The latest episode of the recently-resurrected Drabblecast is devoted to Mr Key. It includes Norm Sherman’s magnificent reading of the exciting sci-fi story “Far, Far Away”. If you have not previously heard Norm intone the words “magnetic mute blind love monkeys”, you are in for a rare treat. If you have heard him, you will know that there are few instances in the history of recorded sound that are quite so unforgettable.
The last four books of the year.
Early indications here (with more to come) that I was a young nitwit Corbynista avant le jeremy. Thankfully, my brain did not ossify.
I have maintained a list of every book I’ve read since 1982. (I did once have an earlier list, stretching back to the mid-seventies, but this was irretrievably lost at some point, and my memory is not good enough to recreate it.) I thought it would be a fine thing to create a gallery of the covers of these many, many books, where possible showing the edition I read – not always possible when I borrowed the book from a library. Here is a first stab at the project, showing the first six books I read in 1982. The next half-dozen will appear tomorrow.
Immediately adjacent to the Duntblau Wool Shop, on the main shopping parade, is the Duntblau Nougat Parlour. This is the chief source of nougat, not only in Duntblau, but for miles around.
The proprietor of the Nougat Parlour is a fellow called Jukka-Pekka [Illegible], who can best be described as a “capsized man”. That is how he was referred to in the most authoritative book on the subject, Pen-Portraits Of The Proprietors Of The Duntblau Nougat Parlour, From Its Foundation In 1882 To The Present Day.
The illegibility of his surname is but one, telling, sign of his capsized nature. Add to that the fact that he is often to be found upside down and soaking wet, even when behind the counter selling nougat to the more confectionery-bedazzled citizens of Duntblau.
His history is curious, if shadowy. It is also dark, sweeping, flinty, error-strewn, piquant, lode-bearing, toffee-nosed, hip, hep, and hapless. Some claim it is tacky. Whichever words are used to describe his history, they pale in comparison to the pencil-drawings and diagrams which often accompany them. Many, if not most of these were executed at a single marathon session by Duntblau’s civic penciliste, Maisie Binns.
Maisie Binns herself is a woman without a history.
“One day she was just there,” reported the town blabbermouth, “Sitting on a chair near the shopping parade, scribbling in her sketchpad with a pencil. It was as if she had simply dropped from heaven. The pencil whizzed over the paper, she turned out drawings and diagrams with a felicity that can only be marvelled at. She was there, and then, just as suddenly, pfft!, she was gone. They say we shall not see her like again, but this is incorrect, as a second penciliste will be appearing shortly, God willing, if my prayers have been answered. And why should they not be?”
There is something dismal about Duntblau once one wanders far from the shopping parade. Any sense of civic oomph is dispelled the further away one is from wool and nougat. But I suppose the same could be said of virtually any cluster of buildings, any human settlement, in any of the districts of any of the regions in any of the countries in any of the continents on any of the planets in any of the solar systems.
It cannot be said of the seas. The seas are very different from the lands. The seas are soaking wet, and riddled with fish, and cephalopods, and huge aquatic monsters which suddenly crash to the surface and overturn our puny human boats, capsizing them, and all who sail in them.
Nimrod Im Duntblau is an opera by Horst Gack, the contemporary composer famed for his startling bouffant, ill temper, and near-fatal coughing fits. It is both unfinished and unperformed. Several extracts have been recorded, at gunpoint, by the Loopy Von Straubenzee Jug Band accompanied by one-time popstrels Ingmar & Hetty, the so-called “terrifying singing twins”. Horst Gack himself pointed the gun.
In Act One, Scene One, Nimrod arrives in Duntblau. The “mighty hunter before the Lord” is, appropriately, on a hunting expedition. He sings that he has heard much about the fabled Chicken of Duntblau, which he means to hunt down, pinion, and strangle with his bare hands.
He is overheard by Schwindi, the Duntblau Postmistress, who is hiding behind an arras. When Nimrod exits, she appears and sings the plaintive ballad “Must we swim yet again in the blood of chickens?”
Horst Gack has yet to write scenes two and three, but in Act One, Scene Four we find Nimrod, alone in the graveyard of St Bibblybibdib’s church, leaning insouciantly against a tombstone, smoking a fag, and muttering to himself. Because the muttering is punctuated by occasional thumps of a kettledrum, Horst Gack counts this as an arietta.
The only other scene yet completed is Act Seven, Scene Forty-Two. Schwindi is standing outside the Duntblau Chicken Sanctuary, holding a placard and singing a dirge. Critics have been sharply divided over this lengthy number. In the Macclesfield Tomato Sellers’ Weekly, Trilby Baxter dubbed it “a dire dirge, the direst dirge I ever heard”. (This sentence was abstracted by Dennis Beerpint, who used it as the first line of one of his twee verses, where “heard” is rhymed with “bird”, “curd”, “furred”, “bird” again, and “erred”.)
On the other hand, writing in the journal Dirges By Gack, Giles Pipstraw commended the piece as “possibly the most magnificent dirge moaned by a postmistress holding a placard outside Duntblau Chicken Sanctuary ever committed to sheet music by your friend and mine, Horst Gack!” (The overexcited Pipstraw in fact added nine more exclamation marks, which I have omitted for reasons of space.)
Other critics have ignored the dirge entirely, waiting, some would say wisely, for the opera to be finished before they pronounce upon it.
CDs of the recorded extracts can be obtained at jumble sales, charity shops, and as part of the contents of a jamboree bag available from spivs lurking in insalubrious alleyways in certain ill-starred seaside resorts, but not in Duntblau.
Ingmar & Hetty are currently on tour with their “Eighty Years In Showbiz And Contemporary German Opera” special extravaganza.
The sun is a ball of flames. It feels like a torrid southern summer … I can see a port. People are strolling in the shade of the high harbour walls. Shop doors are open wide. Aromas of tropical fruit fill the air with their fragrance. Peaches, oranges, apricots, raisins, cloves, and pepper all give off their wonderful scents. The asphalt steams after being sprayed with water. I can hear the strident, guttural tones of Persian merchants offering their wares. My God! How marvellous it smells here! How pleasant is the tropical air!
Suddenly my foot tripped over my ski pole. I quickly steadied myself against the kayak, opened my eyes wide, and was dazzled by the sun. For a moment I did not know where I was. What had happened to my tropical port? How the devil had I been transported to this icy wasteland?
“What happened?” asked my companions. “Nothing,” I answered, “I tripped over my pole. The boreal landscape unfolded once more before me in an infinite expanse, and the sun which had fleetingly brought me such joy now sought only to blind and torture me.
Yet the hallucination did not completely vanish. My nose was still filled with the aromas of Mediterranean fruit. My companions were not conscious of my present condition. What did it mean? Was I ill? I shut my eyes tight once again. I was like an automaton, moving rhythmically with the pole in my right hand, and once again I could hear the monotonous tune: “Far to go, so very far!”
But what I had just experienced continued to trouble me. For strangely enough I had never liked those aromatic fruits. They had never tempted my palate.
Valerian Albanov, In The Land Of White Death : An Epic Story Of Survival In The Siberian Arctic (Pimlico, 2001)