On the 15th of July 1993 the sun rises at 05.01 a.m. Dexter watches it from the back of a decrepit mini-cab as he returns home from a stranger’s flat in Brixton. Not a stranger exactly, but a brand new friend, one of many he is making these days, this time a graphic designer called Gibbs or Gibbsy, or was it maybe Biggsy, and his friend, this mad girl called Tara, a tiny birdlike thing with woozy, heavy eyelids and a wide scarlet mouth who doesn’t talk much, preferring to communicate through the medium of massage.

It’s Tara he meets first, just after two a.m. in the nightclub underneath the railway arches. All night he has noticed her on the dance floor, a broad grin on her pretty pixie face as she appears suddenly behind strangers and starts to rub their shoulders or the small of their backs. Finally it’s Dexter’s turn, and he nods and smiles and waits for the slow dawn of recognition. Sure enough the girl frowns, brings her fingers close to the tip of his nose and says what they all say now, which is:

‘You’re famous!’

‘Who are you then?’ he shouts over the music, taking both her small bony hands in his, holding them out to the side as if this were some great reunion.

‘I’m Tara!’

‘Tara! Tara! Hello, Tara!’

‘You’re famous? Why are you famous? Tell me!’

‘I’m on TV. I’m on a TV programme called largin’ it. I interview pop stars.’

‘I knew it! You are famous!’ she shouts, delighted, and she cranes up on tip-toe and kisses his cheek, and she does this so nicely that he’s moved to shout over the music, ‘You’re lovely, Tara!’

‘I am lovely!’ she shouts back. ‘I am lovely, but I’m not famous.’

‘But you should be famous!’ shouts Dexter, his hands on her waist. ‘I think everybody should be famous!’

The remark is without thought or meaning, but the sentiment seems to move Tara because she says ‘Aaaaaaaah’, stands on tip-toe and rests her little elfin head on his shoulder. ‘I think you’re so lovely,’ she shouts in his ear, and he doesn’t disagree. ‘You’re lovely too,’ he says, and they find themselves caught in a ‘you’re lovely’ loop that could potentially go on forever. They’re dancing together now, sucking in their cheeks and grinning at each other and once again Dexter is struck by how easy conversation can be when no-one is in their right mind. In the olden days, when people only had alcohol to fall back on, talking to a girl would involve all kinds of eye-contact, the buying of drinks, hours of formal questioning about books and films, parents and siblings. But these days it’s possible to segue almost immediately from ‘what’s your name?’ to ‘show me your tattoo’, say, or ‘what underwear are you wearing?’ and surely this has got to be progress.

‘You’re lovely,’ he shouts, as she grinds her buttocks against his thighs. ‘You’re really tiny. Like a bird!’

‘But I’m strong as an ox,’ she shouts back over her shoulder and flexes a neat bicep the size of a tangerine. It’s such a great little bicep that he is moved to kiss it. ‘You’re nice. You’re sooooo nice.’

‘You’re nice too,’ he fires back and thinks, God, this is really going just incredibly well, this back and forth, just so well. She’s so small and neat that she reminds him of a little wren, but he can’t summon up the word ‘wren’ so he takes hold of her hands, pulls her towards him, shouts in her ear, ‘What’s the name of that tiny bird that fits in a matchbox?’

‘What?’

‘A BIRD THAT YOU PUT IN A MATCHBOX YOU CAN FIT IT IN A MATCHBOX A TINY BIRD YOU’RE LIKE A LITTLE BIRD CAN’T THINK OF ITS NAME.’ He holds his finger and thumb an inch apart. ‘SMALL BIRD TINY YOU’RE LIKE THAT.’

And she nods, either in agreement or to the music, her heavy eyelids fluttering now, pupils dilated, her eyeballs rolling back in her head like one of those dolls his sister used to have and Dexter has forgotten what he’s talking about, is unable for a moment to make sense of anything, so that when Tara takes his hands and squeezes them and tells him once again that he really is lovely and that he must come and meet her friends because they’re lovely too, he doesn’t disagree.

He looks around for Callum O’Neill, his old flatmate from University and sees him pulling on his coat. Once the laziest man in Edinburgh, Callum is a successful businessman now, a large man in expensive suits, made wealthy by refurbished computers. But with the success has come sobriety; no drugs, not too much booze on a weeknight. He looks uncomfortable here, square. Dexter crosses to him and grabs both hands.

‘Where are you going, mate?’

‘Home! It’s two in the morning. I’ve got work to do.’

‘Come with me. I want you to meet Tara!’

‘Dex, I don’t want to meet Tara. I’ve got to go.’

‘You know what you are? You’re a lightweight!’

‘And you are off your face. Go on, do what you’ve got to do. I’ll call tomorrow.’

Dexter hugs Callum, and tells him how great he is, but Tara is tugging on his hand once again, and so he turns and allows himself to be led through the crowds towards one of the chill-out rooms.

The club is expensive and supposedly upmarket, though Dexter rarely pays for anything these days. It’s also a little quiet for a Thursday night, but at least there’s none of that scary techno marching music here, or those scary kids, the bony shaven-headed ones who take their shirts off and leer in your face with their teeth bared, their jaws clenched. Instead there are mainly lots of pleasant, attractive, middle-class people in their twenties, people he belongs with, like Tara’s friends here, lolling around on big cushions, smoking and talking and chewing. He meets Gibbsy, or was it Biggsy, The Lovely Tash and her boyfriend Stu Stewpot, and Spex who wears spectacles and his boyfriend Mark who, disappointingly, seems to be just called Mark, and they all offer him their gum and water and Marlboro Lights. People make a big deal about friendship but it really does seem incredibly easy here, and soon he is imagining everyone hanging out together, going on holiday in a camper van, having barbecues on the beach as the sun goes down, and they seem to like him too, asking him what it’s like, being on TV, asking him what other famous people he’s met, and he tells them some salacious gossip and all the while Tara perches behind him, working on his neck and shoulders with her tiny bony fingers, giving him little shudders of elation until suddenly for some reason there’s a pause in conversation, perhaps five seconds of silence, but just long enough for a flash of sobriety to take him by surprise and he remembers what he has to do tomorrow, no, not tomorrow, today, oh God, later today, and he feels the night’s first shiver of panic and dread.

But it’s okay, it’s fine, because Tara is saying let’s go and dance before it wears off, so they all go and stand in the railway arches in a loose group facing the DJ and the lights, and they dance for a while in the dry ice, grinning and nodding and exchanging that strange puckered frown, eyebrows knitted, but the nodding and grinning are less from elation now, more from a need for reassurance that they’re still having fun, that it isn’t all about to end. Dexter wonders if he should take his shirt off, that sometimes helps, but the moment has passed. Someone nearby shouts ‘tune’ half-heartedly, but no-one’s convinced, there are no tunes. The enemy, self-consciousness, is creeping up on them and Gibbsy or Biggsy is the first to crack, declaring that the music is shit and everyone stops dancing immediately as if a spell has been broken.

As he heads for the exit Dexter imagines the journey home, the menacing crowd of illicit cabbies who will be outside the club, the irrational fear of being murdered, the empty flat in Belsize Park and hours of sleeplessness as he does the washing-up and rearranges his vinyl until the thumping in his head stops and he is able to sleep and face the day, and once again he feels a wave of panic. He needs company. He looks around for a payphone. He could see if Callum’s still awake, but male company is no good to him now. He could call Naomi, but she’ll be with her boyfriend, or Yolande but she’s filming in Barcelona, or Scary Ingrid but she has said that if she sees him again she’ll rip his heart out, or Emma, yes Emma, no not Emma, not in this state, she doesn’t get it, won’t approve. And yet it’s Emma that he wants to see the most. Why isn’t she with him tonight? He has all these things he wants to ask her like why have they never got together, they’d be great together, a team, a pair, Dex and Em, Em and Dex, everybody says so. He is taken aback by this sudden rush of love he feels for Emma, and he decides to get in a cab to Earls Court and tell her how great she is, how he really, really loves her and how sexy she is if only she knew it and why not just do it, just to see what happens, and if none of that works, even if they just sit up and talk, at least it will be better than being alone tonight. Whatever happens, he mustn’t be alone . . .

The phone is in his hand when, thank God, Biggsy or is it Gibbsy, suggests they all go back to his place, it isn’t far, and so they head out of the club, safe in a crowd as they walk back to Coldharbour Lane.

The flat is a large space on top of an old pub. Kitchen and living room, bedroom and bathroom are all laid out without walls, the one concession to privacy being the semi-transparent shower curtain that encircles the free-standing toilet. While Biggsy sorts out his decks everyone else goes and lolls in a great tangled pile on the huge four-poster bed, which is covered in ironic acrylic tiger skins and black synthetic sheets. Above the bed is a semi-ironic mirror, and they stare up at it through heavy eyelids, admiring themselves as they sprawl beneath, heads resting in laps, hands searching around for other hands, listening to the music, young and smart, attractive and successful, in the know and not in their right minds, all of them thinking how great they look and what good friends they’re going to be from now on. There will be picnics on the Heath, and long lazy Sundays in the pub, and Dexter is enjoying himself once more. ‘I think you’re amazing,’ someone says to someone else, but it doesn’t matter who, because they’re all amazing really. People are amazing.

Hours slip by with no-one noticing. Someone is talking about sex now, and they compete to make personal revelations that they’ll regret in the morning. People are kissing, and Tara is still fiddling with his neck, probing the top of his spine with her hard little fingers, but all the drugs have gone now and what was once a relaxing massage is now a series of jabs and pokes, and when he peers up at Tara’s pixie face it suddenly seems pinched and menacing, the mouth too wide, the eyes too round, like some sort of small hairless mammal. He also notices that she’s older than he thought – my God she must be like thirty-eight – and that there’s some sort of white paste between her little teeth, like grouting, and Dexter can no longer control his terror of the day ahead from crawling up his spinal column, dread, fear and shame manifesting itself as a sticky chemical sweat. He sits suddenly, shivers and drags both hands slowly down his face as if physically wiping something away.

It is starting to get light. Blackbirds are singing on Coldharbour Lane and he has the sensation, so vivid that it is almost an hallucination, that he is entirely hollow; empty, like an easter egg. Tara the masseuse has created a great twisted knot of tension between his shoulders, the music has stopped, and someone on the bed is asking for tea, and everyone wants tea, tea, tea, so Dexter disentangles himself and crosses to the immense fridge, the same model as his own, sinister and industrial like something you’d find in a genetics lab. He opens the door and stares blankly inside. A salad is rotting in its bag, the plastic swollen and about to burst. His eyes flicker in their sockets, making his vision judder one last time, and coming back into focus he sees a bottle of vodka. Hiding behind the fridge door he drinks a good two inches, washing it down with a sour gulp of apple juice that fizzes repulsively on his tongue. He winces, swallows the liquid down, taking his chewing gum with it. Someone calls for tea again. He finds the milk carton, weighs it in his hand, has an idea.

‘There’s no milk!’ he shouts.

‘Should be,’ shouts Gibbsy or Biggsy.

‘Nope. Empty. I’ll go and get some.’ He puts the full, unopened carton back in the fridge. ‘Back in five minutes. Anyone want anything? Ciggies? Gum?’ There’s no reply from his new friends, so he quietly lets himself out, then tumbles down the stairs and out onto the street, barrelling through the door as if coming up for air then breaking into a run, never to see any of these amazing people ever again.

On Electric Avenue he finds a mini-cab office. On the 15th of July 1993 the sun rises at 05.01 a.m. and already Dexter Mayhew is in hell.

She owns furniture too. At twenty-seven she is too old to live like a student anymore, and she now owns a bed, a large wrought-iron and wickerwork affair bought in the summer sales from a colonial-themed store on the Tottenham Court Road. Branded the ‘Tahiti’ it occupies the whole bedroom of her flat off the Earls Court Road. The duvet is goosedown, the sheets are Egyptian cotton which is, the saleswoman informed her, the very best cotton known to man, and all of this signifies a new era of order, independence and maturity. On Sunday mornings she lounges alone on the Tahiti as if it were a raft, and listens to Porgy and Bess and Mazzy Star, old Tom Waits and a quaintly crackling vinyl album of Bach’s Cello Suites. She drinks pints of coffee and writes little observations and ideas for stories with her best fountain pen on the linen-white pages of expensive notebooks. Sometimes, when it’s going badly, she wonders if what she believes to be a love of the written word is really just a fetish for stationery. The true writer, the born writer, will scribble words on scraps of litter, the back of a bus tickets, on the wall of a cell. Emma is lost on anything less than 120gsm.

But at other times she finds herself writing happily for hours, as if the words had been there all along, content and alone in her one-bedroom flat. Not that she’s lonely, or at least not very often. She goes out four nights a week, and could go out more often if she wanted to. Old friendships are holding up, and there are new ones too, with her fellow students from the Teacher Training College. At the weekend she makes full use of the listing magazines, everything except the clubbing section, which might as well be written in runic script for all its talk of shirts-off-up-for-it crowds. She suspects that she will never, ever dance in her bra in a room full of foam, and that’s fine. Instead she visits independent cinemas and galleries with friends, or sometimes they hire cottages, go for hearty walks in the country and pretend they live there. People tell her she looks better, more confident. She has thrown away the velour scrunchies, the cigarettes, the take-away menus. She owns a cafetiere and for the first time in her life she is considering investing in some pot-pourri.

The clock radio clicks on but she allows herself to lie in bed and listen to the news headlines. John Smith is in conflict with the unions, and she feels torn because she likes John Smith, who seems the right sort, headmasterly and wise. Even his name suggests solid man-of-the-people principles, and she reminds herself once again to look into the possibility of joining the Labour Party; perhaps it will ease her conscience now that her CND membership has lapsed. Not that she doesn’t sympathise with their aims, but demanding multilateral disarmament has started to seem a bit naïve, a bit like demanding universal kindness.

At twenty-seven, Emma wonders if she’s getting old. She used to pride herself on her refusal to see two sides of an argument, but increasingly she accepts that issues are more ambiguous and complicated than she once thought. Certainly she doesn’t understand the next two news items, which concern the Maastricht Treaty and the war in Yugoslavia. Shouldn’t she have an opinion, take a side, boycott something? At least with apartheid you knew where you stood. Now there’s a war in Europe and she has personally done absolutely nothing to stop it. Too busy shopping for furniture. Unsettled, she throws off her new duvet and slides into the tiny corridor of space between the side of the bed and the walls, shuffling sideways to the hall and into the tiny bathroom, which she never has to wait for because she lives alone. She drops her t-shirt into the wicker laundry basket – a great deal of wicker in her life since that fateful summer sale on Tottenham Court Road – puts on her old spectacles and stands naked in front of the mirror, her shoulders pushed back. Could be worse, she thinks and steps into the shower.

She eats breakfast looking out of the window. The flat is six floors up in a red brick mansion block and the view is of an identical red brick mansion block. She doesn’t care for Earls Court particularly; shabby and temporary, it’s like living in London’s spare room. The rent on a single flat is insane too, and she may have to get somewhere cheaper when she gets her first teaching job, but for the moment she loves it here, a long way from Loco Caliente and the gritty social realism of the box room in Clapton. Free of Tilly Killick after six years together, she loves knowing that there’ll be no underwear lurking greyly in the kitchen sink, no teeth marks in the Cheddar.

Because she is no longer ashamed of how she lives, she has even allowed her parents to visit her, Jim and Sue occupying the Tahiti while Emma slept on the sofa. For three fraught days they commented endlessly on London’s ethnic mix and the cost of a cup of tea, and although they didn’t actually express their approval of her new lifestyle at least her mother no longer suggests that she come back to Leeds to work for the Gas Board. ‘Well done, Emmy,’ her father had whispered as she saw them onto the train at King’s Cross, but well done for what? For finally living like a grown-up perhaps.

Of course there’s still no boyfriend, but she doesn’t mind. Occasionally, very occasionally, say at four o’clock in the afternoon on a wet Sunday, she feels panic-stricken and almost breathless with loneliness. Once or twice she has been known to pick up the phone to check that it isn’t broken. Sometimes she thinks how nice it would be to be woken by a call in the night: ‘get in a taxi now’ or ‘I need to see you, we need to talk’. But at the best of times she feels like a character in a Muriel Spark novel – independent, bookish, sharp-minded, secretly romantic. At twenty-seven years old Emma Morley has a double-first in English and History, a new bed, a two-roomed flat in Earls Court, a great many friends, and a post-graduate certificate in education. If the interview goes well today she will have a job teaching English and Drama, subjects that she knows and loves. She is on the brink of a new career as an inspiring teacher and finally, finally, there is some order in her life.

There is also a date.