (wit, dialogue, and the accuracy of youth). That Doyle is also, 30 years in, inventing new ways of storytelling is brave and notable.” St. Louis Post Dispatch

“[A] marvelous novel from this Irish master . . . in a novel that hinges on the fallibility of memory, a narrator’s misremembering of a crucial point is expected.  What is unexpected it quite how far Doyle takes this . . . It says a lot about Doyle’s power that he is able to create such an intensely moving book that yet drops so much of itself as it approaches its end.” The Spectator

“Doyle’s command of voice is absolutely sure, his dialogue authentic and the Ireland his characters inhabit – still a patchwork of fifties pietism and noughties cosmopolitanism – completely available to his and the reader’s understanding . . . an absorbing and expertly told story.” Financial Times

“A thrilling, dark, yet often humorous, story about reconciling with one’s past.” -- Buzzfeed

“The first-person narrative is fresh and bracing from Page 1 . . . It isn't until the final pages that the reader understands just what Doyle has done, and it might take a rereading to appreciate just how well he has done it. The understatement of the narrative makes the climax all the more devastating.” Kirkus Reviews (starred)

“Doyle flavors a compelling character study with a soupçon of suspense, misdirecting readers for a powerful purpose that is only revealed at the shocking, emotionally charged ending.” ALA Booklist

“[Doyle’s] masterly language and honesty. . . [and] ability to convey so much meaning through rapid-fire dialog in the Irish vernacular is unsurpassed. . . Readers anticipating Doyle’s trademark wit and warmth will instead encounter a psychological mystery with an enigmatic ending that will have them flipping to the beginning looking for clues.” —Library Journal

Praise for the work of Roddy Doyle:

“There is not a writer currently working in the English language who can match Doyle for the fluency with which he tacks back and forth between the hilarious and the heartbreaking.”
—The New York Times Book Review

“One of the delights of Doyle’s work is its fearlessness. . . . In book after book he throws himself into the voices and hearts of his characters.”
—The New York Times Book Review

“No writer alive gives the utterly prosaic thoughts and routines of endless, uneventful days the rhythm and flavor of art better than Doyle.”
—The Philadelphia Inquirer

Author

© Anthony Woods
RODDY DOYLE was born in Dublin in 1958. He is the author of ten acclaimed novels, including The Commitments, The Van (a finalist for the Booker Prize), Paddy Clarke Ha Ha Ha (winner of the Booker Prize), The Woman Who Walked Into Doors, A Star Called Henry, The Guts and most recently, Love. Doyle has also written several collections of stories, as well as Two Pints, Two More Pints and Two for the Road, and several works for children and young adults including the Rover novels. He lives in Dublin. View titles by Roddy Doyle

Excerpt

—Victor?

I looked up when I heard my name but I couldn’t see a thing. I was sitting near the open door and the light coming through was a solid sheet between me and whoever had spoken. My eyes were watering a bit – they did that. I often felt that they were melting slowly in my head.

—Am I right?

It was a man. My own age, judging by the shape, the black block he was making in front of me now, and the slight rattle of middle age in his voice.

I put the cover over the screen of my iPad. I’d been looking at my wife’s Facebook page.
I could see him now. There were two men on the path outside, smoking, and they’d stood together in the way of the sun.

I didn’t know him.

—Yes, I said.
—I thought so, he said.—Jesus. For fuck sake.

I didn’t know what to do.

—It must be –  fuckin’ –  forty years, he said.— Thirty- seven or -eight, anyway. You haven’t changed enough, Victor. It’s not fair, so it isn’t. Mind if I join you? I don’t want to interrupt anything.

He sat on a stool in front of me.

—Just say and I’ll fuck off.

Our knees almost touched. He was wearing shorts, the ones with the pockets on the sides for shotgun shells and dead rabbits.

—Victor Foreman, he said.
—Forde.
—That’s right, he said.— Forde.

I had no idea who he was.  Thirty- eight years, he’d said; we’d have known each other in secondary school. But I couldn’t see a younger version of this man. I didn’t like him. I knew that, immediately.

—What was the name of the Brother that used to fancy you? he said.

He patted the table.

—What was his fuckin’ name?

His shirt was pink and I could tell that it had cost a few quid. But there was something about it, or the way it sat on him; it hadn’t always been his.

—Murphy, he said.—Am I right?
—There were two Murphys, I said.
—Were there?
—History and French.
—Were they not the same cunt?

I shook my head.

—No.
—Jesus, he said.—I hate that. The memory. It’s like dropping bits of yourself as you go along, isn’t it?

I didn’t answer. I have a good memory – or I thought I did. I still didn’t know who he was.
He moved, and put one foot on top of a knee. I could see right up one leg of his shorts.

—Anyway, he said.—It was the one who taught French that wanted your arse. Am I right?

I wanted to hit him. I wanted to kill him. I could feel the glass ashtray that wasn’t there any more, that hadn’t been on the table since the introduction of the smoking ban a decade before – I could feel its weight in my hand and arm as I lifted it, and myself, and brought it flat down on his head.

I looked to see if anyone had been listening to him. I could hear the remains of the word ‘arse’ roll across the room. I hated this man, whoever he was.

But I nodded.

—Fuckin’ gas, he said.—And look at us now. Would he fancy us now, Victor?
—Probably not.
—Not me, anyway, he said.

He slapped his stomach.

—You’re not looking too bad, he said.

His accent was right; he came from nearby. He took a slurp from his pint – it was Heineken or Carlsberg – and put the glass back on the table.

—You’ve done alright, Victor, he said.—Haven’t you?

I couldn’t answer.

—For yourself, like, he said.—I see your name all over the place.
—Not recently.
—Fuck recently.

I wanted to go.

—You did great, he said.—We’re fuckin’ proud of you.

I wanted to move house, get back across the river. Home.

—Victor Forde, he said.—One of us.

A minute before he’d thought my name was Foreman.

—You married that bird, he said.

I shouldn’t have, but I nodded again.

—Fuckin’ hell, he said.—Good man. There’s no end to your fuckin’ achievements.
—Who are you? I asked.

He stared and smiled at the same time.

—Are you serious?
—I know your face, I said.
—My face?

He laughed. Straight at me.

—My fuckin’ face? he said.—Jesus. I was – what? – seventeen. The last time you saw me. Am I right?

I didn’t know – I didn’t know him. But I nodded.

—Will I give you a hint?

I didn’t nod this time.

—Síle Fitzpatrick, he said.

The name meant nothing.

—Who?
—Go on – fuck off. —I don’t know her.
—Síle. Fitz. Patrick.
—No.
—You fuckin’ do, he said.—Wake up, Victor. Síle. You fancied her. Big time. All of you did. She was a bike. Síle Fitzpatrick. She was the bike. Yis all said it.

I hadn’t heard that phrase, ‘a bike’, in years. It was like a piece of history being taken out and shown to me. A slightly uncomfortable piece of history.

—No, I said.
—Blonde bird, tall, Holy Faith, Bowie fan, woman’s tits.

She was starting to come together; I thought I was remembering someone.

—You all fancied her, he said again.
—And you didn’t?
—Well, I did. But I couldn’t.
—How come?
—She was my sister, he said.

The laugh exploded out of him, as if he’d been holding on to it for years. There was nothing funny in it. The girl was in my head now, Síle Fitzpatrick, but I wished she wasn’t. I wanted to tell him that I didn’t know her. But I could see her sitting on the low ledge outside the chipper, her back to the glass. I was inside, looking at her hair, her shoulders, her white uniform shirt tucked into her skirt. I wanted her to turn and look in. I wanted her to look at me.

—You remember me now, I bet.

I didn’t. But I remembered his sister.

—Yeah, I said.—I do now. Sorry.

What was his name? He’d been in my class for five years; he must have been. Fitzpatrick, Fitzpatrick.

I had it.

—Edward.
—Good man, he said.

I knew him, and I’d known him years ago. I knew his face and I’d known his face.

—Eddie, I said.
—I kind of prefer Ed these days, he said.—More adult.

He shrugged.

—Finally had to grow up, he said.

What he’d told me just before he’d laughed – one of the words came back and nudged me.

—You said ‘was’. You said she was your sister.
—Yeah, he said.
—Was, I said.
—Yeah.
— Sorry – , I said.—I don’t – . She’s not – ?
—Dead?
—Is she?
—No, he said.—No. We’re not close, just.
—Oh.
—Yeah.
—Grand.
—Say no more, says you.

The gap was beginning to close. ‘Say no more, squire’ –  the Monty Python line was straight from the schooldays.

—You meeting someone? he asked me now. —No, I said.—No. Just having a pint.
—Same as myself. D’you live near here, so?

I hesitated. I didn’t want to explain.

—Or just visiting? he said.—Slumming it for a bit.
—No.
—No?
—I live down the road there –  five minutes.
—Oh grand, he said.—So this is your local.
—Not really.
—Fuck this, he said.

He stood up and picked up his stool; he’d scooped it from under himself before he was upright. I didn’t have time to cower. But he turned to the table beside us and lowered the stool one-  handed while he grabbed a chair with the other and dragged it across to him. He sat down, and back.

—That’s better.

There was even more of his leg on show now. He didn’t seem to be wearing underwear.

—So, he said.—Yeah.

I waited.

—I was away myself for a bit, he said.
—Were you?
—Yeah, he said.—Here and there. Nothing special. But Síle. She’d love to hear from you.

He’d guessed it: Síle was the only thing I liked about him.

—I hardly knew her, I said.
—Go on to fuck.
—It’s true.
—Yeah, yeah, he said.—She fancied you. Big time. Had me plagued. Is he going to college? What’s his favourite Bowie song? Is he going with anyone? A right pain in the arse.
—‘Heroes’, I said.
—What?
—My favourite Bowie song.

He laughed. He sat back, almost lay back, and barked at the ceiling. There was grey pubic hair poking out of his shorts. He sat up, adjusted his crotch. Had he caught me looking at him?

—D’you know what? he said.—I’d say she’d still be interested in knowing that.
—What?
—Síle, he said.—She’d love to know that ‘Heroes’ was your favourite Bowie song. I don’t believe that, by the way. Now maybe, but we’re talking about – when? 1975 or ’6. ‘Heroes’ was released in 1977. So you’re spoofing. As usual. You can fuck off, so you can. Vict’ry.
 
I should have stood up.

—Remember we used to call you that? he said.

I should have just left. He might have followed me but I should have walked out and kept walking. I’d have been giving nothing away. Because I found out later, he already knew where I lived.