The Ghost in the (Fruit) Machine

It was there that the father-son relationship was nurtured by proxy, though increasingly as my brother approached puberty, the attractions became less familial and more like lovers. He would murmur to them, fondle them, coax them deftly to pay out their meagre jackpots with all the attentiveness of a young man in love for the first time. He became a virtuoso, learning their moods, their patterns, their rhythms; when they’d pay out, when they’d clam up. Warm copper coins eased gently into their gaping slots, with a tenderness and patience uncharacteristic of his gender and teenage years. My brother, the Casanova of copper coins.

Giles Anderson grew up in a variety of boarding houses on the south coast of England where he learnt to write about himself in the third person. For many of his formative years his parents continued to dress him in boiler suits and Wellington boots such that he is most at home in the company of tradesmen and Bond film henchmen. He holds Bachelor degrees in War Studies and Law and a Masters in Medieval Studies, any of which is more than outweighed by his failure to complete several novels, a PhD in medieval cartography, Masters degrees in Egyptology and Victorian Studies and Bar Finals. With his educational background it was obviously a natural step to work as a bookkeeper for a rope importer, then for the now defunct Medicine Control Agency, before racing into the near present as an employee, then Director of a photographic press agency. Such is his love of images that he decided to devote himself entirely to words. Whilst a picture may paint a thousand words, that doesn’t mean ninety of them make a novel (or a small art gallery if you’re Proust).