The Book of Margery Kempe

The earliest autobiography in English and by that most marginalised section of the population in historical texts (especially medieval history) a woman.  The book is a remarkable document all the more so from the fact that it was ‘lost’ for many centuries. It was known to have existed because of a seven page extract published by Wynkyn de Worde circa 1501 but the original manuscript which dates back to the 1430’s was believed to no longer exist. However in 1934 a copy was found in the collection of an old Catholic family the Butler-Bowdens, it is not the original dictated by Margery (as she could neither read nor write) but certainly a very early copy and a remarkable survivor. The book was first published in 1936 and the manuscript was acquired by the British Library in 1980. It is split into two books, the first has eighty nine chapters but it turns out that the person she dictated that to had such terrible handwriting that nobody could read it. In the four years it took to find somebody to rewrite this main section she dictated another ten chapters that were added as book two.

My copy is the first Folio Society edition of 2004 and uses the edited, and updated from medieval English, version by professor Windeatt, which was first published by Penguin Books in 1980, it has a lovely cover by Chris Daunt who also provided a dozen engravings included within the text.

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In the medieval period a woman was effectively the property of her husband and this is illustrated many times in the book such as within chapter 51 when Margery is in York

Then the worthy doctor said to her “Woman, what are you doing here in this part of the country?”
“Sir, I come on pilgrimage to offer here at St William’s shrine”
Then he went on “Do you have a husband?”
She said “Yes”
“Do you have a letter recording his permission?”
“Sir” she said “my husband gave me permission with his own mouth”

As well as the need to have permission we see here Margery’s habit of referring to herself in the third person, when she is not doing so then she uses ‘this creature’ as the usual term regarding herself. Margery had by this time travelled to Rome, Jerusalem and Santiago (Spain) on a couple of trips all without her husband. In fact he was probably enjoying the breaks from her presence as she has to be the most annoying person I have ever read about and frankly like a lot of her travelling companions I would also have spent a lot of time trying to get away from her.  On her way to Jerusalem from England her companions had abandoned her several times or insisted that she ate separately from them when she was present and in Italy they went so far as to book a ship across the Mediterranean and leave their lodgings without telling her in a desperate attempt to get away.

So why was she so irritating? Well Margery started having visions after her first child was born and would very loudly express them, calling out to all the members of the Holy Trinity and speaking to them as well as quite a few saints in churches dedicated to them. That she clearly believed that she was having these conversations is beyond doubt and she was no longer interested in anything else but aspects of her faith.

And those who knew of her behaviour previously and now heard her talk so much of the bliss of heaven said to her. “Why do you talk so of the joy that is in heaven? You don’t know it, and you haven’t been there any more than we have.” And they were angry with her because she would not hear or talk of worldly things as they did, and as she did previously.
And after this time she never had any desire to have sexual intercourse with her husband, for paying the debt of matrimony was so abominable to her that she would rather, she thought, have eaten and drunk the ooze and muck in the gutter than consent to intercourse, except out of obedience.
And so she said to her husband; “I may not deny you my body, but all the love and affection of my heart is withdrawn from all earthly creatures and set on God alone.

Alongside the visions she also took to weeping and crying whenever she was in a holy place or with a religious person regardless of rank and this would also be loud often involving throwing herself to the ground to bawl like a toddler. This naturally made her a difficult person to be around especially if you are trying to observe the peace of a holy site. When she got back from her pilgrimage to Jerusalem and Rome she would cry around fourteen times a day as she ‘remembered the passion’ as during a vision there she had seen herself with the body of Christ on the cross as though she had actually been present at the crucifixion.

For me, one of her most irritating features though is the total fixation on herself during the book. She travelled across Europe to Rome and onto Jerusalem taking well over eighteen months from late 1413 to Easter 1415 yet she records nothing of the places she went to or the trip itself. This journey alone would have made a fascinating book, she would certainly had a vast number of interesting experiences and a first hand record of Europe and the Holy Land from six centuries ago by an ‘ordinary’ woman as opposed to nobles and royalty would be invaluable to historians. She mentions that she spent twelve weeks in Venice before taking the boat to Jerusalem but that is it, who she met, where she went and what she saw during that time we learn nothing.

But that is not to say that book does not have a lot to recommend it, Margery’s responses to being challenged, even by the highest authority show a quick wit and can be quite funny and despite being frustrating at times to a modern reader, especially the passages where she is conversing with God I’m glad I read it. I’ll finish with a passage from chapter sixty which shows her at her feisty best…

There was a lady who wanted to have the said creature to a meal. And therefore, as decency required, she went to the church where this lady heard her service and where this creature saw a beautiful image of our lady called a pieta. And through looking at that pieta her mind was wholly occupied with the Passion of our Lord Jesus Christ and with the compassion of our Lady, St. Mary, by which she was compelled to cry out very loudly and weep very bitterly, as though she would have died.
Then the lady’s priest came to her, saying “Woman, Jesus is long since dead.”
When her crying had ceased, she said to the priest, “Sir, his death is as fresh to me as if he had died this same day, and so, I think, it ought to be to you and all Christian people, We ought always to remember his kindness, and always to think of the doleful death that he died for us.”

and that told him.

The Eyre Affair – Jasper Fforde

Jasper Fforde’s first novel also introduces his main protagonist, Thursday Next, an agent for LiteraTec Special Operations who has now appeared in seven books by Fforde. The books exists in an alternate history where, in the case of this book, the year is 1985 and the Crimean War is now into its 135th year, there are companies commercially genetically engineering extinct species so a popular pet is a dodo and Special Operations includes division 27 which looks after works of literature. In fact literature seems to dominate society with people changing their names to that of famous authors to such an extent that they are legally obliged to have a number tattooed on them to identify which John Milton you are talking to for example. There is also the Goliath Corporation a firm that has made billions in financing the Crimean War and seems to have various shadowy sidelines of it’s own which are strictly for the good of the corporation.

A running trope through this book is “Who wrote the plays attributed to Shakespeare?” sometimes there are short discussions regarding Bacon or Marlowe and in one tedious section which ruins the flow of the plot a whole series of pages are dedicated to this discussion for no good reason whatsoever.

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The book after all is theoretically about Jane Eyre, although in fact for almost half the story it is about Martin Chuzzlewit. The basic conceit of the book is that there is a master criminal who obtains a machine invented by Thursday’s uncle Mycroft which allows people to travel in and out of works of literature. Archeron Hades steals the original manuscript of Charles Dickens’ work, removes one of the minor characters and has him killed in the present day. This changes all copies of the book, even those already printed, and he threatens to do the same to Chuzzlewit himself unless a ransom is paid.

For various reasons the plot is foiled and the ransom not paid but Hades escapes to the fiercely independent Republic of Wales where he cannot be followed by English justice, only to try again by this time stealing the original manuscript of Jane Eyre and kidnapping Jane herself immediately before she rescues Mr Rochester from his flaming bed. All copies of the book are therefore much shorter and there is uproar. Thursday Next is sent to get Jane and the book back together.

As implied above there are numerous sub plots, in fact far too many sub plots, as the book is overly complicated by them. You get the feeling that Fford is trying to show off his literary erudition at the expense of just telling a good story and there is definitely a good story to be found in there if you work at it. I’m inclined to forgive him as this is his first published work and I will definitely read at least the next volume about Thursday Next entitled “Lost in a Good Book” which is set a few months after “The Eyre Affair”.

The book cover by the way is printed to look as though it is rather dog-eared, my copy is brand new.

Chapter 13

There is an ongoing joke in Fforde’s books regarding chapter thirteen or rather the lack of one. If there are numbered chapters then there is always one listed in the contents at the start but in fact chapter 14 always immediately follows chapter 12 and the page given for chapter 13 to start is either blank or part way through chapter 12. They do however have titles:

  • The Eyre Affair – The church at Capel-y-ffin
  • Lost in a Good Book – Mount Pleasant
  • The Well of Lost Plots – Reservoir near the church of St Stephen
  • Something Rotten – Milton
  • First Amongst Sequels – Cross Lewis’ number
  • One of Our Thursdays is Missing – 14th May 1931
  • The Woman Who Died a Lot – A Penguin
  • The Big Over Easy – First on the right
  • The Fourth Bear – 111110000

Note: assuming 111110000 is binary then the decimal equivalent is 496, it is anyone’s guess if this is significant or if there is any meaning to the choice of titles for the missing chapters; although the 14th May 1931 was a Thursday.

Flatland – Edwin A. Abbott

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I asked my friend, Catalan booktuber Anna, best known under her nom de plume of Mixa, to choose this weeks read from a random group of titles I provided and she selected Flatland because she had never heard of it and was intrigued by the idea of a mathematical classic combined with social parody. Written in 1884 by an English headmaster who specialised in ‘classics’ i.e. Greek and Latin; this is as an unlikely cornerstone of multi-dimensional non-Euclidean geometry as can really be imagined. I first read it in my teens and although the copy on my shelves is from my mid twenties I probably haven’t read it in over two decades so it is well worth revisiting.

The book is split into two sections, the first describes Flatland and it’s inhabitants whilst the second deals with one of it’s inhabitants A. Square and his perspective of several other lands. Initially Lineland, then what is called Spaceland which is our own set of dimensions and finally Pointland before he finally returns to his own two dimensional world and the prison that we find him in at the start of the narrative.

But let us begin with a description of Flatland because it is with an understanding of this two dimensional land that we will start to see the effects of an extra dimension which is not apparent to the inhabitants. Our narrator A. Square is as you might expect a square and as such is a lawyer, the number of sides that each character has denotes his status in society as follows:

Our Middle Class consists of Equilateral or Equal-Sided Triangles. Our Professional Men and Gentlemen are Squares (to which class I myself belong) and Five-Sided
Figures or Pentagons. Next above these come the Nobility, of whom there are several degrees, beginning at Six-Sided Figures, or Hexagons, and from thence rising in the number of their sides till they receive the honourable title of Polygonal, or many-sided. Finally when the number of the sides becomes so numerous, and the sides themselves so small, that the figure cannot be distinguished from a circle, he is included in the Circular or Priestly order; and this is the highest class of all.

It is a Law of Nature with us that a male child shall have one more side than his father, so that each generation shall rise (as a rule) one step in the scale of development and nobility. Thus the son of a Square is a Pentagon; the son of a Pentagon, a Hexagon; and so on.

Below the Equilateral triangles are the ranks of workers and soldiers who are Isosceles and as the size of the smallest angle contained within a figure is an indication of intelligence clearly the more ‘pointed’ such a triangle is the lower the intellect and (bearing in mind this is a Victorian book) the more violent and criminal the individual is assumed to be. Rather than increasing sides with each generation Isosceles triangles gain half a degree to their smallest angle each time until they are finally assessed to be Equilateral and the family can then start to rise through society.

Now it should be noted that as indicated in the quote above this only applies to sons, so what about the females, well they are all just straight lines and this is where Edwin Abbott Abbott (yes the A. in his name really was Abbott as well) hit accusations of misogyny even in the 1880’s. Something he attempted to address in a preface added to the second and revised edition but without much success, one of the more offending sections being below…

Not that it must be for a moment supposed that our Women are destitute of affection. But unfortunately the passion of the moment predominates, in the Frail Sex, over every other consideration. This is, of course, a necessity arising from their unfortunate conformation. For as they have no pretensions to an angle, being inferior in this respect to the very lowest of the Isosceles, they are consequently wholly devoid of brain-power, and have neither reflection, judgement nor forethought, and hardly any memory.

Still enough of the first half of the book, there are lots of details given as to how houses are constructed, how the people recognise each other and various social mores which whilst interesting in the way Abbott has tried to give life to his creation do not really impinge on the main object of the book which is contained in part two. The important section is in the remainder where A Square visits other lands and learns about dimensions other than the North/South, East/West directions he is currently familiar with. The first of these is described as a dream where he perceives Lineland a place of just one dimension with all the inhabitants travelling over a single line with him floating over it so that he can see along the line.

 

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As A. Square interacts with the King of Lineland at first he is simply a disembodied voice coming from nowhere along the line and therefore not perceptible as a figure to his majesty. He therefore lowers himself onto (and through the line) revealing himself as a line as that is all he can be in just one dimension, but a line that can appear and disappear at will. This understanding is vitally important for him to grasp the concept of Spaceland later on in the book when a sphere visits him in his home.

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As can be seen from the diagram to A. Square the sphere is merely a circle within Flatland and one that can change size and also appear and disappear just as he could in Lineland but even though he had his dream he still struggles to comprehend what it is that he is seeing until the sphere lifts him off the plane of Flatland and shows him his world from above. Suddenly he can see inside his house and not only that but everyone and everything in it simultaneously. He can even see inside his sons, grandsons and servants and also his wife panicking because he has suddenly vanished.

 

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This is revelatory to him and at this point he grasps a logical progression that had eluded the sphere himself

I. Nay, gracious Teacher, deny me not what I know it is in thy power to perform. Grant me but one glimpse of thine interior, and I am satisfied for ever, remaining henceforth thy docile pupil, thy unemancipable slave, ready to receive all thy teachings and to feed upon the words that fall from thy lips.

Sphere. Well, then, to content and silence you, let me say at once, I would shew you what you wish if I could; but I cannot. Would you have me turn my stomach inside out to oblige you?

I. But my Lord has shewn me the intestines of all my countrymen in the Land of Two Dimensions by taking me with him into the Land of Three. What therefore more easy than now to take his servant on a second journey into the blessed region of the Fourth Dimension, where I shall look down with him once more upon this land of Three Dimensions, and see the inside of every three-dimensioned house, the secrets of the solid earth, the treasures of the mines in Spaceland, and the intestines of every solid living creature, even of the noble and adorable Spheres.

Sphere. But where is this land of Four Dimensions?

I. I know not; but doubtless my Teacher knows.

Sphere. Not I. There is no such land. The very idea of it is utterly inconceivable.

I. Not inconceivable, my Lord, to me, and therefore still less inconceivable to my Master. Nay, I despair not that, even here, in this region of Three Dimensions, your Lordship’s art may make the Fourth Dimension visible to me; just as in the Land of Two Dimensions my Teacher’s skill would fain have opened the eyes of his blind servant to the invisible presence of a Third Dimension, though I saw it not. Let me recall the past. Was I not taught below that when I saw a Line and inferred a Plane, I in reality saw a Third unrecognised Dimension, not the same as brightness, called “height”? And does it not now follow that, in this region, when I see a Plane and infer a Solid, I really see a Fourth unrecognised Dimension, not the same as colour, but existent, though infinitesimal and incapable of measurement? And besides this, there is the Argument from Analogy of Figures.

Sphere. Analogy! Nonsense: what analogy?

I. Your Lordship tempts his servant to see whether he remembers the revelations imparted to him. Trifle not with me, my Lord; I crave, I thirst, for more knowledge. Doubtless we cannot see that other higher Spaceland now, because we have no eye in our stomachs. But, just as there was the realm of Flatland, though the poor puny Lineland Monarch could neither turn to left nor right to discern it, and just as there was close at hand, and touching my frame, the land of Three Dimensions, though I, blind senseless wretch, had no power to touch it, no eye in my interior to discern it, so of a surety there is a Fourth Dimension, which my Lord perceives with the inner eye of thought. And that it must exist my Lord himself has taught me. Or can he have forgotten what he himself imparted to his servant?
In One Dimension, did not a moving Point produce a Line with two terminal points?
In Two Dimensions, did not a moving Line produce a Square with four terminal points?
In Three Dimensions, did not a moving Square produce – did not this eye of mine behold it – that blessed Being, a Cube, with eight terminal points?
And in Four Dimensions shall not a moving Cube – alas, for Analogy, and alas for the Progress of Truth, if it be not so – shall not, I say, the motion of a divine Cube result in a still more divine Organization with sixteen terminal points?
Behold the infallible confirmation of the Series 2, 4, 8, 16; is not this a Geometrical Progression? Is not this – if I might quote my Lord’s own words – “strictly according to Analogy”?
Again, was I not taught by my Lord that as in a Line there are two bounding Points, and in a Square there are four bounding Lines, so in a Cube there must be six bounding Squares? Behold once more the confirming Series, 2, 4, 6; is not this an Arithmetical Progression? And consequently does it not of necessity follow that the more divine offspring of the divine Cube in the Land of Four Dimensions, must
have 8 bounding Cubes; and is not this also, as my Lord has taught me to believe, “strictly according to Analogy”?

Sorry for quoting such a large section but this really is the whole crux of the book as we see that logically there must be a fourth direction that is no more visible to us as up/down was to the square in Flatland and north/south was to the inhabitants of Lineland stuck as they are in their eternal east/west line.

We leave Flatland as we began with A Square in prison for having committed the heresy of declaring of what he calls ‘upward not northward’ and trying to spread these ‘lies’ in Flatland. He is being visited by a priest, as he has been for seven years to try to get him to recant from his madness but instead he determines to write this book.

Flatland has never been out of print since it’s original publication over 130 years ago and it remains one of the great primers in understanding multidimensional geometry so important after the work of Einstein, I heartily recommend it and have thoroughly enjoyed rereading it so thank you Anna.

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White Horses – Eric Ravilious

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Puffin Picture Books, an imprint of Penguin Books intended for children, started in December 1940 and ran until March 1965, although by then you were lucky to get one new title a year. In all 119 titles were published out of 120 that were given numbers, the missing title was 116 assigned to Life Histories by Paxton Chadwick and this was eventually printed by the Penguin Collectors Society in March 1996 under the guidance of Steve Hare. The story of the series appeared to be complete, but there were in the archives references to other titles that never even got as far down the path to publication that Life Histories had. One of these was Eric Ravilious’s White Horses. The beautiful watercolours of chalk figures and hills on the English chalk Downs intended for the book did exist but there appeared to be nothing more.

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Ravilious had been approached by Noel Carrington, editor of the Puffin Picture Book series to produce illustrations for a thirty two page landscape book of Downland figures back in 1939 and he was originally very enthusiastic about the project working of watercolours straight away. By the beginning of 1941 he had produced a dummy which showed the planned layout but by then commitments to the War Ministry left him no time to do more. Sadly on 28th August 1942 Ravilious was killed in an air crash whilst working as war artist in Iceland, the dummy of Downland Man (as Carrington referred to it)  disappeared and the planned book appeared to have died with him.

The story leaps to 2010 and the rediscovery of the dummy tucked away with other papers in the possession of Roland Collins. This critical evidence is now held at The Wiltshire Museum in Devizes and it is with their permission to make use of the document that the book I now have in front of me exists. Step forward Joe Pearson, owner of a small printing company in London, book and illustration collector and Penguin Books expert.

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Design For Today has, since its launch in 2015, already built up a reputation for producing fine examples of illustrated books based on Joe’s love of mid 20th century design, either reprints or more often using contemporary artists as inspired by the period as Joe is. As their website says…

Design For Today’s artists’ books are all designed, crafted and printed in the UK, using quality, sustainable materials and printed using the traditional processes of lithography, letterpress, screenprint, or linocut.  Editions are small, from 500 – 1500

Joe had been hinting throughout 2018 that White Horses (as Ravilious titled the dummy) was a project he was working on; with Alice Pattullo commissioned to produce the black and white illustrations needed to complete the artwork as Ravilious had only ever done the colour pictures and Puffin Picture Books are a mix of both. The text of the final book is by Joe himself.

On the 31st December 2018 disaster struck, as the warehouse holding all of DFT’s stock, along with part of Joe’s own book collection and personal items, was burnt to the ground and nothing could be saved. White Horses is the first book to be launched after that loss of all of the back stock from the first years of the business and members of the Penguin Collectors Society are to receive a copy of the standard edition with their June mailing.

My copy of the limited edition version, which also includes a signed A3 print of one of the pictures by Alice, arrived the other day and it is an excellent piece of work not just well printed as I expected having quite a few of DFT’s products already, but entirely in the spirit of the Puffin Picture Book series.

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The double page spread above shows the sort of village that the creators of the earliest chalk carvings would have lived in at about 1500BC and this is the illustration that comes as the print with the limited edition book. The limited edition appears to have sold out already but standard copies of this beautiful book are available for £15 plus postage from Design For Today, anyone who like me loves Puffin Picture Books and/or the works of Eric Ravilious is sure to want one.

The Antipope – Robert Rankin

The first in the increasingly inaccurately titled Brentford Trilogy (currently eleven books with at least one more to come, which is claimed to be the last of the series) The Antipope also has the most straight forward title. Rankin has a passion for punning titles but as this was also his first ever book, originally published in 1981, maybe he felt something more mainstream was required. My copy is the 35th anniversary limited edition privately published by Rankin and signed by him, it is also the first time the book has appeared in hardback. Rankin himself describes his work as far fetched fiction, indeed his privately published volumes are by Far Fetched Books, at the time of writing the limited edition of The Antipope was still available and is illustrated internally by the author, the cover is by the brilliant Josh Kirby

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The full list of Brentford Trilogy books so far is as follows; and from this you can see his love of wordplay with other book titles and songs:

  1. The Antipope (1981)
  2. The Brentford Triangle (1983)
  3. East of Ealing (1984)
  4. The Sprouts of Wrath (1988)
  5. The Brentford Chainsaw Massacre (1997)
  6. Sex and Drugs and Sausage Rolls (1999)
  7. Knees Up Mother Earth (2004)
  8. The Brightonomicon (2005)
  9. Retromancer (2009)
  10. The Lord of the Ring Roads (2017)
  11. The Chronicles of Banarnia (2018)

The Brightonomicon and Retromancer (2009) are included above although they aren’t in the list of Brentford Trilogy books at the front of this book which only has the first seven but equally on the dust wrapper it says:

The Antipope was the first book in the Brentford Trilogy which now includes at least nine books and will feature one more with the launch of The Lord of the Ring Roads – the first book in a new Brentford Trilogy – some time in the not too distant future.

The reason for the confusion in the number of books to be officially counted in the series is probably due to the appearance of several characters from the set appearing in other books by Rankin which means that those may, or may not, be part of the canon. The books also do not appear to have a specific reading order; things that happen in one book are ignored in later volumes, characters even reappear when they were apparently killed off or written out in earlier books and never with any explanation. Individual volumes are consistent within themselves however just don’t expect a sweeping narrative across them all.

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Brentford itself is one of the least eventful places in the UK and certainly contests strongly for the top spot for this amongst towns within Greater London. Looking on the time line on the wikipedia page reveals that the only act worthy of mention in the last ninety years is the 1965 opening of the elevated section of the M4 motorway, an opportunity the express road took to bypass Brentford entirely. This makes the location all the funnier for the ‘far fetched fiction’ that Rankin has take place there and the cast of odd characters that populate the books. Chief amongst these are John Omally and Jim Pooley who are the reluctant, and frequently drunk, heroes of the book. They are never happier than when enjoying a pint of large in The Flying Swan served by Neville the part time barman at that establishment. It should be noted that Neville appears to be the only barman at the Flying Swan so he does seem to be full time although is always described as the part time barman. The other main characters for this tale are Professor Slocombe who understands more than most what is going on and guides the characters to the ultimate defeat of the Antipope; Norman Hartnell (always described as not to be confused with the other Norman Hartnell) who is a mad inventor and runs the newsagents; Soap Distant explorer of the inner Earth; Captain Carson from the Seaman’s Mission and Archroy who, at least at the start of the book, is working at the local rubber factory.

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The plot starts with the arrival in the Flying Swan of

a beggar of dreadful aspect and sorry footwear

All those who encounter him feel compelled to cross themselves even if they are not Catholic and he slowly encounters most of the main protagonists most especially Captain Carson as he moves in and then takes over the Mission house. Quite what a seaman’s mission is doing in Brentford is also a mystery, the town is on the Thames but a long way from the sea. The plot gets odder and odder with each flight of fantasy by Rankin including ‘magic’ beans, vast underground chambers, an attempt to wade the English Channel and a cowboy night nobody will ever forget amongst other things.

Now I’m going to have to read the others in the series…

To conclude with Robert Rankin’s own explanation of Far Fetched Fiction from a 1999 interview in Dublin

 I’ve said this before, when I went into writing I wanted to create a new genre of fiction that wasn’t like anybody else’s. It was going to be called Far Fetched Fiction, I would have my own book shelf in Smiths, with just my books in them and it would be bliss. But it didn’t quite work out like that, I ended up in a general fiction section, and then they realised that I didn’t write general fiction and I ended up in science fiction, which I feel a bit of a fraud for being there. Because people who write science fiction don’t know what I write, and… I’ve forgotten what I was going to say, what was I going to say?