Chicklish is delighted to be the first stop on the blog tour for The 10pm Question by Kate de Goldi, with a fabulous extract from the book.
Here is author Kate de Goldi, introducing her extract...
Every chapter in The 10pm Question ends with a conversation between Frankie and his mother in her bedroom. The conversations are not necessarily in chronological order; they are kind of representative and convey that this is an ongoing ritual in their relationship. The pattern is that Frankie – usually indirectly – asks Ma for reassurance over a current anxiety. They are so attuned to each other that he doesn’t have to speak directly about this fears – Ma always reads between the lines. And there is a kind of ruefulness about Frankie’s indirect confessions – he’s pretty sick of himself and his tendency to fret. At the same time he can’t let go of his desire to get Ma out of the house, somehow – to get her to live a ‘normal’ life...so, almost against his better judgment, he will occasionally blurt out an impossible suggestion (come to the Bolshoi Ballet) and then will be guilty and disappointed in equal parts at Ma’s refusal and distress.
But while these are tricky exchanges, they’re also taking place in an atmosphere of nurture and comfort – a parent’s bed, with all the accompanying sensory and nostalgic feelings. I do think, too, that all difficult moments in relationships and life take place in tandem with the ordinary and absurd as well... So, even though this is a tense, loaded dialogue between Frankie and Ma, there are also all the little nuttinesses of their everyday life – Colin and The Fat Controller having one of their regular spats; Uncle George arriving home late (in a later extract Uncle George loudly sings hymns while he’s making a dessert for himself), the tragi-comic spectacle of Solly Napier’s cousins funeral - and there is the recurring symbol and puzzle of the woman in the painting hanging on Ma’s bedroom wall...
Below is an extract from The 10pm Question by Kate de Goldi, reproduced with the kind permission of Kate de Goldi and Templar Publishing.
It was never completely dark in Ma’s bedroom, even when she’d switched off the bedside light. A diffused glow came through the window from the street lamp directly outside the front gate. Ma never drew the curtains; she liked the glow from the street lamp.
Frankie had been listening for the click of the bedside light; sometimes he preferred to ask questions in the dim colour of that outside light.
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