They lived in London at the end of the nineteen eighties. His wife was twenty-four. He was twenty-six. In her job, she earned eleven thousand pounds a year, and he earned thirteen thousand pounds a year.
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They lived in London at the end of the nineteen eighties. His wife was twenty-four. He was twenty-six. In her job, she earned eleven thousand pounds a year, and he earned thirteen thousand pounds a year.
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‘I think there should be a National Service of Hospitality. The best way to see the true face of humanity is to serve it a plate of chips.’
Camilla Grudova on bad-mannered customers.
‘Anyone who has ever worked night shifts will understand the vertiginous feeling that comes with staring down the day from the wrong end.’
A.K. Blakemore on working nights.
‘I was constantly reading job ads, trying to find my holy grail – a job I could stand to do, and someone foolish enough to hire me.’
Sandra Newman on learning how to play professional blackjack.
‘I loved being a receptionist. What I loved about it was playing the part of being a receptionist.’
Emily Berry on being a temporary office worker.
‘Every part of you would swell, including your eyeballs, and no matter how much water you drank, you were always dehydrated.’
Junot Díaz on working for a steel mill.
Philip Hensher was born in south London, where he still lives. He was educated at Oxford and at Cambridge, where his doctorate was on eighteenth-century English painting, and worked for six years as a clerk in the House of Commons. His novels are Other Lulus (1994), Kitchen Venom (1996), which won a Somerset Maugham Award, Pleasured (1998), The Mulberry Empire (2002) and The Northern Clemency (2008). His short stories are collected as The Bedroom of the Mister’s Wife (1999). In addition he wrote the libretto for Thomas Adès’s opera, Powder Her Face.
More about the author →‘I liked his humourless intelligence, so redundant and so excessive in an MP.’
‘The military recruits around football – they try to pick up the surplus player population. You couldn't make it on the college team? Well, you know, this is kind of similar. Both are violent.’
Nico Walker on American football.
‘The camera records what’s in front of it, but that reality can be pre-arranged.’
Thomas Ruff speaks to Alice Zoo about light, Bernd and Hilla Becher and the essence of photography.
‘Fus was twenty-five, he wasn’t a kid. What was he doing hanging out with fascists?’
An excerpt from What You Need From the Night. Translated from the French by Shaun Whiteside.
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