Stone Cold

“Anyway, that’s how he was with me and I guess Mum’s scared of him because she didn’t stick up for me, so I left. You’d have left too, in my place. Anybody would. It’s called making yourself homeless. And so here I am sitting in this doorway which is now my bedroom, hoping some kind punter will give me a bit of small change so I can eat.”

Here, Link speaks directly to the reader, creating an immediate sense of intimacy and making his experience more relatable. He highlights the randomness of living unhoused, implying that it can happen to anyone. The statement “It’s called making yourself homeless” reflects the complexity of his decision to leave home as the result of his mother’s boyfriend Vince creating an emotionally abusive situation for her children.

“Shelter. Shelter. Shelter. It’s starting to look like an authentic signature already. I realize of course that all this has precious little to do with recruiting, and perhaps you think I’m stalling.”

This quote showcases Shelter’s disturbed, methodical mind. His repetition of the word “Shelter” as he practices signing it shows his desire to reinvent himself and build a new identity. His use of military language such as “recruiting” suggests that he views his violent actions as part of a larger mission. At this point, readers are left confused about his intentions.

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“Sad, is what it is. Sad and scary. You’re leaving a place you know and heading into the unknown with nothing to protect you. No money. No prospect of work. No address where folks will make you welcome. You’re going to find yourself living among hard, violent people, some of whom are deranged. You’re going to be at risk every minute, day and night. Especially night.”

This quote thematically conveys The Psychological Impact of Living Unhoused: It paints a bleak picture of the dangers and uncertainties that face those who live unhoused. The words “nothing to protect you” express how vulnerable Link is now that he’s alone and without resources. The reference to the “hard, violent “ and “deranged” people foreshadows Shelter’s actions in the novel.

“They’re not going to stop me, though. Oh, no. They abolished National Service, and they’ve put me where I can’t turn garbage into men any more, but I can clean up the garbage, can’t I? They can’t stop me doing that, and I will. By golly I will.”

This quote reveals Shelter’s delusion and the dangerous nature of his character. Shelter expresses his anger at the changes in society, such as the end of National Service. He sees himself as someone who can “clean up” society by getting rid of what he considers “garbage”: the unhoused. His use of dehumanizing language reveals how he justifies his actions.

“It is 19.00 hours and this has been a most satisfactory day. Most satisfactory. The secret of victory in any campaign is planning and preparation. My planning has been meticulous, and my preparations are now complete.

I have acquired a cat. This was my finishing touch. I can’t abide the arse-licking, hair-scattering beasts myself, but you have to admit there’s something reassuring about a home with a cat in it. A cat speaks of warmth, comfort, placid domesticity. A man who keeps a cat can’t possibly mean anybody harm, can he?”

Here, Shelter uses military language to describe his actions as a well-planned mission. He manipulates appearances by getting a cat to seem more harmless. The cat represents Shelter’s attempt to mask his true violent nature by creating an image of warmth and domesticity. The contrast between his outward and his internal violence is a key feature of his character.

“I strode out of the station with my backpack and bedroll, and it felt like a new beginning. This was London, wasn’t it? The centre, where it all happens. It’s big, it’s fast, and it’s full of opportunities. Nobody knows you. Where you’re from and what’s gone before—that’s your business. All that stuff with Vince—it never happened. It’s a clean sheet—you can invent your own past and call yourself anything you choose.”

For Link, London represents an opportunity to reinvent himself, away from his past. The idea of a “clean sheet” suggests the appeal of starting fresh. His excitement about the possibilities of the city shows his hope for a better life. However, this optimism stands in sharp contrast to the grim reality that awaits him.

“I couldn’t believe that in a city the size of London it might be impossible for a guy to find that sort of work. I mean, the place is packed with restaurants, caffs and kebab houses, not counting all the pubs. During my two weeks in Wharfedale Road I must’ve tried two hundred of them, starting with those in the King’s Cross area. I got nowhere. Nowhere at all.”

Despite the city’s size and abundance of businesses, Link can’t find work. This challenges the stereotype that unhoused people are lazy or unwilling to work. Link’s effort to secure a job critiques the idea that opportunity is easy to come by in large cities, pointing to the invisible struggles and systemic barriers.

“So why, if I’m disposing of these druggy dossers whose activities are dragging the country down, am I a murderer? It’s all nonsense. I’m not a murderer at all—I’m a soldier out of uniform, killing for his country.”

Shelter frames his killings as a patriotic duty, comparing himself to a soldier on a mission, and dehumanizes unhoused people, calling them “druggy dossers.” This highlights his delusion and his twisted morality. This passage also raises moral questions about how someone can believe they’re doing good while committing atrocities.

“There was a look in her eyes like a hunted animal. ‘Yes. I went to the toilet. Why?’

‘There’s been a series of thefts. I’m afraid I must ask you to return with me to the hotel.’

‘Thefts?’ She looked desperate. ‘I don’t know anything about thefts. I told you—I needed the toilet. I was only there for a minute.’ Poor cow.”

In this passage, Shelter uses animalistic language to describe an unhoused woman, comparing her to a “hunted animal” and a “cow.” This reflects his perception of the unhoused as less than human, stripping them of their individuality and worth. Shelter’s language illustrates how he justifies his actions by dehumanizing his victims, making it easier for him to rationalize his behavior.

“It felt good to be with someone. Now, if anybody else turned up it wouldn’t matter. There were two of us.”

This quote introduces the theme of Friendship and Trust. The relief and comfort Link feels in having companionship shows his deep human need for connection, particularly in the harsh environment he lives in. Ginger’s presence gives Link a sense of safety and belonging.

“Mum. Wonder what Mum’s doing? Wonder if she wonders where I am? How would she feel if she knew? I miss you, Mum. Do you miss me? Does anybody?”

This quote thematically explores Link’s experience of The Psychological Impact of Living Unhoused. His repeated questions about whether his mother misses him reveal his emotional pain and insecurity. This inner monologue captures his vulnerability and the toll of being disconnected from loved ones, feeling forgotten and unimportant.

“Naturally, I’ve arranged them the Army way—tallest on the left, shortest on the right and they look quite smart—especially now that I’ve cut their hair. I’ll have to try to get them some boots, or at least proper shoes—something which will take a shine. At the moment they’re all wearing those manky trainer things.”

This passage showcases Shelter’s obsession with military order. The meticulous arrangement of his victims according to military standards reinforces the military motif and his delusions of discipline. His desire to dress his victims properly and cut their hair reveals his interior obsession: Shelter has a need for control over every detail.

“I started thinking about how once, years ago, there was this baby, and his mum and dad loved him like mums and dads do, and they gave him a name and dreamed about what he’d be when he grew up and what his life would be like and all that, and how they never dreamed he’d be called Doggy Bag and live on scraps and be so unimportant that he’d vanish and no one would care.”

This quote reflects the dehumanization and loss of identity facing unhoused people. Link reflects on the man nicknamed “Doggy Bag” and how far removed this person’s existence is from the dreams his parents once had for him. The use of a nickname like “Doggy Bag” illustrates how society strips the unhoused of their dignity. This passage reveals Link’s empathy and introspection while also critiquing the societal indifference that allows such dehumanization.

“We grew hungry. Really hungry. The cold seems to settle in your bones when there’s nothing in your stomach. You can’t shift it. We tried everything—stamping our feet, running on the spot, blowing into our hands, huddling together in the subway. It was no use. All we could do was keep moving through sleepless nights and days that merged into one another till we no longer knew what day it was or whether it was morning or evening.”

This quote conveys the theme of The Psychological Impact of Living Unhoused. The imagery of sleepless nights and of the effects of hunger and cold settling into Link’s and Ginger’s bones emphasizes the discomfort and suffering that unhoused people experience. Their repeated, futile attempts to keep warm and the blurring of time reflect the disorienting nature of life on the streets.

“The quickest way to lose a mate is to make yourself a drag, so I pretended I didn’t give a toss. I did, though. It hurt like hell. I walked him along to the station and said, ‘Have a nice day.’ He grinned and nodded and the stream of early travellers swept him away and I never saw him again.”

Here, Link hides his true feelings to avoid Ginger’s seeing him as a burden. He pretends not to care, but it’s clear that he’s deeply affected by saying goodbye to Ginger. This moment shows Link’s internal struggle between wanting connection and not wanting to appear weak. In addition, it’s a powerful moment because Link doesn’t realize that this will be the last time he’ll ever see Ginger.

“That was Laughing Boy One. A brilliant operation, but I didn’t hang about congratulating myself. I tidied up a bit, then it was time to launch Laughing Boy Two. I’d planned to use the same trick in reverse, but when I got to the High Street Link the Stink had gone. I mooched about a bit but there was no sign of him.

Still, never mind, eh? There’s always tomorrow. Unless you’re Ginger, I mean.”

This quote showcases Shelter’s cruelty and twisted mindset. His reference to his “operations” as “Laughing Boy One” and “Laughing Boy Two,” and to Link as “Link the Stink,” dehumanizes his victims. Shelter’s satisfaction with his “brilliant operation” reveals his lack of empathy, his calculated approach to murder, and his complete disregard for human life.

“I had enough dosh for two coffees and meant to offer her one, but she moved off without saying goodbye and I thought, that’s the secret. Don’t let anybody close. Don’t depend on anyone, ‘cause they’ll only let you down.”

Link’s growing disillusionment with Friendship and Trust is apparent here. Saddened by Ginger’s disappearance, he decides it’s safer to keep people at a distance. His realization that depending on others leads to disappointment thematically reflects The Psychological Impact of Living Unhoused: Link resolves to avoid forming new friendships, a coping mechanism to protect himself from hurt.

“She was dossing, I could see that, but she was the best-looking dosser I’d ever seen. I noticed her hair first. Chestnut, spilling from under her green knitted cap like fire. Her eyes were terrific too—dark and wide and shining like she’d just had twelve hours’ kip. She had on a battered waxed jacket, torn muddy jeans and broken-down trainers, but she soared above her scruffiness—her looks and bearing sort of cancelled it out.”

This quote introduces a new character: Gail. Despite her rough appearance, Link is drawn to her beauty and presence. He focuses on her eyes, “shining like she’d just had twelve hours’ kip,” implying that she has an energy and freshness to her despite her situation. This choice of imagery suggests that there is a vitality in her and foreshadows his later sense that her demeanor doesn’t fit her identity as an unhoused person and her eventually admitting her true identity to him at the novel’s end.

“After a bit you start thinking of yourself as a different creature—a creature that lives beside ordinary people but isn’t one of them. So finding myself suddenly sitting in this caff, chatting with a fantastic-looking girl, felt really strange. For the first time in months I wasn’t some sort of freak.”

This quote captures the theme of The Psychological Impact of Living Unhoused and its effects on Link. After living unhoused for so long, he begins to see himself as separate from “ordinary” people, a “different creature.” However, chatting with Gail, he experiences a rare moment when he doesn’t feel like an outsider. This shows how living unhoused has affected his self-worth, and the connection with Gail gives him a brief sense of being human again.

“So the business continues. Volunteers swell the ranks. And they are volunteers, you know—nobody forces ‘em to come. They come for what recruits have always come for—an end to hunger and a roof over their heads, and they get it. None of my lads is hungry, and they’ve got a roof over their heads and a floor as well. I sometimes think I spoil ‘em.”

Shelter reveals his twisted mindset through his words. The phrase “business continues” suggests that he views his actions as part of a calculated operation. He refers to the unhoused as “volunteers,” which is a manipulative term: He tries to give the impression that unhoused people are willingly part of his plans. His comment, “I sometimes think I spoil ‘em,” suggests that Shelter believes he’s doing them a favor.

“I was thinking about Gail too—how she’d changed my life for the better, but how, whenever I thought of her, a faint unease would stir somewhere deep inside—a sensation I strove to smother or ignore. A cool chick, Nick had called her, but it wasn’t quite that. She was cool, but there was something else—a sort of poise; a self-possession which jarred with her circumstances. It seems a funny thing to say, but she wasn’t screwed up enough. I must have known, too, deep down, but I kept shoving it away. If it was a dream it was a warm dream, and I didn’t want to wake.”

Here, Link reflects on his feelings for Gail, and there is a sense of both admiration and discomfort. He notices “a sort of poise” and “self-possession,” which make her stand out from the other unhoused people he’s met: These qualities don’t align with the struggles and hardships Gail should be facing. His intuition tells him that something isn’t right. Still, Link suppresses his doubts because he doesn’t want to face the possibility that something is off, underscoring his longing for Friendship and Trust.

“I thought, this is your monster? Your serial killer? A guy who’ll stand in shirtsleeves in the rain, calling his cat? Aw, come on!”

Shelter’s behavior tricks Link. He expects a monster to be cold and ruthless but instead sees a man standing in the rain, calling for his cat. This moment shows how appearances can deceive and how dangerous it is to underestimate someone like Shelter, who hides his true nature behind ordinary behavior.

“I was so distracted with anger and grief I hardly knew what I was saying. I remember asking Gavin why he didn’t get some shots of the victims and sell them to the parents. Gail was in tears by this time, and so was I. It ended with her shoving a wad of banknotes in my hand. ‘Good luck, Link,’ she choked. ‘I’m really sorry.’ Gavin was starting his car. She got in with him and I found myself standing in a haze of blue smoke, watching her exit my life.”

Link’s thoughts here highlight the theme of Friendship and Trust. He’s overwhelmed by anger, as he feels Gail has betrayed his trust. His suggestion to sell photos of the victims to their parents reveals his frustration with the media’s exploitation of tragedy. Gail offers Link money, but the gesture feels hollow to him. Her departure with Gavin marks the end of their friendship.