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The Professor
Charlotte Stein
Esther wrote down her fantasies about her tutor, but she never intended for him to read them.Once they cross the line there's no going back.Esther has always been an average student. She coasts through life on a sea of Bs, until a fatal mistake jolts her out of mediocrity and into something else entirely. She accidentally leaves a story in an essay for her teacher — one that no teacher should ever see. And especially not Professor Halstrom.His lectures are legendary, and he is formidable. But most of all: he is devastatingly handsome, and now he has Esther’s most private and erotic fantasies. The stage is set for humiliation. Until the Professor presents her with a choice. He offers private tuition at his home.And at first that's exactly what she does, sure there remains a line between teacher and student that she would never cross it and that someone like Halstrom never would. He is far too cold and sharp, and so invested in all of his rules that breaking them seems unthinkable.A single touch would be too much.A wrong word could ignite an inferno.So what happens when both of them want to burn?
The Professor
CHARLOTTE STEIN
A division of HarperCollinsPublishers
www.harpercollins.co.uk (http://www.harpercollins.co.uk)
Copyright (#ua302d615-4fcb-5e50-92a8-226f88b0a3b1)
Mischief
An imprint of HarperCollinsPublishers
1 London Bridge Street
London, SE1 9GF
www.mischiefbooks.com (http://www.mischiefbooks.com)
An eBook Original 2015
Copyright © Charlotte Stein 2015
Cover design: Head Design 2017, cover images: Shutterstock.com (http://Shutterstock.com)
Charlotte Stein asserts the moral right to be identified as the author of this work.
A catalogue record for this book is available from the British Library.
This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins e-books.
Ebook Edition © 2015 ISBN: 9780007579501
Version: 2017-08-22
Contents
Cover (#u060ff7e8-5aea-578d-821c-fed16674026b)
Title Page (#u03d2616b-6ce9-5964-9ddc-f4af595b36be)
Copyright (#u169690bd-5147-5e5e-918e-a5fee5f467bd)
Chapter One (#u88a4c6c1-e597-56bd-91b7-3627c806c152)
Chapter Two (#u072c62e7-3d01-5b79-9a5c-52bfc504b598)
Chapter Three (#u0683b7b0-3ceb-5302-80f0-444681d5af9f)
Chapter Four (#ub98e8d7e-2c86-57b1-99ce-21fb3b1d630b)
Chapter Five (#u00d4be4b-36aa-5f02-aceb-32489e9d446f)
Chapter Six (#litres_trial_promo)
Chapter Seven (#litres_trial_promo)
Chapter Eight (#litres_trial_promo)
Chapter Nine (#litres_trial_promo)
Chapter Ten (#litres_trial_promo)
Chapter Eleven (#litres_trial_promo)
Chapter Twelve (#litres_trial_promo)
Chapter Thirteen (#litres_trial_promo)
Chapter Fourteen (#litres_trial_promo)
Chapter Fifteen (#litres_trial_promo)
Chapter Sixteen (#litres_trial_promo)
Chapter Seventeen (#litres_trial_promo)
Epilogue (#litres_trial_promo)
About the Publisher (#litres_trial_promo)
Chapter One (#ua302d615-4fcb-5e50-92a8-226f88b0a3b1)
I know immediately that I’ve made a terrible, terrible mistake. I can tell before I search through my folder for the essay I should have handed in, and instead find it still in there like a protruding tongue. Though once I see it and know for sure, I still pretend I did something else. I probably dropped a different piece of work on his desk. I gave him the one I did on Romanticism for Professor Pacheco, I tell myself.
But that essay is still in the folder too.
The only thing that’s missing is the story.
The filthy, appalling story that no one should ever see, never mind Professor Halstrom. Why did it have to be Professor Halstrom? Everything would have been fine if I’d just given it to squat, flustered little Garwood, or the guy who teaches linguistics and looks like Rory McGrath. They might never have mentioned it at all.
But I know he will.
He never lets anything go. He once made the captain of the football team cry for failing to hand an essay in on time – or so the legend goes. And I believe the legend, because that is exactly how terrifying Halstrom seems. His gaze is as flat and still as the surface of an undiscovered lake, yet oddly penetrating with it. I always get the impression that he sees absolutely everything about you in one stroke, yet finds you so dull and disappointing he can’t quite muster any emotion in his eyes.
He just takes you in, then spits you out.
And that’s not even the most intimidating thing about him.
No, the most intimidating thing is his enormity.
Every other lecturer at Pembroke is normal sized. They all look like academics, from their hunched, narrow shoulders to their neat little shoes. Occasionally you’ll come across one with a pot belly or maybe an unnervingly large head. But none get anywhere close to Halstrom. He must be somewhere north of six foot five, despite how ridiculous that number sounds to me.
Every time I leave his lecture hall I think, No, he can’t be.
And then I return and see him towering over the tallest guy in the class. He’s talking to Ricky Callahan when I next slink in, and the disparity between them is shocking. It gives me a little jolt to realise that even a champion rower with a bull neck and a fondness for tight shirts looks small beside Halstrom.
But it remains true – and not just in terms of his height. His shoulders are so broad they nearly eclipse Ricky completely. When he turns to pick something up off his desk they strain the seams of his suit, and his chest does the same to his waistcoat. One day he will bend down too quickly and rip right out of all of that tweed.
Like a werewolf, I think, tearing off his human skin to reveal the man beneath.
Then quickly force myself to think about something else. Melissa Gorlinski is applying sticky red nail polish to her squat little nails, and I try to train all my attention on that. I watch the brush swishing back and forth – the strokes slow and steady at first but then with more impatience – and will myself to be hypnotised.
It doesn’t work, however. No matter how hard I try I keep imagining what he looked like when he opened what he thought was my essay. Did he blanch at the first ‘cock’? Or did he just raise one of those too thick and too dark eyebrows? I think it might be the latter, but doing so doesn’t help me in the slightest.
If anything it makes it worse. His brow is curiously mobile, for someone with a face like a slab of stone. In fact it often seems to say things that his eyes and mouth won’t. If someone answers him back in class, his eyebrows register the fury or the shock. They almost kiss in the middle of his forehead, in this oddly querulous way, while the rest of him maintains complete control.
I expect it was the same when he read that part about her wet and aching cunt. The one that makes the blood surge in my face whenever I remember it. Why did I have to be so graphic? It seemed a good idea at the time, in the fever I often get into while writing. But now it feels like the height of bad manners. He will say I did it deliberately, to try and get some sort of reaction from him.
Even though I’m not that kind of person at all. I never raise my hand in class, in case it turns out that I’m wrong. I rarely argue a contentious point in my essays, for fear that I’ll get an F instead of my usual B. Sometimes I see other students outside my bedroom window, glittering in gaudy costumes for some fancy-dress party that seems to be always going on, and I wonder how they dare. Don’t they care about being laughed at? Don’t they mind that they might fuck everything up?
I guess they don’t.
But I do. It’s why my body floods with relief when he tells us we may pick up our essays at the end of class. Somehow I’ve been spared, even though he never spares anyone. It was only a couple of weeks ago that he filleted Thomas Brubaker’s essay ‘Why Feminism Is Dumb’ for the edification of the entire class. He read out excerpts and licked his finger with a flourish before turning pages, teeth almost snapping around the most deliriously poisonous comments.
I even remember one of them now: ‘It seems Mr Brubaker labours under the misapprehension that women are put on this earth to wipe his arse for him. Would that he had done so himself with this essay, and spared us all the horror of having to hear a single ghastly word of it.’
Yet he lets me go without any punishment? It seems incredible, considering how much more appalling my story was. I never said feminism was dumb, but I did describe a penis in extensive detail. That to me seems ripe for his brand of brutal criticism, but when I pass his desk and pick up my essay he doesn’t even raise his head. He just keeps scratching out words in the leather-bound book he always carries around with him, as I file out with the rest of the class to my freedom.
Or at least, I think it’s my freedom.
I get as far as three quarters out of the door when I hear him say:
‘My office at five, Esther. Do not be late.’
His office is at the very top of the Haverforth building, which is a problem all by itself. I see it looming in the distance and almost turn back right then and there. On a good day it looks like the ruins of some haunted house, from a film where everyone dies at the end. But in the middle of this dark November day it seems at least ten times worse.
The whole front of it seems blacker, and more wasted, as though someone set it on fire not long ago and now only a husk remains. And though I could have sworn it had windows before, I cannot make a single one out. There is only blank, sooty stone and then more stone than that, until finally it gets to the crazily jagged roof that most resembles a set of demonic broken teeth.
And it gets no better inside.
His office is at the very top of a rickety, winding staircase – so rickety in fact that I worry that I might go through the wood every time I stand on one of the steps. I find myself watching my feet, but watching my feet hardly helps me at all. Now I can see the strange dusty darkness that is revealed whenever my weight parts one section of wood from the other, and none of that seems comforting.
I practically cling to the banisters for support, only the wrought iron is just as warped and unstable as everything else in here. At one point I could swear something bends, like toffee left out too long in the sun. Paint flakes off on my hands, as fine and papery as spider webs and just as disturbing. All of this is disturbing. I actually let out a sigh of relief when I get to the hallway at the top.
Even though it is barely a hallway at all.
It’s really more of a box, with a ceiling that slants so violently I have to wonder how Halstrom ever gets to his door. He must have to oil himself then squeeze through on his hands and knees – a ridiculous image I try to shake as soon as it enters my head. It makes me think weird things like I bet he’s really hairy under his clothes, and I just don’t want those thoughts to be there when he comes out.
I want to be cool, and calm, and proper. And I manage it, too. I sit on the single crumbling chair beneath the one window, hands folded neatly in my lap, expression completely neutral. Every inch of me perfectly tidy and carefully covered, so as to not give the wrong impression. And then the door abruptly opens, and all my efforts are reduced to dust. I might as well have worn stockings and suspenders. I should have painted my mouth red – after all, red is how it feels when I take him all in. I see his flat, still gaze and his broad shoulders and his enormous hands, and I finally understand.
He is handsome.
How did I not realise before that he was handsome? I suppose it hid behind the lugubrious features and the excessive tweed, but it announces itself now. It accosts me, viciously. I have to glance away because I can feel the colour rising to my cheeks – and not just because I enjoyed the look of him.
Because of what I’ve done.
I didn’t just hand in a filthy story to my Professor.
I handed it in to my deeply and unnervingly attractive Professor.
And now I have to speak to him about this somehow. I have to go into that tiny office and discuss penises at length and in great and varied detail, even though I can barely answer when he asks a simple question.
‘Was it your intention to sit out here all evening?’ he asks, and I just about manage to shake my head. How I stand I have no idea, and especially when I see what he intends. He doesn’t disappear inside to let me in. He stands there and holds the door, so that I have to almost go under his arm. My hip brushes some oddly electric part of him, the contact static-y and squirm-inducing.
And the scent of him…
It gets me right in the face, rich with what must be tobacco yet is sweet and oddly familiar at the same time. Like a place I used to go to or a person I used to know, I think – until I see his office. Then I understand why it means something to me. I get it completely.
It’s the smell of ink and paper. It’s all over him, like an animal who recently rolled in books. Though how could it be otherwise, when his office looks the way it does? Every available surface is covered in paperbacks and hardbacks and leather-bound classics. They flow like papery waterfalls off straining shelves and touch the ceiling in teetering stacks. Barely any light penetrates the tiny room, because what does get through has to squeeze between the spines of several dozen novels.
It’s like stepping into a book labyrinth.
One wrong turn and I’ll be lost for ever in literature.
A fate that sounds markedly better than the one I can expect here. He asks me to sit, but doing so is impossible. The only chair in here is the creaking, broad-backed old thing he takes, beneath the window. My options are the desk that runs all along the wall beside us, or a stack of books. At a pinch I could go out and get the chair from the hall, but doing so would pose another problem.
The only available space for it is about an inch from him. Our knees would probably touch if I managed to wedge it in there. Every time he moved I would feel him, and I can’t let that happen. I’m already sweating and red-faced. My limbs are watery and nothing is working right, and it gets worse every time I notice something new about him. Like his sideburns, too thick and too heavy and all amazing. And the scars that feather up from underneath his starched collar.
As though he really did burst out of his suit-skin once.
He rampaged across some malevolent, ink-black moors.
The ones that only exist inside me.
‘Maybe I should just stand,’ I say, finally.
But he dismisses the idea with a wave of his hand.
‘Oh, I should think you will be here long enough to need one. There is a stool behind the stack of Dickens novels to your right. Draw it up, and we can begin.’
Begin what? I think, over and over, yet none of the words reach my mouth.
