Another sheep, mangled and bled out, her innards not yet crusting and the vapours rising from her like a steamed pudding. Crows, their beaks shining, strutting and rasping, and when I waved my stick they flew to the trees and watched, flaring out their wings, singing, if you could call it that. I shoved my boot in Dog’s face to stop him from taking a string of her away with him as a souvenir, and he kept close by my side as I wheeled the carcass out of the field and down into the woolshed.
I’d been up that morning, before the light came through, out there, talking to myself, telling the dog about the things that needed doing as the blackbirds in the hawthorn started up. Like a mad woman, listening to her own voice, the wind shoving it back down my throat and hooting over my open mouth like it had done every morning since I moved to the island. With the trees rattling in the copse and the sheep blaring out behind me, the same trees, the same wind and sheep.
That made two deaths in a month. The rain started to come down, and a sudden gust of wind flung sheep shit at the back of my neck so it stung. I pulled up my collar and shielded my eyes with my hand.
Cree-cra, cold, cree-cra, cold.
“What are you laughing at?” I shouted at the crows and lobbed a stone at them. I wiped my eyes with the back of my hand and breathed in and out heavily to get rid of the blood smell. The crows were silent. When I turned to look, five of them sat in a row on the same branch, eyeing me but not speaking. The wind blew my hair in my eyes.
The farm shop at Marling had a warped and faded sign at the foot of its gate that read FREE BABY GUINEA PIGS. There was never any trace of the free guinea pigs and I had passed the point of being able to ask. The pale daughter of the owner was there, doing a crossword. She looked up at me, then looked back down like she was embarrassed.
“Hi,” I said.
She blushed but gave me the smallest of acknowledgements. She wore a thick green tracksuit and her hair was in a ponytail. Around her eyes was the faint redness that came after a night of crying or drinking.
Normally the potatoes from that place were good, but they all gave a little bit when I picked them up. I put them back down and moved over to tomatoes, but they weren’t any good either. I looked up out the window to where the farm’s greenhouse stood and saw the glass was all broken.
“Hey,” I said to the girl, who when I turned around was already looking at me, sucking the end of her pencil. “What happened to your greenhouse?”
“The wind,” she said, taking her pencil to the side of her mouth just for a moment. “Dad said to say the wind blew it in.”
I could see the glass scattered outside where normally they kept pots of ugly pink cyclamen with a sign that said THE JEWEL FOR YOUR WINTER GARDEN. Just black earth and glass now.
“Wow,” I said.
“Things always get mad on New Year’s Eve,” said the girl in an older voice that surprised both of us. She blushed deeper and turned her eyes back to her crossword. In the greenhouse, the man who normally ran the shop sat with his head in his hands.
I took some oranges and leeks and lemons to the counter. I didn’t need anything, the trip was more about the drive than the supplies. The girl dropped her pencil out of her mouth and started to count oranges, but wasn’t sure of herself and started again a few times over. There was a smell of alcohol about her, masked by too much perfume. A hangover then. I imagined an argument with her father. I looked up at the greenhouse again, the man in it still with his head in his hands, the wind blowing through.
“Are there nine there?” she asked, and even though I hadn’t counted as I put them in the basket I said yes. She tapped things into the till.
“Must be hard to lose the greenhouse,” I said, noticing a small blue bruise at the girl’s temple. She didn’t look up.
“It’s not so bad. We should have had an order over from the mainland, but the ferry’s not going today.”
“The ferry’s not going?”
“Weather’s too bad,” she said, again in that old voice that embarrassed us both.
“I’ve never known that to happen.”
“It happens,” she said, putting my oranges in one bag and the rest in another. “They built the new boats too big so they aren’t safe in bad weather.”
“Do you know what the forecast is?”
The girl glanced up at me quickly and lowered her eyes again.
“No. Four pounds twenty please.” She slowly counted out my money. It took two goes to get the change right. I wondered what new thing she’d heard about me. It was time to leave, but I didn’t move.
“So what’s with the free guinea pigs?”
The flush came back to her face. “They’ve gone. We gave them to my brother’s snake. There were loads.”
The girl smiled. “It was years ago.”
“Sure,” I said.
The girl put the pencil back in her mouth and her eyes fluttered back down to her crossword. She was just colouring in the white squares, it turned out.
In the truck, I found I had left the oranges in the shop. I looked out of my rear-view mirror at the smashed greenhouse and saw the man inside standing up with his hands on his hips looking at me. I locked the doors and drove away without the oranges.
It started to rain heavily, and I turned up the heating and put the wipers on full speed. We drove past the spot I usually stopped to walk Dog and he sat in the passenger seat and stared at me hard, and every time I turned to look at him he put his ears up, like we were mid-conversation and I was avoiding his look. “So what?” I said. “You’re a dog.” And then he turned around and looked out the window.
Midway home it caught up with me and I pulled over into the entrance to an empty field. Dog gazed stoically out the window, still and calm, and I pressed my thumb into the bridge of my nose to try and take away the prickling, clung on to the skin of my chest with the nails of my other hand to melt away that old -thudding ache that came with losing a sheep, a bead of blood landing in an open eye. I cried drily, honking and with my mouth open, rocking the truck and feeling something grappling around inside me getting no closer to coming out. Have a good cry; it was the kind of thing Mum’d say to a triplet in the hope a visit to the hospital wasn’t necessary. Like the time Cleve fell out of a tree and cried it out, and we found out later he had a broken arm. But there was nothing good in my crying—it prevented me from breathing, it hurt. I stopped once my nose began to bleed, cleaned it up with the shammy I used on the days the windows were iced on the inside and drove home, calmly. On the Military Road near to the turning home, some teenagers fondled about at the bus stop. When they saw me coming one of the boys pretended to put something in his mouth, another mounted him from behind and humped him while he mimed throwing a lasso. The girls laughed and gave me the finger. As I rounded the corner the boy with the lasso dropped his trousers and showed his white arse.
Excerpted from All the Birds, Singing by Evie Wyld. Copyright © 2014 by Evie Wyld. Excerpted by permission of Pantheon, a division of Random House LLC. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
EVIE WYLD grew up in Australia and London, where she currently resides. Her first novel, After the Fire, a Still Small Voice, won the John Llewellyn Rhys Prize and a Betty Trask Award, and All the Birds, Singing won the Miles Franklin Literary Award and the Encore Award for Best Second Novel. Wyld has also been short-listed for the Orange Award for New Writers, the International IMPAC Dublin Literary Award, the Commonwealth Writers Prize, the James Tait Black Prize, and the Costa Novel Award, and long-listed for the Baileys Women’s Prize for Fiction.
**One of the Best Books of the Year in the Guardian, New Statesman, Independent, Observer**
**Shortlisted for the James Tait Black Prize, and the Costa Award for Best Novel**
**Winner of the Encore Award for Best Second Novel**
**Winner of the Miles Franklin Literary Award**
“Daring and fierce, this is a book that makes you feel the need to look over your shoulder in case something dark and hulking might be gaining on you . . . Brilliantly unsettling.” —Boston Globe
“Swift and assured and emotionally wrenching. You won’t only root for Jake, you’ll see the world, hard facts and all, more clearly through her telling. There’s hope at the end, and wit, and friendship . . . She’s unlike any character I’ve seen in fiction.” —Maile Meloy, New York Times Book Review
“Masterful.” —The New Yorker
“Purely gorgeous . . . Writing with assurance and just enough embedded clues to help us understand what she is doing, Wyld ramps up the tension . . . There’s love as well as dread in this book, a surprising sort of love—the best kind of all.” —Washington Post
“Wickedly captivating . . . It’s a testament to Wyld’s nimble talent that she pulls off the trick [of the structure] so successfully . . . It’s nearly impossible not to get swept up in the game of merging the two stories . . . Think Room or Winter’s Bone–style creepy.” —San Francisco Chronicle
“Utterly gripping . . . All the Birds, Singing has the brisk pacing of a well-thumbed pocket paperback found in a summer cottage, and yet it’s the sort of book that gets listed as a best book of the year . . . The success of The Goldfinch was a perfect test case.” —Salon
“Tantalizes . . . The prose maintains a fine-tuned ominous mood.” —New York Times
“Gloriously gruesome . . . Half of you wants to race through to find out what happens, half wants to pause over the dark, clotted sentences. And then the state of suspense becomes almost unbearable, and you rush through, feeling like you are sprinting through a museum of sinister curiosities, too frightened to linger . . . The final revelation, when it comes, is explosive.” —NPR.org
“Wyld teasingly leads readers to the mysterious incident Jake is trying to escape . . . Pungent with menace.” —Wall Street Journal
“Gorgeously vivid . . . Ripe material for a Jane Campion movie or miniseries.” —Harper’s
“Completely and utterly monumental.” —BBC Radio 4
“A tremendous achievement . . . A dark, powerfully disturbing and beautifully observed story . . . almost Nabokovian in its structural intricacy.” —William Boyd, New Statesman
“Broodingly lyrical.” —Vogue
“Outstanding . . . Evie Wyld is the real thing . . . She reconfigures the conventions of storytelling with a sure-footedness and ambition which belie her age . . . Quite as good as Ian McEwan’s early fiction.” —The Spectator
“Extraordinarily accomplished, one of those books that tears around in your cerebellum like a dark firework, and which, upon finishing, you immediately want to pick up again.” —Financial Times
“Absolutely gorgeous . . . Wyld’s heroine, Jake, is like Hemingway’s Nick Adams in toughness and silence, but she has a far more terrifying history, and her story now is edged by greater threat. You won’t be able to stop reading.” —David Vann, author of Legend of a Suicide
“Extraordinary . . . The conclusion of the novel, when the reveal is delivered with a powerful punch, [is] like something out of an Alice Munro story.” —Kirkus Reviews
“Wyld displays a fierce command of language . . . She tackles a variety of difficult themes—memory and trauma chief among them—with considerable care.” —Daily Beast
“Don’t overlook Evie Wyld’s read-in-one-sitting All the Birds, Singing . . . Pass along after reading—some secrets are too good not to share.” —W magazine
“Ingeniously constructed.” —Literary Review
“A riveting novel . . . Jake is both haunted by the past and struggling with the present, and the intensity of Wyld’s sharp novel grows as the two threaten to collide.” —Booklist
“An intensely involving tale of survival, shot through with Wyld’s distinctive wit . . . An indelible and atmospheric novel that will have the hairs on the back of your neck working overtime.” —Daily Mail
“For once, the hype matches the talent . . . Wyld’s writing seems to come from somewhere deep somewhere a little bit unnerving.” —The Sunday Times (London)
“It’s the quality of Wyld’s prose that really blows your mind.” —Metro
“One of the best books I read this year was Evie Wyld's darkly beautiful All the Birds, Singing. Wyld twists together the warp and weft of poetic language and plot to create a disquieting, deeply suspenseful novel. It lingered with me long after I finished it." —Hannah Kent, Sydney Morning Herald
“Searing . . . Wyld’s writing is as muscular as Jake.” —Publishers Weekly
“Wyld [is] a writer of exceptional talent . . . a distinctive and important new voice.” —Irish Times
“Vividly drawn . . . When the birds do ‘sing,’ and Jake’s primal tragedy is revealed, it is clever and very unexpected indeed.” —The Guardian
“Unsettling, beautiful, horrifying and moving in equal parts . . . In the flawed but vulnerable character of Jake, Wyld’s created someone you can’t help but care for, root for and desperately want the best for . . . There is no disputing the power of the story and the beauty of Wyld’s writing. It’s an extraordinary book.” —Stylist
“One feels the influence of an early Ian McEwan or Iain Banks . . . But All the Birds, Singing is also powerfully original.” —Times Literary Supplement (London)
“Tim Winton is a writer with whom the fearless Wyld deserves serious comparison.” —Daily Telegraph
“Wyld’s work has been compared to that of Cormac McCarthy for the mythic qualities they share, but it is in the continuity of peoples, places and customs that the two are bound together tightest.” —The Skinny
“Evie Wyld’s novels ask tough questions without seeking easy answers . . . Wyld excels in the intimate details that make up the relationship between humans and animals . . . Best of all are Jake’s interactions with dogs in the novel . . . Despite Jake’s gruff exterior, this is not a book about loneliness or even isolation. There are moments of connection and human kindness.” —BookPage
1. The story opens with Jake’s present life. We learn about her past in a backwards progression. How does this affect your reading of the book?
2. Jake lives alone and away from others in a self-imposed hermitage: from fear, for protection, out of habit. What is the difference between being alone and being lonely? Do you think Jake is lonely?
3. Jake has run away from home, family, and safety to escape something terrible she has done. What do you think the consequences would have been if she had stayed?
4. Have you ever kept an experience in your past a secret from people you know? What does keeping secrets do to a person?
5. Is Jake’s terror of being caught in proportion to what she has done? Does the fear get bigger the farther away she goes? Will it ever go away?
6. The crows calling over the mangled sheep on the island, the carrier pigeon that Jake squeezes just a bit too hard, and, of course, the birds from the final passage of Jake’s revealed past: within this work, birds are often associated with death. What other symbols do you find in this story?
7. Describe Jake’s relationship with Karen. Who is stronger? Who is saving whom?
8. How did Jake end up with Otto? When/why/how does he change?
9. Why does Jake stay with Otto for so long? What do you think would happen if he ever did find her, and do you think he’s actively looking?
10. While at the sheep ranch, Jake finds temporary safety with Greg. What makes him different from the men she’s known to that point? Why does she leave him?
11. On the island, Jake visits some of the local places. There’s the small shop to buy oranges, the teahouse for a Devon cream: What does Jake get from these places? Do you think it makes a difference that these shopkeepers are women?
12. While Jake is on the ranch in Australia, one of the rams is killed by an animal, and Jake later sees a dark shape dart into her room. It is doglike, and she immediately thinks of Otto’s dog, Kelly. How does this fear follow her to England?
13. While Jake is in England, something is killing her sheep. The reader never finds out what it is, but in the end, Lloyd sees it, too. Is it real? What do you think it is?
14. One of the shearers kills a dying ram: “One second horribly wounded, feeling flies lay their eggs in your flesh and watching the currawong circle, and the next, in a flash, all is safe. I will learn to fire a gun, I think, they are the answer” (p. 25). In what other ways does Jake try to find safety?
15. Discuss the character of Lloyd. Who is he and what does he want? How does he affect Jake?
16. Why does Jake let Lloyd stay with her?
17. The hammer under the bed, the axe by the refrigerator, the gun in the cupboard, the walking stick by the door. Can these things protect Jake from what she fears?
18. When all is revealed at the end, from the truth behind her scars to her own responsibility in the affair, how does that fit in with the Jake you know already?
19. What is Jake most afraid of? The past? Otto? Guilt? Herself?
20. What do you think Jake is ultimately looking for?