Jasmine Alison Viola Mayhew. She was born in the late evening of the third day of the new Millennium, and so would always be as old as the century. A neat but healthy 6lbs 6ozs, and to Dexter's mind, inexpressibly beautiful, he knew that he would sacrifice his life for her, while at the same time feeling fairly confident that the situation was unlikely to arise.

That night, sitting in the low-slung vinyl hospital chair, clutching the tiny, crimson-faced bundle, Dexter Mayhew made a solemn resolution. He resolved to do the right thing from now on. A few biological and sexual imperatives aside, all his words and actions would now be fit for his daughter's ears and eyes. Life would be lived as if under Jasmine's constant scrutiny. He would never do anything that might cause her pain or anxiety or embarrassment and there would be nothing, absolutely nothing in his life to be ashamed of anymore.

This solemn resolution held for approximately ninety-five minutes. As he sat in a toilet cubicle, attempting to exhale cigarette smoke into an empty Evian bottle, a little must have escaped and set off the detector, waking his exhausted wife and daughter from their much-needed sleep and as he was escorted from the cubicle, still clutching the screw-top bottle of yellow grey smoke, the look in his wife's tired, narrowed eyes said it all: Dexter Mayhew was simply not up to it.

Richmond, Surrey

The growing antagonism between them was exacerbated by the fact that, as the new century began, he found himself without a job, or even the prospect of a job. The broadcast slot for Sport Xtreme had crept inexorably towards dawn, until it became clear that no-one, not even BMX riders, could stay up that late on a weeknight, no matter how rad, sweet or old skool the moves. The series limped to an end and Paternity Leave shaded into the less fashionable state of unemployment.

A temporary distraction was provided by moving house. After much resistance the bachelor flat in Belsize Park was rented out for a huge monthly sum, and exchanged for a neat terraced house in Richmond with, they told him, bags of potential. Dexter protested that he was too young to move to Surrey, by about thirty-five years, but there was no arguing with the quality of life, the good schools, the transport links, the deer roaming in the Park. It was close to her parents, the Twins lived nearby, so Surrey won out and in May they had begun the endless, bottomlessly expensive task of sanding every available wooden surface and knocking through every non-supporting wall. The Mazda sports car went too, sacrificed for a secondhand people carrier that smelt indelibly of the previous family's communal vomit.

Instead there was bickering, meanness and sullen looks through a fine haze of plaster dust. Sylvie began to spend more and more time at her parents' house, ostensibly to avoid the builders but more often to stay clear of her listless, ineffectual husband. Occasionally she would phone up to suggest that he go and see their friend Callum, the crayfish baron, and take him up on his offer of work, but Dexter resisted. Perhaps his presenting career might pick up again, he might find work as a producer or re-train as a cameraman or an editor. In the meantime he could help the builders, cutting down on labour costs and to this end he made tea and went for biscuits, picked up a little basic Polish, played PlayStation against the sonic boom of the floor-sander.

It was a momentous year for the Mayhew family, yet Dexter found himself enjoying nest-building far less than he had thought. He had imagined family life as a sort of extended Building Society commercial: an attractive young couple in blue overalls, paint-rollers in hand, pulling crockery from an old tea chest and flopping down onto a big old sofa. He imagined walking shaggy dogs in the park and exhausted but good-humoured night-feeds. At some point in the near future, there would be rock pools, fires on the beach, mackerel cooked over driftwood. He would invent ingenious games and put up shelves. Sylvie would wear his old shirts over bare legs. Knitwear. He would wear a lot of knitwear and provide for his dependents.

And so this St Swithin's Day finds Dexter Mayhew in an oatmeal-coloured short-sleeve shirt and mushroom-coloured tie, supervising delivery of the vast daily supply of rocket to the new Victoria Station branch. He counts the boxes of the green stuff while the driver stands by with a clipboard, staring openly, and instinctively Dexter knows what's coming next.

Once upon a time he had wondered what happened to all the old people in the TV industry, and now he had his answer. Trainee editors and cameramen were twenty-four, twenty-five, and he had no experience as a producer. Mayhem TV plc, his very own independent company, had become less a business, more an alibi for his inactivity. At the end of the tax year it was formally wound down to avoid accounting costs, and twenty reams of optimistically headed paper were shamefully consigned to the attic. The only bright spot came from spending time with Emma again, sneaking off to the movies when he should have been learning to grout with Jerzy and Lech. But that melancholy feeling, stepping out of a cinema into sunlight on a Tuesday afternoon, had become unbearable. What about his vow of perfect fatherhood? He had responsibilities now. In early June he finally cracked, went to see Callum O'Neill and was initiated into the Natural Stuff family.

"That's right. You sign there."

"Life. Life happened." He takes the clipboard from him. "I sign here, yes?"

"Didn't you used to be on telly?"

"Back in the mists of time," he replies, light-heartedly.

"That was one of them. So do I sign this receipt or what?"

"She's very nice. Nine, ten."

"Loud."

"Like I said it was a long, long time ago. One box, two, three --"

And there it is…

The real head-offices of Natural Stuff are in a warehouse in Clerkenwell, fresh and clean and modern, with juicers and bean-bags, unisex toilets, high-speed internet and pinball machines; immense, Warholesque canvases of cows, chickens and crayfish hang on the walls. Part workplace, part teenager's bedroom, the architects had labelled it not an office, but a "dreamspace" in Helvetica, lower case. But before Dexter is allowed into the dreamspace, he has to learn the ropes. Cal is very keen that all his executives get their hands dirty, so Dexter is on a month-long trainee placement, working as the shadow manager of the latest outpost of the empire. In the last three weeks he has cleaned out the juicers, worn a hairnet to make the sandwiches, ground the coffee, served the customers and, to his surprise, it has been okay. This, after all, is what it's all about; business is people, as Callum likes to say.

"So -- whatever happened to you?"

"She's gorgeous."

Smile, smile, smile.

"What was that like then, going out with her?"

"She's everywhere these days, isn't she?"

Don't look up.

"And you used to go out with Suki Meadows."

Dexter autographs the invoice and places his hand into the top box, taking a handful of rocket and tasting it for freshness. "Rocket -- the iceberg lettuce de nos jours" Callum is fond of saying, but Dexter finds it bitter.

"Six, seven, eight --"

"What was it called? largin' it or something."

The worst thing about it is the recognition, that flickering look of pity that passes over the customer's face when they see an ex-TV presenter serving up soup. The ones in their mid-thirties, his contemporaries, they're the worst. To have had fame, even very minor fame, and to have lost it, got older and maybe put on a little weight is a kind of living death, and they stare at Dexter behind the cash register as one might stare at a prisoner on a chain-gang. "You seem smaller in real life," they sometimes say, and it's true, he does feel smaller now. "But it's okay," he wants to say, ladling out the Goan-style lentil soup. "It's fine. I'm at peace. I like it here, and it's only temporary. I'm learning a new business, I'm providing for my family. Would you like some bread to go with that? Wholemeal or multigrain?"

The morning shift at Natural Stuff lasts from 6.30 a. m. to 4.30 p. m., and after cashing up, he joins the Saturday shoppers on the train to Richmond. Then there's a boring twenty-minute walk back to the terrace of Victorian houses that are all much, much bigger on the inside than they appear on the outside, until he is home at The House of Colic. As he walks up the garden path (he has a garden path -- how did that happen?), he sees Jerzy and Lech closing the front door, and he assumes the matey tone and mild cockney accent that is mandatory when talking to builders, even Polish ones. "Cześć! Jak siȩ masz?"

Jasmine Alison Viola Mayhew is waiting in the hallway, sitting up unsteadily on the plastic dust-sheets that protect the newly stripped floorboards. Small neat, perfect features set in the centre of an oval face, she is her mother in miniature, and once more he has that feeling of intense love tempered with abject terror.

He lowers his voice. "Today, how are they?"

"A little, perhaps."

Dexter frowns and sucks in his breath jokily. "So -- should I worry?"

"A little… tired, I think."

"Okay, Dexter."

"Mrs Mayhew, she is home?" You have to change the words round like this; it's the law.

"Good evening, Dexter," says Lech, indulgently.

"Do widzenia." He steps up to the front door and takes out his key, knowing there's a good chance that somewhere in the house someone will be crying. Sometimes it seems as if they have a rota.

"Here." Dexter reaches into his inside pocket, and hands them two contraband Natural Stuff Honey-Date-Oat Bars. "Stolen property. Do not tell anyone, yes?"

"Yes, she's home."

"Hello, Jas. Sorry I'm late," he says, scooping her up, his hands circling her belly, holding her above his head. "What kind of day have you had, Jas?"

"I didn't name her, we named her. And I know it's going to happen, I'm just saying I don't like it."

A voice from the living room. "I wish you wouldn't call her that. She's Jasmine, not Jazz." Sylvie lies on the dust-sheet-covered sofa, reading a magazine. "Jazz Mayhew is awful. Makes her sound like a saxophonist in some lesbian funk band. Jazz."

He drapes his daughter over his shoulder and stands in the doorway. "Well if you're going to name her Jasmine, she's going to get called Jas."

"Good, I'd like that."

He stands at the end of the sofa, glances at his watch showily, and thinks A new world record! I've been home, what, forty-five seconds, and already I've done something wrong! The remark has just the right mix of self-pity and hostility; he likes it, and is about to say it out loud, when Sylvie sits and frowns, her eyes wet, hugging her knees.

"I'm sorry, sweetheart, I've had an awful day."

"Fine, I'll completely change the way I talk to my daughter."

"What's up?"

"She doesn't want to sleep at all. She's been awake all day, every single minute since five this morning."

"She's been crying, and whimpering all day, it's so hot outside, and so boring inside, with Jerzy and Lech banging away and, I don't know, I'm just frustrated, that's all." He sits, puts his arm around her and kisses her forehead. "I swear, if I have to walk around that bloody park again I'll scream."

"Not long now."

"Still, back to work next month."

Dexter puts one fist on his hip. "Well sweetheart, if you gave her the decaff, like I told you…" But this kind of banter doesn't come naturally to Dexter, and Sylvie does not smile.

"I walk round the lake and round the lake and over to the swings and round the lake again. You know the highlight of my day? I thought I'd run out of nappies. I thought I'm going to have to go to Waitrose and get some nappies, and then I found some nappies. I found four nappies and I was so excited."

"No, you've got to! You've been looking forward to it for weeks!"

"Thank God!" She keels over, her head against his shoulder and sighs. "Perhaps I shouldn't go tonight."

"I'm not really in the mood for it -- a hen night. I'm too old for hen nights."

"Worry about what, about me?"

"And I worry --"

"Rubbish --"

"Well I'm thirty-five years old, Sylvie, I've been in a house by myself before. And anyway, I won't be alone, I've got Jas to look after me. We'll both be fine, won't we, Jas? Min. Jasmine."

"You're sure?"

"Leaving you on your own."

"Absolutely." She doesn't trust me, he thinks. She thinks I'll drink. But I won't. No I won't.

"So put her down around eight, okay? That's in forty minutes."

The hen night is for Rachel, the thinnest and most mean-spirited of his wife's friends, and a hotel suite has been hired for the sleepover, complete with a handsome cocktail waiter to use as they see fit. A limo, a restaurant, a table at a night-club, brunch the next day, it has all been planned through a series of bossy emails to ensure no possibility of spontaneity or joy. Sylvie won't be back until the following afternoon, and for the first time Dexter is to be left in charge overnight. She stands in the bathroom, putting on make-up and watching over him as he kneels to give Jasmine her bath.

"Veggies in the fridge, I know that."

"There's plenty of formula, and I've pureed the veggies." Veggies -- that's annoying, the way she says veggies. "They're in the fridge."

"Your hands are wet." She twists her leg away. They haven't made love for six weeks now. He had anticipated a certain coldness and irritability after the birth, but it's been a while, and sometimes there's a look she gives him, a look of -- no, not contempt, but --

"And what about crisps? I can give her crisps, can't I? If I brush the salt off --"

"Fine."

Sylvie clicks her tongue, shakes her head, applies lipstick. "Support her head."

"If she doesn't like it, there's some ready-made jars in the cupboard, but they're only for emergencies."

"-- and salted nuts? She's old enough, isn't she? Little bowl of peanuts?" He turns to look at her over his shoulder on the off-chance that she might be smiling, and is startled, as he often is, by how beautiful she looks, dressed simply but elegantly in a short black dress and high heels, her hair still damp from the shower. He takes one hand from Jasmine's bath, and cups his wife's brown calf. "You look amazing, by the way."

"I know what I'm doing!" he snaps back. "For Christ's sake!"

The doorbell rings.

"Watch out for Jasmine -- support her head!"

"Wish you were coming back tonight," he says.

And there it is again, the look. There's no doubt about it, if Sylvie had a receipt, she would have taken him back by now; this one's gone wrong. It's not what I wanted.

-- disappointment. That's it. Disappointment.

"That's my taxi. If there's an emergency, call my mobile, not the hotel, okay?" and she bends and taps her lips on the top of Dexter's head, then leans into the bath, and gives a second more persuasive kiss to her daughter. "Goodnight, my precious. Look after daddy for me…" Jasmine frowns and pouts and as her mother leaves the bathroom, there is panic in her eyes. Dexter sees this and laughs. "Where are you going, Mum?" he whispers. "Don't leave me with this idiot!" Downstairs the front door is finally closed. Sylvie has gone, he is on his own and finally free to perform a whole series of idiotic actions.

It all begins with the television in the kitchen. Jasmine is already screaming as Dexter struggles to fasten her into the highchair. She will do this for Sylvie, but now she's twisting and screaming, a compact parcel of muscle and noise, writhing with surprising strength and for no discernible reason, and Dexter finds himself thinking just learn to talk, will you? Just learn some bloody language and tell me what I'm doing wrong. How much longer until she can speak? A year? Eighteen months? It's insane, an absurd design error, this refusal to master speech just when it's needed most. They should come out talking. Not conversation, not repartee, just basic practical information. Father, I have wind. This activity centre leaves me jaded. I am colicky.

Suki is wealthy now and ever more bubbly and famous and loved by the public, and even though they never got on and had nothing in common, he feels nostalgia for his old girlfriend, and for the wild years of his late twenties when his photo was in the papers. What is Suki doing tonight? he wonders. "Maybe Daddy should have stuck with her," he says aloud, treacherously, thinking back to the nights in black cabs and cocktail lounges, hotel bars and railway arches, the years before Saturdays were spent in a hairnet filling Mediterranean wraps.

"Look, Jasmine, it's Daddy's ex-girlfriend! Isn't she loud? Isn't she a loud, loud girl?"

Finally she's in, but is alternating screaming and whining now, and he spoons the food into her mouth when he can, pausing every now and then to remove the smeared puree with the edge of the spoon as if it were a wet shave. In the hope that it might calm her down he turns on the small portable television on the counter, the one that Sylvie disapproves of. Because it's Saturday peak-viewing time, he inevitably sees Suki Meadows' face beaming out at him, live from TV Centre where she is bellowing the lottery results at a waiting nation. He feels his stomach contract in a little spasm of envy, then tuts and shakes his head, and is about to change channel when he notices that Jasmine is silent and still, entranced by his ex-girlfriend hollering "wahey".

Two minutes later he is pulling on the baby harness, getting that little macho can-do thrill from the straps and buckles, as if hauling on a jet pack. He crams the crying Jasmine into the front, then sets out with real purpose down the long dull tree-lined street to that boring little arcade of shops. How did he get here, he wonders, a shopping arcade in Surrey on a Saturday night? It's not even Richmond proper, just a suburb of a suburb, and he thinks once again of Suki, out on the town somewhere with her attractive girlfriends. Maybe he could phone her once Jasmine is asleep, just to say hello. Have a drink, phone an old girlfriend; why not?

Now Jasmine is crying again because somehow she has sweet potato in her eye, and as he wipes it away he feels the necessity of a cigarette. Why shouldn't he, after the day he's had, why shouldn't he treat himself? His back aches, a blue plaster is unpeeling from his thumb, his fingers smell of crayfish and old coffee, and he decides he needs a treat. He needs the gift of nicotine.

Soon the sun is setting and Jasmine is falling asleep on his chest as he walks briskly home down the pleasant streets to the neat little house that will be lovely when it's finished. He goes to the kitchen and without removing the sleeping baby from his sling, opens the bottle and pours a glass, his arms curled awkwardly around the bundle like a ballet dancer. He looks at the glass, almost ritualistically, then drains it, and thinks: not drinking would be so much easier if it wasn't so delicious. He closes his eyes, leans against the counter top as the tension goes out of his shoulders. There was a time when he used alcohol as a stimulant, something to lift his spirits and give him energy, but now he drinks like all parents drink, as a kind of early evening sedative. Feeling calmer, he props up the sleeping baby in a little nest of cushions on the sofa and enters the small, suburban garden: a rotary clothes line surrounded by timber and bags of cement. He keeps the baby harness on, letting it hang loose like a shoulder holster so that he might almost be an off-duty cop, homicide division, a jaded romantic, moody but dangerous, moonlighting with a little bit of childcare in Surrey. All he needs to complete the impression is a cigarette. It is his first for two weeks, and he lights it reverently, savouring that delicious first taste, sucking so hard that he can hear the tobacco crackle. Burning leaves and petrol, it tastes of 1995.

At the off-licence there's a tingle of anticipation as he pushes open the door and is immediately confronted by a high sheer wall of booze. Since the pregnancy there has been a policy of not keeping alcohol in the house in order to deter casual, everyday drinking. "I'm just bored of sitting on a sofa on a Tuesday night," said Sylvie, "while you get drunk alone," and taking this as a challenge he has stopped, more or less. But now he finds himself in an off-licence, and there seems to be so much great stuff here and it all looks so nice that it seems silly not to take advantage. Spirits and beers, wines white and red, he takes it all in and buys two bottles of good Bordeaux, just to be on the safe side, and twenty cigarettes. Then, because why not, he goes to the Thai take-away.

As soon as he lays her on the changing mat she wakes and starts to cry again, that awful rasping cry. Breathing through his mouth, he changes her as quickly and efficiently as he can. Part of the positive press about having a baby was how inoffensive baby poo was, how poo and wee lost their taint and became, if not fun, at least innocuous. His sister had even claimed that you could "eat it on toast", so benign and fragrant was this "poo".

His brain gradually empties of work, of falafel wraps and oaty squares, and he starts to feel hopeful for the evening; perhaps he'll acquire that state of peaceful inactivity that is the nirvana of the exhausted parent. He pushes the butt deep into a pile of sand, retrieves Jasmine, tip-toes quietly up the stairs to her room and pulls down the blackout blinds. Like a master safe-cracker, he is going to change her nappy without waking her up.

Even so, you wouldn't want it underneath your fingernails and with the arrival of formula and solids it has taken on a decidedly more adult quality. Little Jasmine has produced what looks like a half-pound of peanut butter, which she has somehow contrived to smear up her back. With his head a little fuzzy from the wine on an empty stomach, he scoops and scrapes it up as best he can with half a pack of baby wipes and, when these run out, the edge of his one-day travelcard. He crams the still warm bundle into a chemical-smelling nappy bag, which he drops into a pedal bin, noting queasily that there is condensation on the lid. Jasmine cries throughout. When she is finally fresh and clean he scoops her up and holds her against his shoulder, bouncing on his toes until his calves ache and miraculously she is quiet again.

She starts to cry again.

He crosses to the cot and lays her down, and she starts to scream. He picks her up and she is silent. Lays her down, she screams. He is aware of a pattern but it seems so unreasonable, so plain wrong, for her to demand so much when his spring rolls are getting cold, the wine is standing open and this small room smells so richly of hot poo. The phrase "unconditional love" has been thrown around a lot, but right now he feels like imposing some conditions. "Come on, Jas, play fair, be nice. Daddy's been up since five, remember?" She is quiet once again, her breath warm and steady against his neck, and so he tries once more to lay her down, taking it slowly, an absurd limbo dance, shifting imperceptibly from the vertical to the horizontal. He still wears the macho baby harness, and now imagines himself a bomb disposal expert; gently, gently, gently.

He closes the door regardless and trots downstairs. Got to be tough. Got to be ruthless, that's what the books say. If she had some language, he'd be able to explain: Jasmine, it is necessary for both of us to have some private time. He eats in front of the television, but is once again struck by how hard it is to ignore a baby screaming. Controlled crying they call it, but he has lost control and wants to cry and starts to feel a Victorian indignation towards his wife -- what kind of irresponsible harlot leaves a baby with his father? How dare she? He turns up the television and goes to pour another glass of wine, but is surprised to find the bottle empty.

Never mind. There is no parenting problem in the world that can't be solved by throwing milk at it. He makes some more formula, then climbs upstairs, his head a little fuzzy, blood ringing in his ears. The fierce little face softens as he places the milk bottle into her hands, but then she is screaming again, a ferocious wail as he sees that he has forgotten to screw the lid on the bottle and now warm formula has flooded out and soaked the bedclothes, the mattress, is in her eyes and up her nose, and she's screaming now, really screaming, and why shouldn't she scream, given that daddy has snuck into her room and flung half a pint of warm milk in her face. Panicked, he grabs a muslin square, finding instead her best cashmere cardigan on a pile of clean washing, and wipes off the excess clots of formula from her hair and out of her eyes, kissing her all the time, cursing himself -- "idiot idiot idiot sorry sorry sorry" -- and with the other arm beginning the process of changing her formula-sodden bedding, her clothes, her nappy, flinging it all in a pile on the floor. Now he's relieved she isn't able to talk. "Look at you, you idiot," she would say, "can't even look after a baby." Back downstairs he makes more formula with one hand then carries her upstairs, feeding her in the darkened room until once again her head is on his shoulder, she is calm, is sleeping.

He closes the door silently then tip-toes down the bare wooden stairs, a burglar in his own home. In the kitchen the second bottle of wine sits open. He pours another glass.

It's nearly ten now. He tries to watch the television, this thing called Big Brother, but he can't understand what he's meant to be looking at and feels a curmudgeonly, old-timer's disapproval for the state of the TV industry. "I don't understand," he says aloud. He puts on some music, a compilation designed to make your home feel like the lobby of a European boutique hotel, and tries to read Sylvie's discarded magazine, but even that's beyond him now. He puts the games console on, but neither Metal Gear Solid, nor Quake nor Doom, not even Tomb Raider at its highest level brings him any peace. He needs some adult human company, conversation from someone who doesn't just scream and whimper and sleep. He picks up his phone. He is frankly drunk now, and with drunkenness has come the old compulsion: to say something stupid to an attractive woman.

There are conversations Emma no longer wants to have and they all concern babies. The first few were novel enough, and yes, there was something intriguing, funny and touching about seeing your friends' features blended and fused in miniature like that. And of course there is always joy in witnessing the joy of others.

Stephanie Shaw has a new breast pump. Top of the range, Finnish, it whirrs and chugs under her t-shirt like a small outboard motor as they sit on the sofa and try and watch Big Brother.

But not that much joy, and this year it seems that every time she leaves the house some new infant is being jammed in her face. She feels the same dread as when someone produces a brick-sized pile of their holiday snaps: great that you had a nice time, but what's it got to do with me? To this end, Emma has a fascinated-face that she puts on when a friend tells her about the miseries of labour, what drugs were used, whether they caved and went for the epidural, the agony, the joy.

Emma had been led to believe that tonight would be a dinner party, but having made it to Whitechapel she has found that Stephanie and Adam are too exhausted to cook; hope she doesn't mind. Instead they sit and watch the television and chat, while the breast pump whirrs and chugs away, giving the living room the atmosphere of a milking shed. Another big night in the life of a Godmother.

"I'm falling asleep," says Adam, Stephanie's husband, from the armchair, his head supported by his fist.

But there's nothing transferable about the miracle of childbirth, or parenthood in general. Emma doesn't want to talk about the strain of broken sleep; hadn't they heard rumours of this in advance? Neither does she want to have to remark on the baby's smile, or how it started off looking like the mother but now looks like the father or started off looking like the father but now has the mother's mouth. And what is this obsession with the size of the hands, the tiny little hands with the tiny, tiny fingernails, when in a way it's big hands that would be more remarkable. "Look at baby's massive great flapping hands!" Now that would be worth talking about.

"Maybe I should go," says Emma.

Emma eats another Kettle Chip. What has happened to her friends? They used to be funny and fun-loving, gregarious and interesting, but far too many evenings have been spent like this with pasty, irritable hollow-eyed couples in smelly rooms, expressing wonder that baby is getting bigger with time, rather than smaller. She is tired of squealing in delight when she sees a baby crawl, as if this was a completely unexpected development, this "crawling". What were they expecting, flight? She is indifferent to the smell of a baby's head. She tried it once, and it smelt like the back of a watchstrap.

"No! Stay!" says Stephanie, but doesn't provide a reason.

Of course, she can't say any of this out loud. There's something unnatural about a woman finding babies or, more specifically, conversation about babies, boring. They'll think she's bitter, jealous, lonely. But she's also bored of everybody telling her how lucky she is, what with all that sleep and all that freedom and spare time, the ability to go on dates or head off to Paris at a moment's notice. It sounds like they're consoling her, and she resents this and feels patronised by it. It's not like she's even going to Paris! In particular, she is bored of jokes about the biological clock, from her friends, her family, in films and on TV. The most idiotic, witless word in the English language is "singleton", followed closely by "chocoholic", and she refuses to be part of any Sunday supplement lifestyle phenomenon. Yes, she understands the debate, the practical imperatives, but it's a situation entirely out of her control. And yes, occasionally she tries to picture herself in a blue hospital gown, sweaty and in agony, but the face of the man holding her hand remains stubbornly blurred, and it's a fantasy she chooses not to dwell on.

Her phone rings in her bag. She picks it up and glances at Dexter's name but doesn't bother answering. No, she doesn't want to go all the way from Whitechapel to Richmond to watch him blowing raspberries on little Jasmine's belly. She is particularly bored by this, her male friends performing their New Young Dad act: harassed but good-tempered, weary but modern in their regulation jacket with jeans, paunchy in their ribbed tops with that proud, self-regarding little look they give as they toss junior in the air. Bold pioneers, the first men in the history of the world to get a little wee on their corduroy, a little vomit in their hair.

"My turn next!" says Emma, but no-one laughs and right on cue the baby wakes upstairs.

When it happens, if it happens, she will adore the child, remark on its tiny hands and even the smell of its scrofulous little head. She will debate epidurals, lack of sleep, colic, whatever the hell that is. One day she might even bring herself to coo at a pair of booties. But in the meantime she's going to keep her distance, and stay calm and serene and above it all. Having said that, the first one to call her Aunty Emma gets a punch in the face.

Stephanie has finished expressing and is showing her breast milk to Adam, holding it up to the light like a fine wine. It's a great little breast pump, they all agree.

Stephanie sighs and trudges out, and Emma decides she will definitely head home soon. She can stay up late, work on the manuscript. The phone buzzes again. A message from Dexter, asking her to schlep out to Surrey to keep him company. She turns the phone off.

"What someone needs to invent," says Adam, "is a chloroformed baby wipe."

"WHO?"

"… I know it's a long way, it's just I think I might be suffering from post-natal depression. Get in a cab, I'll pay. Sylvie's not here! Not that it makes any difference, I know, but… there's a spare bedroom, if you wanted to stay over. Anyway, call me if you get this. Bye." He hesitates, says another "Bye" and hangs up. A pointless message. He blinks and shakes his head, and pours more wine. Scrolling through the phone's address book, he comes to S for Suki Mobile.

"WHAT? WHO IS THIS?"

"WHAT? I CAN'T HEAR YOU…"

"WHO IS THIS?" She's shouting over the sound of a party, a restaurant perhaps.

"You have to guess!"

"Hey there!" He dusts off his presenter's smile.

"I said 'guess who?'…"

"You have to guess!"

"Make some noise!"

"HELLO!"

Initially there is no reply, and he finds himself relieved, because after all what good can come of it, the phone-call to an old girlfriend? He's about to hang up, when suddenly he hears the distinctive bellow.

"I CAN'T HEAR YOU, WHO IS THIS?"

"I SAID YOU HAVE TO…" The game has become exhausting, so he just says "It's Dexter!"

"Thank you. Thanks."

"Oh, I'm fine, I'm fine."

"You're everywhere! You're doing really well! Really!"

"I know, I was thinking about you just now, because I saw you on TV. And you looked great by the way. And how are you?" Don't say that, you've said that already. Concentrate! "I mean, where are you? It's very noisy…"

"No, I know which Dexter, I'm just, like… WAHEY, DEXTER! Hello, Dexter! Hold on…" He hears the scrape of a chair and imagines eyes following her, intrigued, as she leaves the restaurant table and walks into a corridor. "So how are you, Dexter?"

"I'm fine, I'm fine, I'm just, you know, phoning to say I saw you tonight on the telly, and it got me thinking about old times, and I thought I'd phone and say Hi. You looked great by the way. On TV. And I like the show. Great format." Great format? You clown. "So. How are you, Suki?"

"How many Dexters do you know, Suki?"

"Dexter? Dexter Mayhew?"

There's a silence. Dexter's thumb caresses the off button. Hang up. Pretend the line's gone down. Hang up, hang up, hang up…

There's a moment's pause.

"It's been, what, five years, Dex!"

The background music fades as if Suki has stepped into some private corner. In a hardened voice she says, "You know what, Dexter? I don't think that's such a good idea."

"Okay, well, anyway, I was just thinking about old times, and thinking it would be nice to see you! You know for lunch or a drink or something…"

New friends. Could that be hostility? "Right. Okay."

Suki speaks. "So, main course has just arrived…"

"Home? On a Saturday night? That's not like you!"

"A restaurant. I'm having dinner, with some mates."

"So. Where are you, Dexter?"

"Anyone I know?"

"Well, you know…" and he's about to tell her that he's married, has a kid, lives in the suburbs, but feels that this might serve to underline the sheer futility of the phone-call, so instead stays silent. The pause goes on for some time. He notices that there's an epaulette of snot on the cotton sweater he once wore to Pacha, and he has become aware of the new scent on his fingertips, an unholy cocktail of nappy sacks and prawn crackers.

"Don't think so. They're kind of new friends."

"Oh, I'm at home."

"I'm not, I only, Jesus, okay, fine, forget it!" Jasmine's howl is echoing down the bare wooden stairs.

"Alright, Suki, you've made your point."

"I just thought --"

"You can't just get pissed-up and phone out of the blue and expect me --"

"You weren't even faithful to me, for fuck's sake, you were usually off fucking some runner or waitress or whatever so I don't know where you get off now, phoning up like we're old pals and getting nostalgic about 'old times', our golden six months that were, quite frankly, pretty shitty for me."

"And anyway I'm with another guy, a really, really nice guy, and I'm very happy. In fact he's waiting for me right now."

"Oh, right."

"Fine! So go! GO!" Upstairs, Jasmine starts to cry, with embarrassment perhaps.

"I mean it's not as if you were ever that nice to me, never that interested, you were off your face most of the time --"

"I mean I haven't seen you for five years now, and I think when that happens there's usually a reason, don't you?"

"What's that noise?"

"Oh, that's not true!"

"Whose baby?"

"Then why the hell are you asking me out?"

"Just. You know. A friendly drink."

"It's a baby."

"My baby. I have a daughter. A baby daughter. Seven months old."

There's a silence, just long enough for Dexter to visibly wither, then Suki says:

"I have friends," says Suki, very quietly. "I think you'd better go and see to your daughter, don't you Dex?" and she hangs up.

For a while he just sits and listens to the dead line. Eventually he lowers the phone, stares at it, then shakes his head vigorously as if he has just been slapped. He has been slapped.

"Well, that went well," he murmurs.

Address Book, Edit Contact, Delete Contact. "Are you sure you want to delete Suki Mobile?" asks the phone. Fuck me, yes, yes, delete her, yes! He jabs at the buttons. Contact Deleted says the phone, but it's not enough; Contact Eradicated, Contact Vaporised, that's what he needs. Jasmine's crying is reaching the peak of its first cycle, so he stands suddenly and hurls the phone against the wall where it leaves a black scratch mark on the Farrow and Ball. He throws it again to leave a second.

"For fuck's sake, Jasmine, just shut up, will you?!" he shouts, instantly clapping his hand to his mouth with shame as he sees her sitting up in the cot, eyes wide in distress. Scooping her up, he sits with his back against the wall, absorbing her cries into his chest, then lays her in his lap, strokes her forehead with great tenderness, and when this doesn't work he starts to gently stroke the back of her head. Isn't there meant to be some secret pressure spot that you rub with your thumb? He circles the palm of her hand as it clenches and unclenches angrily. Nothing helps, his big fat fingers trying this, fumbling with that, nothing working. Perhaps she's not well, he thinks, or perhaps he is just not her mother. Useless father, useless husband, useless boyfriend, useless son.

Cursing Suki, cursing himself for being so stupid, he makes up a small bottle of milk, screws the lid on tight, puts it in his pocket, grabs the wine then runs up the stairs towards Jasmine's cry, an awful hoarse rasping sound now that seems to tear at the back of her throat. He bursts into the room.

But what if she is unwell? Could be colic, he thinks. Or teething, is she teething? Anxiety is starting to grip. Should she go to hospital? Perhaps, except of course he's too drunk to drive now. Useless, useless, useless man. "Come on, concentrate," he says aloud. There's some medicine on the shelf, on it the words "may cause drowsiness" -- the most beautiful words in the English language. Once it was "do you have a t-shirt I can borrow?" Now it's "may cause drowsiness".

He bounces Jasmine on his knee until she's a little quieter, then puts the loaded spoon to her lips until he judges that 5ml has been swallowed. The next twenty minutes are spent putting on a demented cabaret, manically waggling talking animals at her. He runs through his limited repertoire of funny voices, pleading in high and low pitches and various regional accents for her to shush now, there there, go to sleep. He holds picture books in front of her face, lifting flaps, pulling tabs, jabbing at pages saying "Duck! Cow! Choo-choo train! See the funny tiger, see it!" He puts on deranged puppet shows. A plastic chimpanzee sings the first verse of "Wheels on the Bus" over and over again, Tinky Winky performs "Old MacDonald", a stuffed pig gives her "Into the Groove" for no reason. Together they squeeze beneath the arches of the baby gym and work out together. He stuffs his mobile phone into her little hands, lets her press the buttons, dribble into the keypad, listen to the speaking clock until finally, mercifully, she's quieter, just whimpering now, still wide awake but content.

There's a CD player in the room, a chunky Fisher Price in the shape of a steam train, and he kicks through discarded books and toys and presses play. Relaxing Classics for Tots, part of Sylvie's total baby-mind-control project. The "Dance of the Sugar Plum Fairy" sounds from tinny speakers. "Tuuuuuune!" he shouts, turns up the volume by way of the steam train's funnel and starts to waltz woozily around the room, Jasmine close to his chest. She stretches now, her tapered fingers balling into fists then flexing, and for the first time looks at her father with something other than a scowl. He catches a momentary glimpse of his own face smiling back up at him. She smacks her lips, eyes wide. She is laughing. "That's my girl!" he says, "that's my beauty." His spirits lift and he has an idea.

Draping Jasmine over his shoulder, banging against door jambs on the way, he runs down to the kitchen where three large cardboard boxes temporarily hold all his CDs until the shelves are up. There are thousands of them, freebies mainly, the legacy of when he was held to be influential and the sight of them sends him back in time to his DJ days when he used to wander round Soho wearing those ridiculous headphones. He kneels and fishes through the box with one hand. The trick is not to make Jasmine sleep, the trick is to try and keep her awake, and to this end they're going to have a party, just the two of them, better by far than any night-club Hoxton can offer. Screw Suki Meadows, he's going to DJ for his daughter.

Energised now, he quarries deeper through the geological layers of the CDs that represent ten years of fashion, picking out the occasional disc, stacking them up in a pile on the floor, warming to his plan. Acid Jazz and break-beats, 70s funk and acid house, give way to deep and progressive house, electronica and big beat and Balearic and compilations with the word "chill" in and even a small, unconvincing selection of drum and bass. Looking through old music should be a pleasure, but he's surprised to find that even the sight of the artwork makes him feel anxious and jittery, tied up as it is with memories of sleepless, paranoid nights with strangers in his flat, idiotic conversations with friends he no longer knows. Dance music makes him anxious now. This must be it then, he thinks, this is getting old.

Then he sees the spine of a CD; Emma's writing. It's a compilation CD she made on her flashy new computer for his 35th birthday last August, just before his wedding. The compilation is called "Eleven Years" and on the homemade inlay slip is a photograph, smudgy from Emma's cheap home printer, but nevertheless it is still possible to make out the two of them sitting on a mountainside, the peak of Arthur's Seat, the extinct volcano that looms over Edinburgh. It must have been that morning after graduation, what, twelve years ago? In the photo, Dexter in a white shirt leans against a boulder with a cigarette dangling from his lip. Emma sits a little distance away with her knees brought up to her chest, her chin on her knees. She wears 501s cinched tight at the waist, is a little plumper then than now, gawky and awkward with a ragged fringe of hennaed hair shading her eyes. It's the expression that she has used in photos ever since, smiling one-sidedly with her mouth closed. Dexter peers at her face and laughs. He shows it to Jasmine.

1st August 1999. Here it is -- a homemade present. Keep telling yourself -- it's the thought that counts it's the thought that counts. This is a loving CD reproduction of a cassette compilation I made for you ages ago. None of your chill-out rubbish; proper songs. Hope you enjoy this. Happy Birthday, Dexter, and congratulations on all your great news -- A husband! A father! You will be great at both.

"Look at that! It's your godmother, Emma! Look how thin your dad was. Look -- cheekbones. Daddy once had cheekbones." Jasmine laughs soundlessly.

Back in Jasmine's bedroom he sets her in the corner and takes the CD out of the case. Tucked inside is a tightly written postcard, his birthday card from last year.

It's good to have you back. Remember, I love you very much. Your old friend Emma.

It starts with Massive Attack, "Unfinished Sympathy" and he picks up Jasmine and bounces at the knees with his feet planted, mumbling the words into his daughter's ear. Old pop music, two bottles of wine and no sleep are combining to make him feel light-headed and sentimental now. He cranks up the Fisher Price train as loud as it will go.

He smiles, and puts the disc in the player that is shaped like a steam train.

And then it's The Smiths, "There is a Light That Never Goes Out", and though he never particularly cared for The Smiths he continues to bob around, head down, twenty again, drunk at a student disco. He is singing quite loudly, it's embarrassing, but he doesn't care. In the small bedroom of a terraced house, dancing with his daughter to music from a toy train, he suddenly has an intense feeling of contentment. More than contentment -- elation. He spins, and steps on a pull-along wooden dog, and stumbles like a street drunk, steadying himself with one hand against the wall. Whoa there, steady boy, he says aloud, then looks down at Jasmine to see she's okay and she's fine, she's laughing, his own beautiful, beautiful daughter. There is a light that never goes out.

And now it's "Walk On By", a song his mother used to play when he was a kid. He remembers Alison dancing to it in the living room, a cigarette in one hand, a drink in the other. He settles Jasmine on his shoulder, feeling her breath on his neck, and takes her other hand in his, kicking through the debris in an old-fashioned slow-dance. Through the middle of exhaustion and red wine he has a sudden desire to talk to Emma, to tell her what he's listening to, and as if on cue his phone rings just as the song fades. He forages amongst the discarded toys and books; perhaps it's Emma, calling back. The display says "Sylvie" and he swears; he must answer. Sober, sober, sober, he tells himself. He leans against the cot, settles Jasmine in his lap and takes the call.

"She's still awake?"

"She's smiling, aren't you, sweetheart? It's Mummy on the phone." Dutifully he presses the phone to Jasmine's ear, but she remains silent. It's no fun for anyone, so he takes it away. "Me again."

"Just some music. Jasmine and I are having a little party, aren't we, Jas? I mean Jasmine."

Sylvie sighs. "What have you been up to?"

At that moment Public Enemy's "Fight the Power" suddenly kicks out from the Fisher Price, and he scrambles to jab at the stumpy buttons.

"In my hotel room. I'm just going to have a lie-down, then go back for the next wave." As she speaks, Dexter takes in the wreck of Jasmine's room -- the milk-sodden sheets, the scattered toys and books, the empty wine bottle and greasy glass.

I have smoked cigarettes, got drunk, doped our baby, phoned old girlfriends, trashed the house, danced around mumbling to myself. I have fallen over like a drunk in the street.

"Oh, just hanging out, watching telly. How about you? Having fun?"

"Except you."

"'fraid so."

"It's okay. Everyone's off their face of course --"

"I'm too exhausted to get drunk."

"How's Jasmine?"

"What was that?"

"It's very quiet. Where are you?"

"Hello, Sylvie!"

"Of course. Did you ever doubt me?" There was a moment's pause. "You should get back to your party."

"I love you."

"But you've managed."

"Fine. Goodnight then."

"Perhaps I should. I'll see you tomorrow. About lunch time. I'll be back at, I don't know, eleven-ish."

He swallows, and licks his lips. "I just wanted to say… I wanted to say I know I'm not very good at this at the moment, this whole father, husband thing. But I'm working on it, and I'm trying. I will get better, Sylv. I promise you."

She brings the phone back to her ear. "Hm?"

"You too." And she is gone.

"Love you," he says.

"I'll see you tomorrow."

"Goodnight, Dexter."

"You too."

She seems to take this in because there's a short silence before she speaks again, her voice a little tight. "Dex, you're doing fine. We're just… feeling our way, that's all."

He sighs. Somehow he had hoped for more. "You'd better get back to your party."

She is about to hang up, but he feels compelled to say one more thing. "And Sylvie? Sylvie? Are you there?"

He steps on a plastic pig, sharp as flint, which embeds itself painfully in his heel and, swearing to himself, he turns off the bedroom light.

In a hotel room in Westminster, ten miles further east along the Thames, his wife sits naked on the edge of a bed with the phone held loosely in her hand and quietly starts to cry. From the bathroom comes the sound of a shower running. Sylvie doesn't like what crying does to her face, so when the sound stops she quickly wipes at her eyes with the heel of her hand and drops the phone onto the pile of discarded clothes on the floor.

The house seems very quiet. He sits there for a full minute, his daughter sleeping now on his lap, and listens to the roar of blood and wine in his head. For a moment he feels a pulse of dread and loneliness, but he shakes this away, then stands and raises his sleeping daughter to his face, loose-limbed now like a kitten. He inhales her scent: milky, almost sweet, his own flesh and blood. Flesh and blood. The phrase is a cliché but there are fleeting moments when he catches sight of himself in her face, becomes aware of the fact and can't quite believe it. For better or for worse, she is a part of me. He lowers her gently into her cot.

"No."

"I'm sure he's fine."

"No, but really drunk. He sounded strange. Perhaps I should go home."

"Like I said, I'm sure he's fine." She says nothing, so he sits and kisses her again. "Try and forget about it. Have some fun. Do you want another drink?"

Callum belts his dressing-gown, walks back into the bedroom and leans at the waist to kiss her bare shoulder.

"Do you want to lie down?"

"Oh, you know. Not really. He sounded pretty drunk."

"No Callum!" She shakes his arm off her. "For Christ's sake!"

He resists the temptation to say something, turns and walks back to the bathroom to brush his teeth, his hopes for the night evaporating. He has a horrible feeling that she is going to want to talk about things -- "this isn't fair, we can't go on, perhaps I should tell him," all that stuff. For crying out loud, he thinks indignantly, I've already given the guy a job. Isn't that enough?

He spits and rinses, returns to the room and flops onto the bed. Reaching for the remote, he flicks angrily through the cable channels while Mrs Sylvie Mayhew sits and looks out the window at the lights along the Thames and wonders what to do about her husband.

"Everything fine?"