Andrew O’Hagan

The abduction and murder of James Bulger, a two-year-old boy from Liverpool, has caused unprecedented grief and anger. Hours before the two ten-year-old boys accused of the crime arrived at South Sefton Magistrates’ Court, a large, baying crowd had formed outside. As a pair of blue vans drew up, the crowd surged forward, bawling and screaming. A number of men tried to reach the vehicles, to get at the youths inside, and scuffles spilled onto the road. Some leapt over crash-barriers and burst through police cordons, lobbing rocks and banging on the sides of the vans. Many in the crowd – sick with condemnation – howled and spat and wept. Kenneth Clarke has promised measures to deal with ‘nasty, persistent juvenile little offenders’. Those two little offenders – if they were the offenders, the childish child-murderers from Walton – were caught on camera twice. First, on the security camera at the shopping precinct in Bootle where they lifted James, and again by the camera of a security firm on Breeze Hill, as they dragged James past – the child clearly in some distress.’

When I made my First Communion, a famously bitter Catholic aunt of mine took me into a side-chapel of our church. She wrapped me up in her arms, right in the middle of all her perfumery, straightened my red sash, and told me I was ‘blessed, blessed, blessed’. Then out of her bag she handed me a wooden crucifix with a luminous lime-green Christ glued onto it. ‘It’s from The Grotto,’ she whispered. ‘Keep it beside you.’

George Baroli and I were soaked to the skin. We sat on a wooden bench in the rain, a green bottle of sherry sat between us. George stared straight ahead most of the time, tilting the bottle up to his mouth with both hands, getting it into position, holding it there, and breathing through his nose. I tried to roll him a cigarette inside my jacket while he spoke of Newcastle, of how he thought he’d never leave it, and then telling me stories of his life now, as a beggar in London. He tapped my arm: ‘Times’s bad,’ he said, ‘but good times is just around the corner.’

A relative of mine, a white-haired Capuchin friar now working on a mission in Zambia, spent the early days of his vocation at St Bonaventure’s, a strict residence a mile or so out of Cork city. There was no drinking, of course, and no cigarettes or newspapers either. When not doing the do – working and praying and partaking of the holy sacraments – the good Reverend Brother would now and then make for the flat roof of the house, from where he enjoyed a decent view of the greyhound racing taking place in a park over the way. By then, despite his local upbringing, the dogs must have seemed otherworldly to him, enticingly alien. And as those nameless, sleek bodies scampered around the track – carrying with them the variously-priced hopes of those secular specks whooping and hollering from the terraces – I can imagine him wondering, high on his priory rooftop, at what manner of life was passing, unhindered, before him.’

It was getting dark one sulphurous evening in Glasgow in the winter of 1990, when a pop-eyed cultural apparatchik – almost breathlessly ripe from a Chinese paper-lantern parade she’d just led through the naked streets of Carntyne – sat down beside me in a bar to the side of the City Chambers, to gab about the glories and horrors of Glasgow’s reign as European City of Culture for that year. The city’s better writers, it seemed, would have nothing to do with it. The £50 million jamboree, led by the municipal council, set its sights on ridding the city once and for ever of its razor-slashing, wife-battering, whisky-guzzling image; all to be blown away during a year-long bonanza; of painting and singing and exotic tumbling; with street-sweeping Bolivian choristers at the crack of dawn; with face-painting schools and afternoons of community theatre on Glasgow Green; and an evening of carry-on in the company of Pavarotti at 75 quid a throw. My bar companion flushed as she coasted through the vodkas, saying how pointless and infuriating it was that the better writers – whom we may as well call James Kelman, Alasdair Gray and Tom Leonard among others – wouldn’t join in on the song. ‘It’s their loss,’ she said. ‘I mean, what do they want?’’