Excerpt from Eleanor Oliphant Is Completely Fine by Gail Honeyman, plus links to reviews, author biography & more

Excerpt
Eleanor Oliphant Is Completely Fine

>When people ask me what I do—taxi drivers, hairdressers—I tell them I work in an office. In almost eight years, no one's ever asked what kind of office, or what sort of job I do there. I can't decide whether that's because I fit perfectly with their idea of what an office worker looks like, or whether people hear the phrase work in an office and automatically fill in the blanks themselves—lady doing photocopying, man tapping at a keyboard. I'm not complaining. I'm delighted that I don't have to get into the fascinating intricacies of accounts receivable with them. When I first started working here, whenever anyone asked, I told them that I worked for a graphic design company, but then they assumed I was a creative type. It became a bit boring to see their faces blank over when I explained that it was back office stuff, that I didn't get to use the fine-tipped pens and the fancy software.

I'm nearly thirty years old now and I've been working here since I was twenty-one. Bob, the owner, took me on not long after the office opened. I suppose he felt sorry for me. I had a degree in Classics and no work experience to speak of, and I turned up for the interview with a black eye, a couple of missing teeth and a broken arm. Maybe he sensed, back then, that I would never aspire to anything more than a poorly paid office job, that I would be content to stay with the company and save him the bother of ever having to recruit a replacement. Perhaps he could also tell that I'd never need to take time off to go on honeymoon, or request maternity leave. I don't know.

It's definitely a two-tier system in the office; the creatives are the film stars, the rest of us merely supporting artists. You can tell by looking at us which category we fall into. To be fair, part of that is salary­ elated. The back office staff get paid a pittance, and so we can't af­ford much in the way of sharp haircuts and nerdy glasses. Clothes, music, gadgets-although the designers are desperate to be seen as freethinkers with unique ideas, they all adhere to a strict uniform.

Graphic design is of no interest to me. I'm a finance clerk. I could be issuing invoices for anything, really; armaments, Rohypnol, co­conuts.

From Monday to Friday, I come in at 8.30. I take an hour for lunch. I used to bring in my own sandwiches, but the food at home always went off before I could use it up, so now I get something from the high street. I always finish with a trip to Marks & Spencer on a Friday, which rounds off the week nicely. I sit in the staffroom with my sandwich and I read the newspaper from cover to cover, and then do the crosswords. I take the Daily Telegraph, not because I like it particularly, but because it has the best cryptic crossword. I don't talk to anyone–by the time I've bought my meal deal, read the paper and finished both crosswords, the hour is almost up. I go back to my desk and work till 5.30. The bus home takes half an hour.

I make supper and eat it while I listen to the Archers. I usually have pasta with pesto and salad–one pan and one plate. My childhood was full of culinary contradiction, and I've dined on both hand-dived scallops and boil-in-the-bag cod over the years. After much reflection on the political and sociological aspects of the table, I have realized that I am completely uninterested in food. My preference is for fodder hat is cheap, quick and simple to procure and prepare, whilst provid­ing the requisite nutrients to enable a person to stay alive.

After I've washed up, I read a book, or sometimes I watch televi­sion if there's a program the Telegraph has recommended that day. I usually (well, always) talk to Mummy on a Wednesday evening for ten minutes or so. I go to bed around ten, read for half an hour and then put the light out. I don't have trouble sleeping, as a rule.

Excerpted from Eleanor Oliphant Is Completely Fine by Gail Honeyman. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.