Cover image for A question of attraction
A question of attraction
Nicholls, David, 1966-
Personal Author:
First U.S. edition.
Publication Information:
New York : Villard Books, [2003]

Physical Description:
338 pages ; 24 cm
Program Information:
Accelerated Reader AR UG 6.3 17.0 86677.
Geographic Term:
Format :


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X Adult Fiction Central Closed Stacks
X Adult Fiction Central Library

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The year is 1985. Brian Jackson, a working-class kid on full scholarship, has started his first term at university. The usual freshman anxiety over fitting in is compounded by the gap between his own humble origins and the privileged backgrounds of his better-off classmates. Brian also has a dark secret---a long-held, burning ambition (stoked by his late father) to appear on the wildly popular TV quiz show University Challenge---and now, finally, it seems the dream is about to become reality. He¿s made the school team, and they¿ve completed the qualifying rounds and are limbering up for their first televised match. (And, what¿s more, he¿s fallen head over heels for one of his teammates, the beautiful, brainy, and intimidatingly posh Alice Harbinson.) Life seems perfect and triumph inevitable---but as his world opens up, Brian learns that a little knowledge can be a dangerous thing. Reminiscent of such classic coming-of-age works as The Graduate and Goodbye, Columbus, A Question of Attraction marks the literary debut of David Nicholls, one of England¿s most highly praised television writers. It is an unforgettable story of love, class, finding one¿s place in the world, and the all-important difference between knowledge and wisdom.

Author Notes

David Nicholls was born in 1966 in Eastleigh, Hampshire, United Kingdom. He studied English literature and drama at the University of Bristol. When he graduated he won a scholarship to study at the American Musical and Dramatic Academy in New York. He appeared in plays at the Battersea Arts Centre, the Finborough, West Yorkshire Playhouse, Birmingham Rep, and had a three year stint at the Royal National Theatre, understudying and playing small parts.

During this period he took a job at BBC Radio Drama as a script reader/researcher and he developed an adaptation of Sam Shepard's stage-play Simpatico with the director Matthew Warchus. He also wrote his first original script, Waiting, which was later optioned by the BBC.

Simpatico was turned into a feature film in 1999 which allowed him to start writing full-time. I Saw You won best single play at the annual BANFF television festival. He has been twice nominated for BAFTA awards.

His first novel, Starter for 10, was featured on the first Richard and Judy Book Club. His other novels include The Understudy, One Day, which won the Galaxy Book Award, and Us.

(Bowker Author Biography)

Reviews 3

Booklist Review

British scholarship student Brianackson has high hopes for his first term at university. He wants to go to classical-music concerts and know when to clap; conduct reasoned debates, saying things like, Define your terms ; eat exotic foods that sound barely edible; and make love to sophisticated, intimidating women during daylight or with the light on, even. Most of all, he wants to appear with his school team on the TV quiz show University Challenge, a desire born of fond memories of watching the program with his late father. Unfortunately a few things stand in his way--his humble background is no match for that of his posh peers, he is overly fond of gin and lager, and he is engaged in an ongoing medicated soap opera with his severely blemished skin. But Brian is nothing if not brave, and he throws himself into his quest for wider experience with abandon, landing a spot on the quiz team and falling head over heels for beautiful, wealthy Alice. In his first novel, which has all the hallmarks of a classic coming-of-age story, Nicholls creates one droll, perfect set piece after another. From Brian'sames Brown-like dance moves to his excruciating encounter with Alice's naked parents, this is sublime and brilliant comedy. --Joanne Wilkinson Copyright 2004 Booklist

Publisher's Weekly Review

This entertaining first novel by an English television writer tells the story of Brian Jackson, an unworldly but affable college freshman whose main ambition in life is to compete on the BBC quiz show University Challenge (a Jeopardy-like game show in which schools compete against each other; in the U.K., the show is a national institution). Between securing one of the four coveted spots on his school's team for the show, Brian chases after two girls: Alice, a beautiful but aloof actress who is also on the squad, and Rebecca, an artsy intellectual who thinks Brian's ambition to be on the show is silly and bourgeois. A visit from Brian's hometown pal Spencer brings the class tensions roiling beneath the novel's surface to the fore, but Nicholls is more interested in comedy than pathos. Some of the humor is very British ("I'm sharing my house with a right pair of bloody Ruperts"), and Nicholls waxes overly nostalgic for his 1980s setting, but the writing is often sharp and funny (number four on Brian's list of New Year's resolutions: "Become lightly muscled"). Unexpected developments at the final University Challenge match bring the novel to a rather unlikely conclusion, but readers will root for hapless, engaging Brian as he struggles his way out of adolescence. (Apr. 13) (c) Copyright PWxyz, LLC. All rights reserved

Library Journal Review

For Brian Jackson, college holds the key to becoming a truly witty, erudite, and charming fellow. Unfortunately, he is basically a geeky, pimply, and na?ve guy who listens to Kate Bush and secretly aspires to TV college quiz fame. He bumbles his way through his first year falling for the absolutely wrong girl, finding himself at odds with his childhood friends, and dealing with his widowed mother's newly revived love life. While he manages to survive an encounter with a friend's naked parents, his appearance on the quizz show University Challenge ends in ignominy, resulting in a transfer and a new start with the right girl. Recounted in the first person with good-natured, self-deprecating humor, this first novel tells a delightful coming-of-age story. Recommended for most public libraries.-Jan Blodgett, Davidson Coll. Lib., NC (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.



1 QUESTION: Stepson to Robert Dudley and onetime favorite of Elizabeth I, which nobleman led a poorly planned and unsuccessful revolt against the queen, and was subsequently executed in 1601? ANSWER: Essex. All young people worry about things, it's a natural and inevitable part of growing up, and at the age of sixteen my greatest anxiety in life was that I'd never again achieve anything as good, or pure, or noble, or true, as my O-level exam results. I didn't make a big deal about them at the time, of course; I didn't frame the certificates or anything weird like that, and I won't go into the actual grades here, because then it just gets competitive, but I definitely liked having them: qualifications. Sixteen years old, and the first time I'd ever felt qualified for anything. Of course, all that was a long, long time ago. I'm eighteen now, and I like to think I'm a lot wiser and cooler about these things. So my A-levels are, comparatively, no big deal. Besides, the notion that you can somehow quantify intelligence by some ridiculous, antiquated system of written examinations is obviously specious. Having said that, they were Langley Street Comprehensive School's best A-level results of 1985, the best for fifteen years in fact, three As and a B, that's nineteen points--there, I've said it now--but I really, honestly don't believe that's particularly relevant, I just mention them in passing. And, anyway, compared to other qualities, like physical courage, or popularity, or good looks, or clear skin, or an active sex life, just knowing a whole load of stuff isn't actually that important. But like my dad used to say, the crucial thing about an education is the opportunity that it brings, the doors it opens, because otherwise knowledge, in and of itself, is a blind alley, especially from where I'm sitting, here, on a late-September Wednesday afternoon, in a factory that makes toasters. I've spent the holiday working in the dispatch department of Ashworth Electricals, which means I'm responsible for putting the toasters in their boxes before they're sent out to the retailers. Of course, there are only so many ways you can put a toaster in a box, so it's been a pretty dull couple of months over all, but, on the plus side, it's £1.85 an hour, which isn't bad, and as much toast as you can eat. As it's my last day here, I've been keeping an eye open for the surreptitious passing round of the good-bye card and the collection for the leaving present, and waiting to find out which pub we're going to for farewell drinks, but it's 6:15 now, so I think it's probably safe to assume that everyone's just gone home. Just as well, though, because I had other plans anyway, so I get my stuff, grab a handful of Bics and a roll of tape from the stationery cupboard, and head off to the pier, where I'm meeting Spencer and Tone. At 2,360 yards, or 2.158 kilometers, Southend Pier is officially the longest pier in the world. This is probably a little bit too long, to be honest, especially when you're carrying a lot of lager. We've got twelve large cans of Skol, sweet-and-sour pork balls, special fried rice and a portion of chips with curry sauce--flavors from around the world--but by the time we reach the end of the pier, the lagers are warm and the takeaway's cold. As this is a special celebration Tone's also had to lug his ghetto blaster, which is the size of a small wardrobe and, it's fair to say, will probably never blast a ghetto, unless you count Shoeburyness. At the moment it's playing Tone's homemade compilation The Best of the Zep as we settle down on a bench at the end and watch as the sun sets majestically over the petrol refinery. "You're not going to turn into a wanker, are you?" says Tone, opening a can of lager. "What d'you mean?" "He means you're not going to get all studenty on us," says Spencer. "Well, I am a student. I mean, I will be, so . . ." "No, but I mean you're not going to get all twatty and up-your-own-arse and come home at Christmas in a gown, talking Latin and saying 'One does' and 'One thinks' and all that--" "Yeah, Tone, that's exactly what I'm going to do." "Well, don't. Because you're enough of a twat already without becoming even more of a twat." I get called "twat" a lot by Tone, either "twat" or "gaylord," but the trick is to make a sort of linguistic adjustment, and try to think of it as a term of affection, in the same way as some couples say "dear" or "darling." Tone's just started a job in the warehouse in Currys, and is starting to develop a nice little sideline in knocked-off portable hi-fis, like the one we're listening to now. It's his Led Zeppelin tape too; Tone likes to call himself a "metallist," which sounds more vocational than "rocker" or "heavy-metal fan." He dresses like a metallist too; lots of light blue denim, and long, flicked-back lustrous blond hair, like an effeminate Viking. Tone's hair is actually the only effeminate thing about him. This is, after all, a man steeped in brutal violence. The mark of a successful evening out with Tone is that you get home without having had your head flushed down a toilet. It's "Stairway to Heaven" now. "Do we have to listen to this fucking hippie bollocks, Tone?" says Spencer. "This is the Zep, Spence." "I know it's the Zep, Tone, that's why I want you to turn the fucking thing off." "But the Zep rule." "Why? Because you say they rule?" "No, because they were a massively influential and important band." "They're singing about pixies, Tony. It's embarrassing. . . ." "Not pixies . . ." "Elves then," I say. "It's not just pixies and elves, it's Tolkien, it's literature. . . ." Tone loves that stuff; books with maps in the front, and cover illustrations of big, scary women in chain mail underwear, holding broadswords, the kind of woman that, in an ideal world, he'd marry. Which, in Southend, is actually a lot more feasible than you'd think. "What's the difference between a pixie and an elf, anyway?" asks Spencer. "Dunno. Ask Jackson, he's the cunt with the qualifications." "I dunno, Tone," I say. The guitar solo has kicked in and Spencer's wincing now. "Does it ever end or does it just go on and on and on and on. . . ." "It's seven minutes, thirty-two seconds of pure genius." "Pure torture," I say. "Why's it always your choice, anyway?" "Because it's my ghetto blaster--" "Which you nicked. Technically, it still belongs to Currys." "Yeah, but I buy the batteries. . . ." "No, you nick the batteries." "Not these, I bought these." "So how much were the batteries, then?" "One pound ninety-eight." "So if I give you sixty-six pence, can we have something decent on?" "What, like Kate Bush? All right, then, Jackson, let's put some Kate Bush on then, all have a really good time listening to Kate Bush, all have a really, really good dance and a singalong to Kate Bush. . . ." And while Tone and I are bickering, Spencer leans over to the ghetto blaster, nonchalantly ejects The Best of the Zep, and skims it far out to sea. Tone shouts "Oi!" and throws his can of lager after him as they both run off down the pier. It's best not to get too involved in the fights. Tone tends to get a little bit out of control, possessed by the spirit of Odin or something, and if I get involved, it will inevitably end with Spencer sitting on my arms while Tone farts in my face, so I just sit very still, drink my lager and watch Tone trying to hoist Spencer's legs over the pier railings. Even though it's September, there's the beginning of a damp chill in the evening air, a sense of summer coming to an end, and I'm glad I wore my army-surplus greatcoat. I've always hated summer; the way the sun shines on the TV screen in the afternoons, and the relentless pressure to wear T-shirts and shorts. I hate T-shirt and shorts. If I were to stand outside a chemist in T-shirt and shorts, I guarantee some old dear would try and put a coin in the top of my head. No, what I'm really looking forward to is the autumn, to kicking through leaves on the way to a lecture, talking excitedly about the metaphysical poets with a girl called Emily, or Katherine, or Françoise, or something, with black opaque woolly tights and a Louise Brooks bob, then going back to her tiny attic room and making love in front of her electric bar fire. Afterward we'll read T. S. Eliot aloud and drink fine vintage port out of tiny little glasses while listening to Miles Davis. That's what I imagine it's going to be like, anyway. The University Experience. I like the word experience. It makes it sound like a ride at Alton Towers. The fight's over, and Tone is burning off his excess aggression by throwing sweet-and-sour pork balls at the seagulls. Spencer walks back, tucking his shirt in, sits down next to me and opens another can of lager. Spencer really has a way with a can of lager; watching him, you could almost imagine he's drinking from a martini glass. Spencer's the person I'll miss the most. He isn't going to university, even though he's easily the cleverest person I've ever met, as well as the best-looking, and the hardest, and the coolest. I wouldn't tell him any of that, of course, because it would sound a bit creepy, but there's no need, as he clearly knows it, anyway. He could have gone to university if he'd really wanted to, but he fouled up his exams; not deliberately, as such, but everyone could see him doing it. He was at the desk next to me for the English set-text paper, and you could tell by the movements of his pen that he wasn't writing, he was drawing. For his Shakespeare question he drew The Merry Wives of Windsor, and for poetry he did a picture entitled Wilfred Owen Experiences the Horror of the Trenches at Firsthand. I kept trying to catch his eye, so I could give him a friendly "Hey, come on, mate" kind of look, but he just kept his head down, drawing away, and then after an hour he got up, and walked out, winking at me on the way; not a cocky wink, a slightly tearful, red-eyed wink, like a plucky Tommy on his way to the firing squad. After that, he just stopped coming in for exams. In private, the phrase "nervous breakdown" was mentioned a couple of times, but Spencer's far too cool to have a nervous breakdown. Or, if he did, he'd make the nervous breakdown seem cool. The way I see it, that whole Jack Kerouac, tortured existential thing is fine up to a point, but not if it's going to interfere with your grades. "So, what are you going to do, Spence?" He narrows his eyes, looks at me. "What d'you mean, 'do'?" "You know. Job-wise." "I've got a job." Spencer's signing on, but also working cash-in-hand at the all-night petrol station on the A127. "I know you've got a job. But in the future . . ." Spencer looks out across the estuary, and I start to regret raising the subject. "Your problem, Brian, my friend, is that you underestimate the appeal of life in an all-night petrol station. I get to eat as much confectionery as I want. Road atlases to read. Interesting fumes to inhale. Free wineglasses . . ." He takes a long swig of lager, and looks for a way to change the subject. Reaching into his Harrington, he pulls out a cassette tape with a handwritten inlay card: "I made this for you. So you can play it in front of your new university friends, trick them into thinking you've got taste." I take the tape, which has "Bri's College Compilation" written down the spine in careful 3-D capitals. Spencer's a brilliant artist. "This is fantastic, Spencer, thanks, mate. . . ." "All right, Jackson, it's only a sixty-nine-pee tape from the market, no need to cry about it." He says that, but we're both aware that a ninety-minute compilation tape represents a good three hours of work, more if you're going to design an inlay card. "Put it on, will you? Before the muppet comes back." I put the tape in, press play, and it's Curtis Mayfield singing "Move On Up." Spencer was a mod, but has moved on to vintage soul; Al Green, Gil Scott-Heron, that kind of thing. Spencer's so cool he even likes jazz. Not just Sade and the Style Council, either; proper jazz, the irritating, boring stuff. We sit and listen for a while. Tone's now trying to wheedle money out of the telescopes with the flick knife he bought on a school trip to Calais, and Spencer and I watch like the indulgent parents of a child with acute behavioral problems. "So are you coming back at weekends?" asks Spencer. "I don't know. I expect so. Not every weekend." "Make sure you do, though, won't you? Otherwise I'll just be stuck here on my own with Conan the Barbarian. . . ." And Spencer nods toward Tone, who's now taking running jumps and drop-kicking the telescope. "Shouldn't we make a toast or something?" I say. Spencer curls his lip. "A toast? What for?" "You know--to the future or something?" Spencer sighs, and taps his can against mine. "To the future. Here's hoping your skin clears up." "Piss off, Spencer," I say. "Piss off, Brian," he says, but laughing. By the time we're on to the last cans of lager, we're pretty drunk, so we lie on our backs, not saying anything, just listening to the sea and Otis Redding singing "Try a Little Tenderness," and on this clear late summer night, looking up at the stars, with my best mates either side of me, it feels as if real life is beginning at last, and that absolutely everything is possible. I want to be able to listen to recordings of piano sonatas and know who's playing. I want to go to classical concerts and know when you're meant to clap. I want to be able to "get" modern jazz without it all sounding like this terrible mistake, and I want to know who the Velvet Underground are exactly. I want to be fully engaged in the World of Ideas, I want to understand complex economics, and what people see in Bob Dylan. I want to possess radical but humane and well-informed political ideals, and I want to hold passionate but reasoned debates round wooden kitchen tables, saying things like "Define your terms!" and "Your premise is patently specious!" and then suddenly to discover that the sun's come up and we've been talking all night. I want to use words like eponymous and solipsistic and utilitarian with confidence. I want to learn to appreciate fine wines, and exotic liqueurs, and single malts, and learn how to drink them without turning into a complete prat, and to eat strange and exotic foods, plovers' eggs and lobster thermidor, things that sound barely edible, or that I can't pronounce. I want to make love to beautiful, sophisticated, intimidating women, during daylight or with the light on, even, and sober, and without fear, and I want to be able to speak many languages fluently, and maybe even a dead language or two, and to carry a small leather-bound notebook in which I jot incisive thoughts and observations, and the occasional line of verse. Most of all I want to read books; books thick as a brick, leather-bound books with incredibly thin paper and those purple ribbons to mark where you left off; cheap, dusty, secondhand books of collected verse, incredibly expensive, imported books of incomprehensible essays from foreign universities. At some point, I'd like to have an original idea. And I'd like to be fancied, or maybe loved, even, but I'll wait and see. And as for a job, I'm not sure exactly what I want yet, but something that I don't despise, and that doesn't make me ill, and that means I don't have to worry about money all the time. And all of these are the things that a university education's going to give me. We finish off the lager, then things get out of hand. Tone throws my shoes into the sea, and I have to walk home in my socks. Excerpted from A Question of Attraction by David Nicholls All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.