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I explained about the status of Turning On, and asked him if he wanted me to send it over.

‘Well—’

‘It’s in good shape. Possibly needs a little editing in parts, not much, but—’

‘Eddie, the deadline on that’s not for another three months.’

‘I know, I know, but I was thinking that if there are any other titles in the series up for grabs, maybe I could do … another one?’

‘Up for grabs? Eddie, they’ve all been assigned, you know that. Your one, Dean’s, Clare Dormer’s. What is this?’

He was right. A friend of mine, Dean Bennett, was doing Venus, a most-beautiful-women-of-the-century thing, and Clare Dormer, a psychiatrist who’d written a

few popular magazine articles about celebrity-associated disorders, was doing Screen Kids, about the way children were portrayed on classic TV sit-coms. There were

three others in the pipeline, as well. Great Buildings, I think, was one.

I couldn’t recall the others.

‘I don’t know. What about phase two?’ I asked him. ‘If these things do well—’

‘No plans for phase two yet, Eddie.’

‘But if these do well?’

I heard a quiet sigh of exasperation at this point. He said, ‘I suppose there could be a phase two.’ There was a pause, and then a polite, ‘Any suggestions?’

I hadn’t actually thought about it, but I was anxious to have another project on hand, so cradling the receiver on my shoulder I cast an eye over the bookshelves in

my living-room and started reeling off some ideas. ‘How about, let me see …’ I was staring at the spine of a large grey volume on a shelf above the stereo now,

something Melissa’d given me after a visit to a photography thing at MoMA, and a fight. ‘How about one on great news photos? You could start with that amazing shot

of Halley’s Comet. From 1910. Or the Bruno Hauptmann picture – remember … at the execution? Or the train crash in Kansas in 1928?’ I had a sudden flash of the

mangled railway carriages, the dark billowing clouds of smoke and dust. ‘Also … what else? … there’s Adolf Hitler sitting with Hindenburg and Hermann Goering at

the Tannenberg Monument.’ Another flash, this time of a distracted Hermann Goering holding something in his hands, gazing down at it, something that looks curiously

like a laptop computer. ‘And then you’ve got … stick bombs over Paris. The D-Day landings. The kitchen debate in Moscow, with Khrushchev and Nixon. The

napalm kid in Vietnam. The Ayatollah’s funeral.’ Still staring directly at the book’s spine, I could literally see these images now, and vividly, one after the other, scrolling

down as they would on a microfiche. I shook my head and said, ‘There must be thousands of others.’ I looked away from the bookshelves and paused. ‘Or, I don’t

know, you could do anything, you could do movie posters, advertisements, twentieth-century gadgets like the can opener or the calculator or the camcorder. You

could do automobiles.’

As I threw out these suggestions – reaching over to the desk at the same time to steady myself – I also became aware of a second tier of ideas forming in my mind.

Up until that point I’d only ever been concerned about my own book. I hadn’t thought about the series as a whole, but it struck me now that Kerr & Dexter were really

being quite slapdash about it. Their twentieth-century series was probably only a response to a similar project that was being done by a rival publishing house –

something they’d gotten wind of and didn’t want to be trounced on. But it was as if once they’d decided to do it, they felt that was it – they’d done the work. To survive

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