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26a
A hauntingly beautiful, wickedly funny, and devastatingly moving novel of innocence and dreams that announces the arrival of a major new talent to the literary scene
In the attic room at 26 Waifer Avenue, identical twins Georgia and Bessi Hunter share nectarines and forge their identities, while escaping from the sadness and danger that inhabit the floors below. But innocence lasts for only so long—and dreams, no matter how vivid and powerful, cannot slow the relentless incursion of the real world.
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26a
A hauntingly beautiful, wickedly funny, and devastatingly moving novel of innocence and dreams that announces the arrival of a major new talent to the literary scene
In the attic room at 26 Waifer Avenue, identical twins Georgia and Bessi Hunter share nectarines and forge their identities, while escaping from the sadness and danger that inhabit the floors below. But innocence lasts for only so long—and dreams, no matter how vivid and powerful, cannot slow the relentless incursion of the real world.
A hauntingly beautiful, wickedly funny, and devastatingly moving novel of innocence and dreams that announces the arrival of a major new talent to the literary scene
In the attic room at 26 Waifer Avenue, identical twins Georgia and Bessi Hunter share nectarines and forge their identities, while escaping from the sadness and danger that inhabit the floors below. But innocence lasts for only so long—and dreams, no matter how vivid and powerful, cannot slow the relentless incursion of the real world.
Diana Evans has worked as a journalist and arts critic, contributing to Marie Claire, The Daily Telegraph, The Observer, and The Independent. Her short fiction has appeared in a number of anthologies. She lives in London, England.
Read an Excerpt
26A
By Diana Evans
Random House
Diana Evans All right reserved. ISBN: 0385661215
Chapter One
The First Bit I Ham
Before they were born, Georgia and Bessi experienced a moment of indecision. They had been travelling through the undergrowth on a crescent-moon night with no fixed destination and no notion of where they were, whether it was a field in Buckinghamshire, the Yorkshire Dales or somewhere along the M1 from Staples Corner to Watford. Night birds were singing. The earth smelt of old rain. Through scratchy bramble they scurried, through holes that became warm tunnels and softly lit underground caves. Their paws pressed sweet berries in the long grass and they sniffed each other's scent to stay together.
Soon they began to sense that they were coming to a road. One of those huge open spaces of catastrophe where so many had perished. Squirrels smashed into the tarmac. Rabbits, badgers, walking birds -- murdered and left for the flies. Bessi thought they should risk it and cross, there was nothing coming for miles. But Georgia wasn't sure, because you could never be sure, and look at what the consequences might be (a little way up the road a bird lay glistening in its blood, feathers from its wing pointing stiffly up to the sky).
They crept to the roadside to get a closer look. Nothing coming at all. No engine thunder, no lights. It took a long time for Georgia to come round. OK then. Let's be quick, quicker than quick. Run, leap, fly. Be boundless, all speed. They stepped on to the road and shot forward, almost touching, and then the engine came, and for reasons beyond their reach, they stopped.
That was the memory that stayed with them: two furry creatures with petrified eyes staring into the oncoming headlights, into the doubled icy sun, into possibility. It helped explain things. It reminded them of who they were.
A slowness followed the killing. While their blood seeped into the road they experienced warmth, softness, wet. But mostly it was brutal. There were screams and a feeling of being strangled. Then a violent push and they landed freezing cold in surgical electric white, hysterical, blubbering, trying to shake the shock from their hearts. It was a lot to handle. Georgia, who was born first, forty-five minutes first, refused to breathe for seven minutes. And two and a half years later, still resentful, she was rushed back to St Luke's Hospital with dishcloth, carpet dust, half her afro and tassels off the bottom of the sofa clinging to her intestines. She'd eaten them, between and sometimes instead of her rice pudding and ravioli. The ordeal of it. Ida running around the house shouting Georgia's dying, my Georgia's dying! and the ambulance whisking her off and Bessi feeling that strange sinking back towards the road (which, when they were old enough to explore the wilderness of Neasden, they decided could well have been the North Circular that raged across the bottom of their street).
There is a photograph of them seated at a table in front of their third birthday cake, about to blow, three candle flames preparing to disappear. Georgia's arms are raised in protest of something forgotten and across her stomach, hidden, is the scar left over from where they'd slit her open and lifted out the hair and the living room carpet like bleeding worms and then sewed her back together. The scar grew up with her. It widened like a pale smile and split her in two.
As for Bessi, she spent her first human month in an incubator, with wires in her chest, limbs straggling and pleading like a beetle on its back. The incubator had a lot to answer for.
So Georgia and Bessi understood exactly that look in the eye of the hamster downstairs in the sunlounge. He was ginger-furred with streaks of white, trapped in a cage next to the dishwasher. What is it? the eyes said. Where am I? The view from the cage was a hamster-blur of washing machine, stacked buckets, breathless curtains and plastic bags full of plastic bags hanging from the ceiling like the ghosts of slaughter. People, giants, walked through from other parts of the house, slamming the door and setting off wind-chime bells. A sour-faced man with a morning tremble. A woman of whispers in a hair net, carrying bread and frozen bags of black-eyed beans.
What is it?
Feebly he poked at the plastic wheel in the corner, looking for motion, hoping for escape or clarity. And the explanation never came. It was deeper than needing to know what the wheel was for, where the cage had come from and how he'd got there, or in the twins' case, the meaning of 'expialidocious' or why their father liked Val Doonican. It was more of a What is Val Doonican? And therefore, What am I? The question that preceded all others.
The hamster was alone, which made it worse. Alone with a wheel on a wasteland of wood shavings and newspaper. Georgia and Bessi did everything they could; stuffed him with grapes and cleaned his mess, gave him a name. 'Ham,' Georgia said, her eyes level with Ham's because she was only seven, 'be happy some days or you might not wake up in the morning, isn't it. Here's a present.' She'd pulled a rose off the rose bush in the garden that was Her Responsibility (Aubrey had said so, and Ida had agreed -- so Kemy could shut up) and laid it, the ruby petals flat on one side, a single leaf asleep in the sun, on a saucer. She opened the cage and put the saucer next to Ham. He sniffed it and then was still again, but with a thoughtful look on his face that wasn't there before. Georgia thought that sometimes flowers were better for people's health than food. She often spent entire afternoons in the garden with a cloth, a spade and a watering can, wiping dirt off leaves, spraying the lawn with vigour, and pulling away the harmful weeds.
The twins lived two floors above Ham, in the loft. It was their house. They lived at 26a Waifer Avenue and the other Hunters were 26, down the stairs where the house was darker, particularly in the cupboard under the stairs where Aubrey made them sit and 'think about what you've done' when they misbehaved (which could involve breaking his stapler, using all the hot water, finishing the ginger nuts or scratching the car with the edge of a bicycle pedal). Other dark corners for thinking about what you've done were located at the rear of the dining room next to Aubrey's desk and outside in the garage with the dirty rags and white spirit.
Excerpted from 26A by Diana Evans Excerpted by permission. 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.
1. 'There were thoughts with bows and thoughts without.' Can you find other examples of where the twins' own thoughts are invested with the life and persona of the twins' own outward appearances? What is the effect of this narrative technique? Do you like it, and do you find it a unique way of writing?
2. Discuss the significance of the characters' time in Sekon, and how it impacts on the rest of their lives. Did you find that Evans' use of colours to tell her story changed in any way after this time?
3. How important is magical realism as a technical device for Evans to tell her story? Find some examples of this technique and consider why they are significant to the novel.
4. How necessary is a belief in mythology or mysticism to your enjoyment of this novel?
5. 'It was the first time ever, in this land of twoness in oneness, that something had seemeed unsayable.' Discuss what impact the 'cartwheel' incident with Sedrick has on the twins' relationship.
