Campaigns & Companions – Andi Ewington and Rhianna Pratchett

OK, this is an extremely short book, being more a series of jokes about why you should never let your pets take part in Role Playing Games such as Dungeons and Dragons, it is however also extremely funny and beautifully illustrated by Calum Alexander Watt. I purchased the signed edition which comes with four art cards each signed by one of the two authors, the illustrator and the editor and which have on the back a character profile in the style of RPG’s of the illustrated pets including special skills and dice rolling advantages and disadvantages. It has arrived in the post today and has immediately leapfrogged over all the other books in my to be read pile.

As it says on the back cover “What if your pets could play D&D? And what if they were… kind of Jerks?”

Anyone who has ever owned a cat will be all too familiar with that particular feline trait. There are forty five double page spreads like this with a scenario from a game on the left hand side and an illustration which mainly stays on the right but occasionally strays over to mix with the text, There is also a centre page double spread picture of the animals playing whilst seated at a table just as if they are human. One I particularly liked, because a friends dog is quite capable of doing this, is a dog with his staff in his mouth not able to understand why he can’t get through an archway. I’ve watched her dog try to get through a door to greet me whilst holding a branch in his mouth that is clearly too large to go through and getting more and more puzzled as to why he can’t get in.

Amazingly all the jokes work, there is a preponderance of cat and dog tales but that simply reflects the spread of pets, at least in the UK but there are also gerbils, a hamster, rats, a chameleon, a rabbit, a snake and even a spider amongst various others, but everything rings true to the habits of the animals.

As I said at the beginning of this review the four art cards, each signed by one of the people involved in the project, have a different format to the rest of the book and take four of the featured characters from the book and add more details on the back of the card that would be relevant if they were taking part in a Role Playing Game. The four cards are as follows:

I’ll just show the top half of the card for Rexar the Fighter and Poppy which was signed by Rhianna Pratchett, who by the way in her dedication in the book says “To Pinky and Perky. My wonderful girls. Thank you for all the bleps, plurps and snuggles”, I just hope they were guinea pigs and that is why she chose to sign this one. The other three contributors also dedicated the book to their pets

This shows the sort of extra detail, and jokes, that are only available to owners of the signed edition and as this cost the same price I don’t see why anyone wouldn’t get this variant at least while stocks last, it is only available from Forbidden Planet whilst the standard edition is widely distributed. The book is published by Rebellion who I hadn’t heard of before but I suspect it will be worth checking out their catalogue. As Ian Livingstone (co-founder of Games Workshop and the Fighting Fantasy series of books) says in his blurb for the book

Dangerously funny – I had to make a saving throw vs side-splitting. Pet adventurers – you have been warned.

The Sandman: Preludes & Nocturnes – Neil Gaiman

I’ve been a fan of Neil Gaiman’s writings for many years but I really don’t understand the reason for comics for adults so have stayed away from the creation that really launched Gaiman as a fantasy superstar writer, The Sandman series. Don’t get me wrong, I loved comics as a kid and have really enjoyed the nostalgia of the recent Folio Society triple set of Marvel reprints for what is known as the Gold, Silver and Bronze ages of comic books and reviewed the Silver Age edition almost a year ago here but I’ve never read a graphic novel or indeed been that interested in trying. I might have known that Gaiman would eventually draw me to a genre I have ignored for so long. Preludes and Nocturnes collates the first eight comics from The Sandman series which eventually ran to seventy five issues from January 1989 to March 1996.

The first comic deals with the capture of The Sandman, aka Morpheus, aka Dream in 1916 through a magical incantation that goes wrong. Roderick Burgess and his acolytes were actually trying to summon and capture Death and got instead the ruler of dreams. Frustrated by their prisoner clearly not being the right target and his refusal to say anything so they don’t know which powerful entity they have actually trapped they leave him in the magic circle hoping he will talk and be of use, but he simply sits there , biding his time, for seventy years, until he is accidentally released. After swiftly taking his revenge on the only mortal still alive who was involved in his capture he finds that his realm has gone to wrack and ruin in his absence and his three essential tools, his bag of sand, his helmet and his ruby talisman have gone missing and without them his powers are dramatically reduced.

The next six comics deal with his recovery of the missing artefacts, some of these stories work rather better than the others. The main failure is Passengers which tries too hard to make The Sandman part of the DC Comics universe by jamming other characters from that stable of superheroes and villains into the story line. Yes The Sandman is a DC character, initially created by Joe Simon and Mark Fleisher in 1974 in the traditional hero suit of close fitting top and tights but the Gaiman re-invention of the character fifteen years later doesn’t sit well amongst the costumed heroes and it just feels wrong, even Gaiman describes the attempt as “perhaps misguided”. These all come under the horror fantasy genre, especially 24 Hours which would definitely get an adults only certificate if it was filmed. The dark artwork if perfectly fitted to the story although the original artist left after just five comics and the design subtly changed at that point but not as much as it was going to do.

The page below is from the final comic in this volume, The Sandman now has his power restored and so his initial quest is complete. The resolution has come as an anticlimax and what he doesn’t know now is what to do next so is reduced to just sitting, feeding the pigeons in a park until his sister arrives to try to shake him out of his deep reverie. As you can see the artwork is very different in this comic which is effectively a codicil to the first seven, I actually enjoyed this episode more than those before it and this is the first slight hint of the existence of The Endless a group of seven siblings who are like gods (although there is no specific reference to the family this early on in The Sandman series). In the final panel of this comic, and the book, you see that The Sandman is back.

Did I enjoy reading this? Yes. Will I therefore purchase and read the rest? Probably not. It was fun to experience such a complex story in the comic format but I don’t feel the need to read more in this style. I am intrigued by the recent audio version being produced as a series of dramas by Dirk Maggs whose work in the field of adapting fantasy novels to audio dramas I greatly admire, so ironically I may well continue my experience of reading a graphic novel but in a format with no pictures.

The Evolution Man – Roy Lewis

Although my copy, published by Penguin in 1963 has the title ‘The Evolution Man’ this was not the original title; when the book was first published by Hutchinson in 1960 it was called ‘What We Did to Father’, it has also gone under the title of ‘Once Upon an Ice Age’. As far as I can tell it has been out of print since 1994 when it gained a further subtitle which because it rather gives away the ending I’m not going to repeat here.

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The book is written from the point of view of Ernest one of the sons of Edward, the Evolution Man of the title. The family are Pleistocene ape-men in Africa and recently down from the trees, which is where his Uncle Vanya thinks they should all still be but Edward is determined that they must evolve. Part of the conceit of the book is that he is aware of the time periods that we now assign to history and worries that they may still be in the early Pleistocene and so have a long way to go rather than the mid to late period so are well on their way. The other part is that father achieves all the steps needed to lift them from scavenging apes just venturing onto the plains to the cusp of becoming the dominant species dragging his protesting family behind him. His first discovery is fire for warmth and defence against predators.

Fire – ‘How did fire work?’ ‘what I wanted was a small portable volcano’ ‘my only hope of finding the sort of limited family sized fire I wanted was to go up a volcano and chip a bit off’

Whilst telling the tale of how he brought fire from the volcano he accidentally invents ‘the heavy duty hunting spear with the fire hardened point’ by not paying attention to where his spear was when engrossed in the story. The fact that he instantly names it correctly and understands what he has got is entirely typical of the character. He is determined that humanity will progress and he won’t tolerate any back-sliding

The secret of modern industry lies in the intelligent utilisation of by-products,” he would remark frowning, and then in a bound he would seize some infant crawling on all fours, smack it savagely, stand it upright, and upbraid my sisters: “When will you realise that at two they should be toddlers? I tell you we must train out this instinctual tendency to revert to quadrupedal locomotion. Unless that is lost all is lost! Our hands, our brains, everything! We started walking upright back in the Miocene, and if you think I am going to tolerate the destruction of millions of years of progress by a parcel of idle wenches, you are mistaken. Keep that child on his hind legs, miss, or I’ll take a stick to your behind, see if I don’t.

All the family get caught up in this drive for progress, the youngest son Alexander uses burnt stick to draw uncle Vanya’s shadow one evening so inventing representative art. A little later on as Edward instantly understands what he has done they work together to draw a mammoth and soon after that the family kill a mammoth.  As this is perceived as cause and effect by the family, if not Edward, is this the start of religion? In another part of the book he demonstrates a basic grasp of genetics, or at least the need to widen as far as possible the genetic pool and get away from the natural trend for a small tribe to inbreed.

I should point out that the Roy Lewis who wrote this book is very different from the crime writer of the same name who has written over sixty books. Roy Lewis of The Evolution Man wrote only two works of fiction, he was a journalist and worked for The Economist and The Times in his long career, he also founded The Keepsake Press, a small private press.

To summarise the book I can do no better than to quote Sir Terry Pratchett from a article he wrote for the Washington Post published 7th April 2002

I first read The Evolution Man by Roy Lewis (in and out of print all the time — a Web search is advised!) in 1960. It contains no starships, no robots, no computers, none of the things that some mainstream critics think sf is about — but it is the hardest of hard-core science fiction, the very essence. It’s also the funniest book I have ever read, and it showed me what could be done.

I can only say I heartily agree.

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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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?

Sourcery (book proof) – Terry Pratchett


The fifth Discworld novel by Terry Pratchett was published on 26th May 1988, before that however Gollanz released a sample for book reviewers and this was the only time that the book proof of one of Terry’s works was not the complete book. Instead what you got was just the first 61 pages and an essay from Terry explaining Discworld as it was still not well known. It is this short essay that makes this book so interesting as it has never been reprinted so you can only read it is you are one of the lucky few people that own a copy. It is not known exactly how many were printed but the proofs of books four and six in the series were both only of circa 100 copies produced so it is not unreasonable to assume that it is also the case for this example. The poor production value of what is basically a pamphlet with what looks like a bad black and white photocopy of the cover for an author who was not then famous would also suggest that not all of the printed editions were kept.

When Sourcery was printed for real the first edition (see below) ran to 7,600 copies, ten years later Carpe Jugulum (printed 5th November 1998) would have a first edition print run of 160,000 in the UK alone although the proof for that book was still only 148 examples. Pratchett UK book proof collecting takes a lot of looking to find copies and they are all rare.


But back to the sample book proof, the essay inside describes how Terry saw the Discworld at the time, over the years this evolved and it is fascinating to read his views then, just four and a half years after the first book in a series that would eventually run to forty two novels, along with numerous other books, maps, plays etc. that added to the Discworld universe. The essay is headed

An Introduction to the series, composed by the Author, and included to make this special preview sample of Sourcery even more valuable as a collector’s item

In it he gives this description of why he invented Discworld in the first place

 It was created as an antidote to all those trilogies whose worthy heroes stagger across three volumes in order to do whatever it is that the fates have decreed that a hero must do. But fairy tales and folklore and all the feedstocks of fantasy have been dragged into it, and the humour gently teased out of them by the simple process of taking them seriously and staffing them with real people. This is very unfair on them, because it is like turning loose a large herd of cows in a small pottery.

This was indeed the case in the early Discworld books, the story is played for laughs and there is a strong sense of parody about the writing particularly in the ones up to and including Sourcery. The name of the novel by the way is also a joke and is deliberately spelled that way rather than Sorcery. The concept is that the eighth son of an eighth son is automatically a wizard of power but if he then goes on to have children each son would be as powerful as any existing wizard and if he has an eighth son then he would be a wizard squared and be all powerful with access to the source of all raw magic on the Disc hence a Sourcerer rather than a sorcerer. This duly happens and wizards start building towers to fight with one another, laying waste to the lands and peoples between; does this remind you of any three volume series by any chance? Pratchett specifically mentions Tolkien a little later.

Thus on the Discworld, wizards smoke. Nothing new about this Tolkien revealed to the world that wizards smoke. But on the Disc they really smoke, you can tell a wizard by his golden fingers, stained beard, tendency to cough when walking upstairs and, in the dark, by his little red glow.

The book goes on the amplify to the ridiculous numerous tropes of the fantasy novels up until then, barbarian heroes that are either like Cohen at 87 years old and sometimes needs to be carried off by the young maidens he has just rescued from sacrifice or patently unsuited for the role they have chosen such as Nijel who is far too polite for this sort of thing with his battle cry of “Erm, excuse me”. The book is very funny especially if you are well read in the sort of books that Pratchett is mercilessly parodying.

People keep asking for maps of the Disc, on the basis that all fantasy world have to have a map, but I retreat into my Somerset bunker and refuse on the ground that I may decide to move places around a bit if it makes a better joke.

As stated above there are now maps not just of the Disc itself but also specific regions but they weren’t created by Terry, instead Stephen Briggs eventually convinced him that it could be mapped, starting with the city of Ankh-Morpork and eventually the whole world and yes it did prove difficult because there wasn’t a map when the books were written and the lost continent of XXXX had to have a huge extension added just so that one of the books worked. The later books are also less parody of fantasy novels and more a humorous parody of life on Earth, back then Pratchett could never have seen where his work would take him and the millions of books he would sell, indeed he was somewhat bemused that it was as popular as it was even then.

the evolution of the books into a cult has rather perplexed me.


At the time of writing there is a copy available on Abebooks should you be interested at a quite reasonable (considering its rarity) £225

Fables from the Fountain

OK this one needs a bit of an explanation before we get to the book. Back in 1957 the great science fiction writer Arthur C Clarke published a book of short stories that he had written over the preceding 4 years and had appeared in various places in that time. The stories were all linked as a series of tall tales told in a pub called the White Hart by one of the regulars there, Harry Purvis. I first came across the book in the mid 1970’s when I was about 11 or 12 during a period when I was avidly reading through not only Clarke’s work but that of the other two writers of the ‘big three’ in Sci-Fi, Robert Heinlein and Isaac Asimov. At first I wasn’t very interested, I was heavily into Sci-Fi and this was just a group of people in a pub telling stories, mind you some of them have a scientific base and they were funny so I persevered and grew to like the plot twists that were an invariable part of each tale. I no longer have the book, assuming I ever did, it could have been from the library, although I remember the cover well with a giant squid almost covering the pub and I have fond memories of the stories themselves.

I found out many years later that The White Hart was based on a real pub called the White Horse in London where Sci-Fi fans and writers used to meet up in the 50’s. These included John Christopher (The Death of Grass, The Tripods Trilogy etc.), John Wyndham (The Day of the Triffids, The Kraken Awakes etc.) and of course Arthur C Clarke himself. Appropriately the concept of Fables from the Fountain was dreamt up in a London pub by Ian Whates a few weeks after Clarke’s death in 2008 and the day after the Clarke award ceremony for the best new science fiction novel released in Britain. Whates had founded Newcon Press a couple of years earlier and conceived a homage to Tales from the White Hart with stories by current authors who had all in their own way been inspired by the great innovator that was Sir Arthur C Clarke.

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The various writers in the new book have taken pseudonyms to be characters who meet at the Fountain to swap stories. Unlike the original the tales are given from assorted standpoints, rather than always by Harry Purvis although it’s good to spot references to him in several of the narratives. Because of the nature of the tales it is difficult to say much about them, they are short because of the premise of the book that they are stories told over a pint or two. Some like Neil Gaiman’s brilliant piece are very short at 4½ pages, so it is hard to avoid giving away the twists and turns they manage in so few words. Rereading the book after almost seven years (it was published in May 2011) for this blog  has been an interesting experience, I was surprised by how many I didn’t remember the ending to even if I instantly recognised the pre-amble.

There is high science represented and some truly awful puns, Professor Mackintosh explains how his life was saved by smoking, we find out surprising things about Muscovy Ducks, whilst Heisenburg, Schroedinger and surprisingly even William Blake get name checks. One of my favourites is ‘On the Messdecks of Madness’ by Raven about which I can say almost nothing without spoiling the enjoyment except it’s the only fantasy story I can recall that uses the great diarist Samuel Pepys’s admiralty career as a basis of the plot. Whilst another explains the 1908 Tunguska explosion and of course there is the obligatory Area 51 tale without which no collection of stories aimed at SF geeks would be complete.

The full list of stories are as follows, I’ve included the introduction here partly because the book does as well in the numbering of the index and also because Peter Weston’s introduction is definitely worth reading.

  1. Introduction – Peter Weston
  2. No Smoke without Fire – Ian Whates
  3. Transients – Stephen Baxter
  4. Forever Blowing Bubbles – Ian Watson
  5. On the Messdecks of Madness – Paul Graham Raven
  6. The Story Bug – James Lovegrove
  7. “And Weep Like Alexander” – Neil Gaiman
  8. The Ghost in the Machine – Colin Bruce
  9. The Hidden Depths of Bogna – Liz Williams
  10. A Bird in Hand – Charles Stross
  11. In Pursuit of the Chuchunaa – Eric Brown
  12. The Cyberseeds – Steve Longworth
  13. Feathers of the Dinosaur – Henry Gee
  14. Book Wurms – Andy West
  15. The Pocklington Poltergeist – David Langford
  16. The Last Man in Space – Andrew J Wilson
  17. A Multiplicity of Phaedra Lament – Peter Crowther
  18. The Girl With the White Ant Tattoo – Tom Hunter
  19. The 9,000,000,001st Name of God – Adam Roberts

The copy I have is the hardback limited edition (number 61 of 200) and is signed by all 19 writers. At the time of writing the title is still available from Newcon Press, although now only in paperback and not signed from this link.

Now if you’ll excuse me it’s Tuesday; so it’s the get together night at the Fountain, Polish barmaid Bogna will be serving behind the bar and I can hear the call of a pint or three of Old Bodger, although I’ll be careful to avoid the Ploughman’s lunches.

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