Disaster Averted

Shenanigans aplenty at Hooting Yard yesterday, when I awoke to discover that your favourite website had been targeted by fiendish cybercriminals from the hacking community. Well, in truth I did not notice immediately, for I spent my earliest waking hour or so researching a forthcoming Little Ruskin adventure – one where he is admonished for jumping off his favourite box on a Sunday. When it became apparent that I was unable to make postages, and that other funny business was afoot, my first impulse was to call in Detective Captain Cargpan. The doughty copper has, I understand, recently added a cybercrime unit to his force, a team of toughies who intersperse roughing up suspects down in the basement with tippy-tapping impenetrabilia into their laptops. Their helpline, however, informed me that Cargpan had taken them on a team-building awayday to some kind of jazz-funk seaside resort bowling alley aromatherapy human rights retail and leisure fairground complex, funded by a new and exciting quango. Money well spent, say I, never begrudging a single penny diverted towards the personal development of Detective Captain Cargpan and his crew.

I turned instead, as perhaps I ought to have done from the outset, to Hooting Yard’s own technoboffin, asking him to investigate. Tirelessly, he poked around in the digital innards of the website. It took all day to isolate the horrible truth – that an unkempt oik, as pockmarked as Stalin, somehow connected to Horst Gack and his mysterious wife and collaborator Primrose Dent, had tampered with Hooting Yard for his own nefarious ends. And those ends? Nothing less than a delusional attempt to undermine years of Dobson scholarship. Had the oik succeeded in his plan, the titles of every single out of print pamphlet by the titanic out of print pamphleteer would have been altered. Fake ones would have been invented, and passages deleted or rewritten or attributed to other, non-existent, pamphleteers. There would have been the perpetration of similar outrages, not least among them the recasting of Marigold Chew as mere figment.

That none of this happened is due entirely to the technoboffin. Single-handedly, he has averted disaster, and preserved the reputation of Dobson. We all owe him our gratitude.

Seed Studies

In Notes Pursuant To The Unravelling Of The Pamphleteer’s Plum Plan, we saw how Dobson believed he could learn about seeds by peering at them. Other than suggesting “entire afternoons” as the length of time for a seed peering session, much that we would wish to know remains unsaid. I suppose we can assume that Dobson planned to peer at the seeds of a plum tree, but if he is right that prolonged peering is in itself educational, one could, presumably, peer at any seed, or seeds. The pamphleteer refers to “seeds” in the plural, but does not specify how many. And one is left uncertain whether, for example, he envisages peering at a single, different seed on different afternoons, or at the same array of unnumbered seeds each time. Nor are we told whether he would use a powerful microscope. It would also have been helpful if Dobson could have given some clue as to the type of surface on which his observed seed or seeds would be deployed.

I mention all these points because it seemed to me dubious in the extreme that one would learn very much about seeds, or about anything else for that matter, simply by peering at them. And yet who was I to doubt Dobson, unarguably the most important pamphleteer of the twentieth century, albeit an out of print one? I resolved to put this peering business to the test. Given the lack of detail in Dobson’s account, I had to improvise somewhat.

I decided to buy a packet of birdseed, partly in homage to the famous “phantom Dobson” pamphlet, and partly because, at the end of my experiment, I would have something to scatter on the serried bird tables of Pointy Town, about which more later.

I removed a single seed from the packet, and placed it carefully on a piece of beige cloth laid flat on the tabletop. I chose beige as it is the most neutral of colours. Then I pulled up a chair and sat down, and plonked my elbows on the table and rested my chin in my hands. Not having a microscope, powerful or otherwise, I had to rely on my myopic eyes, peering at the seed through my spectacles. It was morning, rather than afternoon, but that meant I had a longer period of daylight to do my peering.

I peered at the seed for nine hours. The following day, I placed a handful of seeds on to the beige cloth and peered at them for five hours. The next day, I took another single seed from the packet, laid it on a sheet of expensive creamy notepaper, and peered at it for eleven hours. I continued seed peering every day for two weeks, neglecting all other concerns, and varying the number of seeds and the surface upon which they rested. One day I removed my spectacles, to get a blurry perspective. When I wasn’t peering at seeds, I made notes, not on the expensive creamy notepaper, which I save for letters to dowagers and contessas, but in a notebook I bought especially, on the cover of which I pasted a label reading “Seed Studies”.

So was Dobson right? By the weird and eerie Gods that stalk the land of Gaar, of course he was! When all my peering was done, and I went a-scattering the birdseed on the serried bird tables of Pointy Town, my brain was fat with seed-lore. I have a hard task ahead of me, but I aim to marshal the notes in my Seed Studies notebook into a coherent text, to be issued later this year, or perhaps next, as The Hooting Yard Ṻbertome Of Seeds. I suspect it will make every other book about seeds ever published fit only for the dustbin. And all thanks to Dobson, to whom, of course, the Ṻbertome will be dedicated.

Plums

One windy morning in the late 1950s, Dobson became fixated with the desire to have a type of plum named after him.

“Imagine the thrill,” he said to Marigold Chew, over breakfast, “going to the fruiterer’s and asking for a half pound bag of Dobsons!”

Marigold Chew said nothing in reply, merely casting her eye over Dobson in precisely the way a compositor might look at a pamphleteer.

Dobson had a very flimsy grasp of matters botanical, and had never grown any fruit in his life. He was ready to acknowledge that these were distinct disadvantages. If the world was ever to be enhanced by a plum called Dobson, drastic activity was required. After breakfast, putting on a pair of secondhand winklepickers, he pranced off to the kiosk by the pylon on the patch of waste ground by the sewage plant, over which loomed the immensity of Pilgarlic Tor and, above it, a sky blue and clear and without any sign of an imminent hailstorm. Unaccountably, the kiosk was shut, and not simply shut but boarded up, covered over with large rectangular panels of reinforced hardboard hammered into place with dozens of big fat nails. No signage had been pasted on to any of the panels to explain this startling state of affairs. Whenever anything changed within his familiar bailiwick, however slightly, Dobson was avid to be told about it, greedy for details, and ever on the lookout for signs and announcements and bulletins, in the absence of which he was liable to have a neurasthenic attack, and emit little cries, just like Edgar Allan Poe when he got the jitters, or the Wild Boy of Aveyron when deprived of potatoes.

On this day, however, so consumed was the out of print pamphleteer with his plum plan that he sailed on past the boarded-up kiosk, fleet in his winklepickers, and carried on along the lane abutting the sewage plant annexe, past the clown hospital and the vinegar distillery and the bottomless viper-pit, until, crossing Sawdust Bridge, he approached a tobacconist’s. Here, thought Dobson, he might find the publication he was seeking, for in addition to a range of pungent cigarettes and cigarillos and pipe tobaccos from the more benighted regions of the earth, the shop stocked a few magazines and penny dreadfuls and hastily-pasted-together prog rock fanzines, alongside the complete works of John Ruskin in pirated editions. It was quite a tobacconist’s.

As he pranced closer to its gaudy doorway, however, the pamphleteer’s path was blocked by a peasant leading an improbably numerous herd of goats to pasture. Dobson had no option but to stand and wait while goat after goat after goat after goat after goat passed slowly by. Just as our pamphleteer knew little of botany, it may be that the reader is ignorant of the goat world. Briefly, then, goats are cloven-hooved and Satanic and their milk has a peculiarly goaty flavour and they come in a number of varieties including the Nubian and the Toggenburg and the Anatolian Black and the Booted and the Fainting and the Finnish Landrace. Some such goats were among the flock that passed in front of Dobson, who sat down on a tuffet and ate some curds and whey, cartons of which he kept in his pockets as emergency snack solutions.

By the time the last of the goats clacked past, and the way to the tobacconist’s was cleared, it was lunchtime, and the shop’s shutters had been pulled down, and the tobacconist himself was fast asleep in a sort of man-cot behind his counter. Undaunted, for there were still fires in his head regarding the plum project, Dobson pressed on, beyond the swimming pool and across Yoko Ono Boulevard, skirting the Miasma of Grubbiness, past two brooks, one babbling and the other unbabbling, past a bear colony and a bee sanctuary, past a second shut tobacconist’s, until he reached Old Ma Purgative’s Newsagent & Hazardous Chemical Waste Compound. To his relief, he found it neither boarded up nor closed for lunch, and skipping past the life-sized cardboard cut-out of Jethro Tull’s Ian Anderson playing his flute while standing on one leg which Old Ma Purgative kept in the porch, Dobson entered.

“How now, Mistress P!” cried Dobson, in an unnervingly cheery tone.

“Are you a mystery shopper?” snapped back the ancient proprietress, both her face and her voice curdled with spite. She was a proper caution, and had long ago lost whatever marbles her god had given her, her god being a household one, hung on a nail at the back of the shop, wooden, with savage talons, in the shape of a crow, with vermilion plasticine blobs for eyes. It held her in thrall.

Though he was a fairly regular customer, Dobson was used to Old Ma Purgative’s forgetfulness, and he did not take umbrage at being unrecognised.

“No mystery shopper I!”, he shouted, in the foolish syntax he tended to deploy when speaking to shopkeepers, “I am but an humble wight who seeks a copy of the current issue of So You Want To Buy Or Rent An Orchard?, the weekly magazine packed with much advertising of a fruity orchard nature.”

Old Ma Purgative gawped at Dobson, waved a wand in the air, said something in rhyming couplets about frogs and toads and pies and sparrows, and essayed a little hop and skip. Her burning desire was to become a character in a fairy tale or nursery rhyme, and to frighten children. But the pamphleteer was a grown man, and he had seen these shenanigans before, so he ignored Old Ma Purgative and stepped over to the magazine rack. Various titles were shoved none too tidily into the battered wire slots of the stand, mostly publications in foreign languages or those invented by teenage science fiction enthusiasts, such as Zigbog, as spoken by the superignorant Zigbog-ra in the long-running radio serial Pie Shop Deep Space Nine.

By the time Dobson had finished rummaging, fruitlessly, through the tat, his hands were filthy, so he bought a jumbo tube of disinfectant goo before bidding Old Ma Purgative farewell. Outside the sky was black and the air was thick with pinging hailstones. Dobson scampered to a cow byre for shelter. It was empty of cows, for this was a Thursday, the day when cows in these parts were taken on excursions.

Six hours later, when the hailstorm ceased, Dobson trudged home, taking a different route, along the canal towpath, past the duckpond and the dirigible hangar and the Museum o’ Whisks, past Pang Hill Orphanage and the disgusting pit, past large imponderables and smaller enigmas, and finally up the lovely lane lined with hail-drenched foxgloves and toadflax. Marigold Chew was out, supervising some cows on a cow excursion. Dobson did not even pause to remove his winklepickers, but sat straight down at his escritoire and wrote, at one sitting, the untitled and unpublished piece which scholars have dubbed Notes Pursuant To The Unravelling Of The Pamphleteer’s Plum Plan.

One windy morning in the late 1950s, he wrote, I became fixated with the desire to have a type of plum named after me. Knowing nothing of plums, and not much about fruit in general, I hit upon the idea that by buying or renting my own orchard, I would have the leisure to experiment. In my mind’s eye, I saw myself leaping out of bed every morning, and, come rain or shine, sprinting off to my orchard, there to propagate plum trees, to study them with such rigour that before long I would know all there was to know about plums, both the minutiae and the big picture. I would have a shed in my orchard which would become the world’s finest plum library. I would spend entire afternoons peering at seeds, at first in ignorance, but gradually with ever greater perspicacity. I would dig and mulch and prune and cut. I would erect bird scarifiers and familiarise myself with the workings of a shotgun. And then one day, years hence, when so close was the resemblance between a plum and my brain that it would baffle the most expert of fruitmen, I would grow an entirely new type of plum, and I would call it the Dobson, and thus my name would be immortal.

Such was my dream. The very first step to realising it was to obtain a copy of the current issue of that most excellent magazine So You Want To Buy Or Rent An Orchard? I strode out of doors with the vigour of a man sixty years younger, plum-bedizened. As I walked, I hummed the Four Last Songs by Richard Strauss, one after another, in the wrong, but to me preferred, order. The sky was blue and clear, with no hint of hail.

Alas, my efforts to find a copy of the magazine came to naught. Then came the hail, such teeming hail as I have never seen. I sheltered for hours in a deserted cow byre, and with every ping of a hailstone upon its corrugated iron roof, the more dejected I became. Crushed by misery, I was almost tempted to the stupidity of pleading with Old Ma Purgative’s wooden household crow god. Was I such a weed that I would fall at the first hurdle? Would I abandon my plum plan simply because, unbeknownst to me, So You Want To Buy Or Rent An Orchard? had ceased publication seven years ago, around the time of, and because of, the Korean War? It pains me to say that the answer to both these questions is “Yes”. I sit here, in my squelching secondhand winklepickers, gripping my pencil like a dying man’s straw, and I peer into the future, and I know the shattering truth, that there never, ever will be a plum called Dobson.

Human weakness. The puddle of a million dreams.

Notes On Skippy

Serial correspondent Tim Thurn is perplexed. O beloved Mr Key, he writes, For some years now, Hooting Yard has been my unerring guide, informing my opinions and attitudes and in some cases even my behaviour. Rarely will I venture a viewpoint upon any topic without first doing a mental accounting of what the Yard has taught me. Thus I find myself in a state of some beflummoxment on the subject of our canine pals. I am unmoored. I am unable to work out the approved “line” on dogs. One day you tell us dogs are boring, but then you write, with some affection, of Skippy, a dog you feed and pamper and which appears to be your domestic pet. I cannot be the only reader who is utterly confused by these divergent dog attitudes, and would be extremely grateful if you could, in some wise, shed light upon the matter.

I will not reproduce the remainder of Tim’s wordy letter, which veers off into an account of the many and various dogs with which he has come into contact during his life. Better that I set him straight without further ado. Clearly, when reading of Skippy, Tim picked up on the words “bark” and “hound” and “cur”, and also I assume on the detail that Skippy is fed, from a bowl, on reconstituted meat chunks in jelly. Any reader, not just Tim, could be forgiven for thinking that I was referring to a dog. But dogs are not the only beasts that bark. Seals bark. Skippy is, in fact, a seal.

Now, it is certainly true that seals are rarely, if ever, referred to as hounds or curs, and are not, in the general run of things, fed in the manner or with the fare Skippy enjoys. But Skippy is a particular kind of seal, known as a selkie or sealchie, that is, an allegedly mythical type of seal which, when on land, can shape-shift, and take on other forms, often human, but sometimes dog or cat or cow or, extraordinarily, wasp or hornet. The selkie is not, however, a wholly convincing shifter of shape, and whatever form it takes as it flops onto land from its watery domains, it always retains a recognisably pinnipedian character. If one were lazy, one might call Skippy half-seal, half-dog, but that is too simplistic and gives quite the wrong impression of his physical appearance. Depending upon the time of day, and the play of light, and the humidity of the air, Skippy can look almost exactly like a common seal, or a mastiff, or even, from some angles, like a giant ungainly sparrow.

Whatever form he takes, on land, he barks, and tends towards other dog-related behaviour, such as fetching thrown sticks, drooling, and, when allowed, leading blind people safely through the many imperilments of the cityscape. Though myopic, I am not blind myself, but I make a little bit of pin money by renting Skippy to sightless folk who require a canine guide for half an hour or so while their regular dog is meeting an appointment at the veterinary surgery, which happens to be bang next door.

It will be said that I must have known, when describing Skippy as a hound and a cur, that readers would leap to the conclusion that I was referring to a dog rather than to a selkie. After all, selkies are not the most common of beasts to keep as domestic pets. I grant that. In mitigation, all I can say is that, on the day I was writing about, the quality of the light seeping in through the windows, and more particularly through the bathroom window, a sort of milky, soapy, lucence, lent Skippy a dogginess such that even I could forget for a moment that he is in fact a seal.

More problematic is the matter of Skippy’s diet. As far as I am aware, most seals like to eat fish, often swallowing them whole. Whether it be sprats or sardines or dabs, the average seal, and indeed the average selkie, if there is such a being, can happily eat nothing but fish throughout its life, a life, by the way, which an actuary would calculate at roughly twenty-five to thirty years. On the other side of me from the veterinary surgery there is a seal actuary’s office, and I checked those figures with him, a few minutes ago, in a break between paragraphs. I did not mention it at the time, thinking it better to present the information at a pertinent point, rather than interrupting my flow to buttonhole you with a newly-discovered fact. Incidentally, Mr Ten Boom, the actuary, is blind, and he has a sickly guide dog often in need of stomach pumpings at the veterinary surgery, so I regularly hire Skippy out to him for little trips to the newsagent or the greengrocer, located as they are on the other side of a wide boulevard frantic with hurtling container lorries. Mrs Ten Boom, the actuary’s wife, knitted a splendid little tabard for Skippy to wear on such excursions, yellow with black stripes, which can give him a disconcerting resemblance to an enormous bee.

But I must keep on track and return to the important matter of Skippy’s diet. I recognise that, having described my pet selkie as a hound and a cur, and mentioned his barking, the clincher for Tim Thurn and other readers, leading them to assume I was writing about a dog, was the reference to a bowl of reconstituted meat chunks in jelly. After all, long years of experience tell us, whether we are dog owners or not, that such a meal is de rigueur for our canine pals. I will not muddy the waters by pointing out that cats are commonly fed on broadly similar lines. I have not received any readers’ letters asking me to clarify whether or not Skippy is of the feline persuasion.

As a selkie, one might expect Skippy to salivate happily at the sight of the aforementioned sprats and sardines and dabs, but not at food fit for a dog presented in a bowl set upon the floor. Many seals jump in the air to catch thrown fish, rather than snuffling with their faces buried in a bowl. Yet recall, one of the defining characteristics of the selkie is that, while in water it is wholly a seal, upon land it shifts shape and takes on, partially and spookily, other forms. We cannot expect a transformation, in certain lights, of its outward appearance to go unaccompanied by a corresponding terrestrial enjumblement of its innards. The innards of a seal or a selkie are not merely blubber, they are as complex and miraculous as the innards of many another organism. If you have ever dissected anything, be it a fruit bat or a buttercup, you will know whereof I speak. Thus, once having heaved itself ashore, and bid goodbye to the sea, either temporarily or permanently, the selkie’s transmogrification, even if it is mythical, is startling. In Skippy’s case, by becoming in some manner doggish, he discovered doggish appetites. We have already ascertained that Skippy enjoys chasing after thrown sticks. Why, then, should he not see the allure in a bowl of reconstituted meat chunks in jelly placed before him on the floor? That does not make him a dog. It makes him a selkie which, on land, in the play of light, appears to the human eye to be a dog, more or less, if one does not examine him too closely.

It will be asked whether a selkie chooses the terrestrial form it adopts, or whether, as it emerges from the sea, it is subject to forces both eerie and inexplicable, and takes the form destined for it by the seal-gods. I confess I do not know the answer to that question. Better minds than mine have wrestled with it, not least Mrs Ten Boom, the seal actuary’s wife, the tabard knitter. As she knits, she devotes her powerful brain to all sorts of abstruse and thorny problems, regarding not merely seals and selkies but to anything that exercises her. By no means does she confine herself to the aquatic and amphibious. She is, it is said, one of the few people living who has read every word ever published by the out of print pamphleteer Dobson, and not just read them but annotated them. Unfortunately, though dozens of Dobsonists have beseeched her to make public her notes and marginalia, she refuses, point blank, often with the aid of a baseball bat. She is a dear old thing, a good neighbour and a tabard knitswoman of genius, but, just as there are religionists who claim to have a personal relationship with Jesus, Mrs Ten Boom insists upon an exclusive Vulcan mind-meld with the pamphleteer, and bashes senseless with her bat anyone who tries to broach it. For my part, I salute her, as does Skippy, who has recently devised a fantastic saluting gesture with his right flipper, which looks, in a certain cast of light, like a paw.

Macabre Folding Camp Chairs

According to the visitor statistics, someone arrived at Hooting Yard yesterday having searched for the term “macabre folding camp chairs”. I hasten to add that I am not making this up. I suspect what the inquirer was looking for was Dobson’s exceedingly rare Eerie & Macabre Picnic Praxis, a set of practical guidelines which appeared, oddly, as an appendix to his pamphlet A Dictionary Of Squirrels (out of print).

Unusually for Dobson, the Praxis was written in response to a request from a reader. The pamphleteer was notoriously dismissive, even contemptuous, of his audience, such as it was. Marigold Chew recalls the great man stamping about in his study, spitting into the fireplace, shouting his head off at nobody in particular and insisting that his readership was composed of spiteful lickspittles and human wreckage. He had no evidence to back this claim, of course. He just enjoyed his misanthropic ravings, as who does not?

We must wonder, then, why the pamphleteer responded with such alacrity to the letter he received from a correspondent signing himself simply as “JFK”. There are compelling reasons to believe this was the soon-to-be-assassinated thirty-fifth Potus, but that is unlikely to have impressed Dobson, who had a weird animus towards men who wore surgical braces for excruciating back pain. A devotee of the “back quack” Rastus Tebbit, whom he occasionally visited in prison, Dobson swore by the old fraud’s patent back pain remedy of lettuce, toad, and cake.

The letter itself was clear and concise. Dear Dobson, it read, I am planning to organise a picnic outing that will be both eerie and macabre, but I have no idea how to go about it. It has been suggested to me by one of my secret service agents that a pamphleteer such as yourself would be able to bash together some guidelines at the drop of a hat. Thanks in advance.

It has been estimated that throughout his long career, Dobson received no fewer than eight direct requests from readers to address a particular topic. The other seven were binned or burned or torn to shreds or, on one memorable occasion, folded into a paper aeroplane of uncommonly aerodynamic soundness and launched from atop an Alpine peak into the blue empyrean, to the applause of a gaggle of Swiss boy scouts. Yet this one letter stirred something in the pamphleteer’s brain, and he immediately sat down at his escritoire and took a newly-sharpened pencil from his pencil pot and wrote the Praxis, it is thought in a single burst of concentrated picnic prose. The subject, it should be remembered, was one familiar to him, for he had written teeming pages on picnics in earlier years. Indeed, one of the first pamphlets ever to bear Dobson’s name was entitled God Almighty, Is There Anything More Satisfying Than A Well-Executed Picnic? (out of print).

As mysterious as the enthusiasm with which he tackled a reader’s request, however, is the fact that, as soon as the Praxis was written, Dobson shoved it into a cardboard box and forgot about it. Within days, the manuscript was covered with other scribblings, and with biscuit crumbs and dust and spilled talcum powder and a cackhandedly-folded map of guillemot habitats and shells from a packet of brazil nuts and newspaper cuttings and a hiking boot catalogue until the box was full and its lid was fitted and it was consigned to a shelf in the cellar alongside dozens upon dozens of other cardboard boxes filled with a heteroclite jumble of forgotten miscellania. This habitual Dobsonian practice has proved infuriating for scholars. Perhaps it really would have been better if the whole damned lot had been burned to a cinder.

Almost a decade passed. One Thursday afternoon, during a thunderstorm, Marigold Chew remarked to Dobson that his Dictionary Of Squirrels, which she was readying for print, would, in her opinion, be immeasurably enriched by the addition of a few more pages. But Dobson had exhausted his knowledge of squirrels, and had nothing more to say. By chance, he was rummaging about searching for the map of guillemot habitats, in preparation for his next project, A Dictionary Of Guillemot Habitat Maps, and, grabbing at the Praxis, he tossed it over to Marigold, muttering something along the lines of it being a “companion piece”. This was nonsense, of course, for it is nothing of the sort. Squirrels are not even mentioned in its sixteen brief paragraphs. Marigold was skim-reading it, and about to protest that Dobson was fobbing her off with a non-squirrel-related text, when there was an almighty clap of thunder and both the pamphleteer and his inamorata were stricken with sudden terrific clap of thunder shock syndrome. Dazed and bumbling, Dobson then made things worse by insisting they both take Rastus Tebbit’s so-called “curative”, a potion of toad, cake and radish, the only effect of which was to unhinge their reason for a period of forty-eight hours. It was during this time, with her judgement impaired, that Marigold Chew printed all known copies of the Dictionary Of Squirrels, with its wholly irrelevant appendix.

Should we be glad she did so? The Eerie & Macabre Picnic Praxis is a curious work, and it is hard to see how practical the guidelines are if one is actually intent upon organising an eerie and macabre picnic. Paragraph six, for example, the one I think my visitor from yesterday was searching for, reads as follows:

Most reputable stockists of folding camp chairs will be happy to listen to any requests from you regarding eerie or macabre ranges of their merchandise. They will listen happily because they tend, as a tribe, to be happy, even when faced by plague and cataclysm. I know this much because I have seen them laugh hysterically at an approaching swarm of locusts, on more than one occasion.

As Aloysius Nestingbird, that most temperate of Dobsonists, asked, after reading this passage, “What in heaven’s name is he blathering on about?” To date, no one has given a satisfactory answer to that question.

Dobson’s Card Index

“Along the path, glued to the window panes or hung on the bushes or dangling from the ceiling, so that all free space was put to maximum use, hundreds of little placards were displayed. Each one carried a drawing, a photograph, or an inscription, and the whole constituted a veritable encyclopaedia of what we call ‘human knowledge’. A diagram of a plant cell, Mendeleieff’s periodic table of the elements, the keys to Chinese writing, a cross-section of the human heart, Lorentz’s transformation formulae, each planet and its characteristics, fossil remains of the horse species in series, Mayan hieroglyphics, economic and demographic statistics, musical phrases, samples of the principal plant and animal families, crystal specimens, the ground plan of the Great Pyramid, brain diagrams, logistic equations, phonetic charts of the sounds employed in all languages, maps, genealogies – everything in short which would fill the brain of a twentieth century Pico della Mirandola.” – René Daumal, Mount Analogue : A Novel Of Symbolically Authentic Non-Euclidean Adventures In Mountain Climbing, translated by Roger Shattuck (1952; 1959).

The astonishing thing about the “little placards” displayed by Father Sogol, the Professor of Mountaineering in Daumal’s novel, is how similar they are to the immense card index maintained by Dobson, upon which he relied when writing his out of print pamphlets. Dobson would have approved, too, the Professor’s method of displaying the cards – at least, sometimes. One of the pamphleteer’s more irritating characteristics was his inability to settle on the keeping of his cards. At times, like Sogol, he pinned them up on every available surface. Then a frenzy would take him and he would tear them all down and shove them into one of his innumerable cardboard boxes. Marigold Chew reports that Dobson spent hours upon hours arranging the cards when they were in their boxes, ordering and reordering them according to various abstruse cataloguing systems. No sooner was he done than he would once again tip them out of their boxes and pin them up on walls and screens and pinboards and what have you. And of course, all the time he was adding new cards to the collection.

Much of Dobson’s card collection perished in the Potato Building fire, and ever since researchers have been attempting to reconstruct it. This is probably an impossible task, but that doesn’t stop them trying. The reward would be to create a sort of cardboard model of the innards of Dobson’s pulsating brain – not to be confused with the cardboard model of the carapace of Dobson’s brain which is currently being carted around the globe by a devotee. According to the timetable posted on the Cardboard Brain Of Dobson World Tour website, the cart with its precious contents is en route to one of the –nesses at the moment, either Skeg- or Dunge- or Foul-.

There was a flap of controversy some months ago when a previously unheard-of Dobsonist, one Bunko Chongue, claimed to have recreated an accurate cardboard box’s worth of index cards. After painstaking study of clues littered throughout the pamphleteer’s out of print works, and a visit to a stationery shop, the mysterious Chongue placed on display the results of his research. Purists’ suspicions were roused by the fact that one had to pay an exorbitant fee to get through the door of the Nissen hut where the exhibition was held. Inside, however, there was an attempt to reflect the pamphleteer’s indecision, with half the cards gummed to the walls and half crammed into a cardboard box. The cards themselves, too, demonstrated the variety that was characteristic of Dobson’s collection, as it was of Sogol’s. One visitor to the hut, later to denounce the show as a “despicable farrago of falsehood and Nissen hut windowlessness”, made a list of the cards he saw.

Instructions for the proper care of ostriches in captivity. Street map of Skegness. Photo of a duck escaped from Rouen. Pig brain diagram. Bootlace aglet comparisons. Lopped Pol Pot poptart. Torn and rent stuff. Widow’s buttons. Tips on bell ringing. Sandwich paste reviews. Drawing of ghost. Railway station smudge. Voltage statistics. Unsullied napkin from a remote canteen. Gunshot punctures. Drool from a pauper. Old Halob’s hat measurements. Imaginary portrait of Tecwen Whittock. Muggletonian dinner menu. Fatal microbes. Winnipeg pumpkineer’s cravat knot schema. Potter’s duffel bag toggle analysis. Starling feathers. Stalin brooch. Desiccated plum pulp. Rubberised atomic sackcloth scrap. Latch. Pins. Bolt. Set of amazing stains. Devotional card of St Abodwo, arguably the patron saint of monkeys. Periodic table of the crumplements. Gravy recipe. Tabulation of Orwellian egg count. Snapshot of Schubert’s grave. Mezzotint of Schubert’s boot. Handwritten screed of gibberish. Lock of Pontiff’s hair. Gummy ick. Definitions of flotsam and jetsam and plankton and krill and lemon meringue pie. The dust of death. The dewdrops of doom. Pointless scribblings.

The Dobsonist who made the list, whose name has never been made public, was initially impressed by the exhibition. A few days later, however, in a letter to the Daily Nisbet Spotter, he got into a fit of the vapours about the windowlessness of the Nissen hut, pointing out that, depending on the disposition of the purlins, it is quite simple to insert windows into the hut’s frame. It is rare for one who spends his life studying Dobson also to have expertise in the construction of huts, whether Nissen or not, and this suggests that we may be able to identify the writer, if anyone can be bothered to sift through the documentation in the register, if there is indeed such a register, as the rumour mill insists is the case, though of course its existence may be a wild fantasy. We know of such phenomena, of fictional imagined registers, not least because Dobson himself wrote so forcefully of them in his pamphlet Wild And Unhinged Fantasies Regarding The Existence Of Wholly Imaginary Registers (out of print). We can only guess how many index cards the pamphleteer used during the writing of this frankly blithering text, which Marigold Chew for some reason typeset to make it look like a pipsy-popsy book for infants.

Following the writing of his letter to the press, our unidentified Dobsonist had second thoughts about the exhibition. Where he had been positive, he now heaped execrations upon it, at first privately, shouting at his reflection in a mirror. He seems to have been oddly reluctant to bruit his views abroad. This changed after he spent a prolonged stay in a sensory deprivation tank and emerged hopelessly bonkers. He was seen wandering around various post offices babbling at anybody who would listen, and then he was seen scampering like a mad thing in the hills, and then he was seen weeping and rending his garments at the graveside of fictional athlete Bobnit Tivol. Then he vanished. He was missing during the dog days of the year, emerging as they petered out to publish his magnificent counterblast to Bunko Chongue, which I cited above.

By quoting his words, I do not necessarily lend them my imprimatur. For one thing, I did not see Bunko’s show myself, so I cannot say whether he grasped the essence of the Dobson card index in all its lost glory. And for another thing, I rarely lend my imprimatur to anything. It can be rented at a cost, usually a cost involving blood and body parts, and undying fealty, and one or two tangerines, and seeds, and the plasticine head of a wolf on a stick.

Shipwreck Is Everywhere

Si bene calculum ponas, ubique naufragium est. – Gaius Petronius Arbiter. That is, “if you consider well the events of life, shipwreck is everywhere”. Nobody considered the events of life with as much rigour as the out of print pamphleteer Dobson, and he came to agree with Petronius. Indeed, late in life he became notorious for breaking up happy gatherings, such as cocktail parties and jaunty sporting occasions and infants’ birthday celebrations, by brandishing mezzotints of famous shipwrecks in the faces of those gathered and reciting, in a booming voice, The Wreck Of The Hesperus or The Wreck Of The Deutschland, or both.

The mezzotints Dobson clipped from a magazine to which he subscribed for many years. Partridge & Peacock’s Weekly Shipwreck News collected accounts of shipwrecks real and fictional, usually written in lurid prose, and illustrated them with mezzotints, many from the hand of noted mezzotintist Rex Tint. Neither Partridge nor Peacock had the slightest interest in improving safety at sea, nor did they campaign for better lifeboat provision or similar initiatives. Quite the opposite, in fact. Partridge and Peacock were a gruesome pair, who relished the horror of shipwrecks, clapping their hands in unseemly glee when they received fresh tales of maritime disaster. They employed a team of backroom scribblers to empurple and embroider the basic reports which came clicketyclacking into the office on some kind of tickertapeyfaxy gubbins the duo had themselves invented.

Dobson never wrote for the magazine, although both Partridge and Peacock begged him to do so. There was one particular winter when either or both of the creepy cousins came banging on Dobson’s door offering blandishments, but the pamphleteer never succumbed. Even in the depths of penury, he appears to have held himself aloof, which is the more curious when one considers how devoted a reader of the weekly he was. Odder still that shipwreck is one of the few topics, one of the few “events of life”, to which Dobson did not devote a pamphlet of his own. It is true that he penned more than one blitheringly infantile encomium upon mezzotintist Rex Tint’s shipwreck mezzotints, the ones he clipped so carefully from the magazine every Tuesday morning for untold years and which, late in life, he took to pressing upon the attention of jolly partygoers, but of shipwrecks in and of themselves, he wrote not a word.

Although she did not share Dobson’s macabre interest, Marigold Chew once set The Wreck Of The Deutschland to music. She was, at the time, a pupil of grim beetle-browed composer Horst Gack, who set her the task of using Father Hopkins’ great poem as the basis for a harmochronotransduction for voice, piping, valves, and flute-to-be-played-while-standing-on-one-leg. Legend has it that she tried to get Dobson to sing the words during rehearsals in a farmyard barn, but that the project had to be abandoned when cows toppled over and goats got the vapours, hens became hysterical and rooks and bluebirds plummeted from the sky.

In The Vestibule

On the day Hattie Jacques died, Dobson was slumped in the vestibule of a large and shabby hotel, to which he had been summoned by a captain of industry. The out of print pamphleteer was on the verge his dotage, but was not quite there yet. If anything, his lucidity was terrifying. There were egg stains on his cravat.

The captain of industry failed to turn up, leaving Dobson in the lurch. At a loose end, and with barely a penny in his pockets, he slumped in the vestibule. The hotel did not have a commissionaire, or indeed anybody who cared that a pamphleteer was blocking the entrance, smelling faintly of egg.

Hattie Jacques died of a heart attack on the sixth of October 1980. The captain of industry whom Dobson was expecting to meet had died a day earlier. Nobody thought to look in his appointments diary. Even if they had, it would have beflummoxed them, for the captain of industry used an unbreakable code. He did this to lend himself an air of importance.

Of Norman Wisdom, with whom she appeared in The Square Peg and Follow A Star, Hattie Jacques said he was “difficult and self-centred”. The same could be said of Dobson. Indeed, he wrote as much, in a pamphlet entitled Why I Can Be Difficult And Self-Centred (out of print). Presenting an obstacle to anyone who wanted to enter or leave the semidilapidated hotel that afternoon was but one instance of this.

A number of people stepped over the slumped pamphleteer that day. Some even trod on him, so frantic was their haste. Dobson did not complain, for he was past caring. He was composing an essay in his head, as he often did, so that when he returned eventually to his escritoire he could scribble away at high speed. Sometimes he wrote so quickly that he scorched his notepaper.

The dead captain of industry had arranged to meet Dobson because he wanted the pamphleteer to write his biography. As we have seen, he had a massive and delusional sense of his own importance, and felt that only a master of majestic sweeping prose such as Dobson could do justice to his life. By any objective measure it had been a colourless and godawful life, devoted almost entirely to the manufacture and sale of buttons.

Hattie Jacques sported many buttons made by the captain of industry’s button company during the second world war, when she worked as an arc welder. The company provided the welding factory with all its buttons, and made its fortune in so doing. It was in the factory that Hattie Jacques nurtured her comic talents.

Dobson had been apprised of the reason for his abortive meeting, and, slumped in the vestibule, was tussling with a title. The Life Of A Buttoneer appealed to him, but there was already a book of that name, an adventure story by the bestselling paperbackist Pebblehead set in Wivenhoe and Cuxhaven. “A rip-roaring and emotionally wrenching rollercoaster ride!” exclaimed the review in Book Reviews With Lots of Exclamation Marks magazine.

Like Hattie Jacques’ ex-husband John Le Mesurier, the captain of industry had arranged his own death notice to appear in the newspaper. It read “Decisively Important Maker Of Buttons Is Dead. Keep buying his buttons so his name lives on for thousands of years.” One of the people who trod on Dobson in the hotel vestibule dropped his newspaper as he did so, and the page with the buttoneer’s death notice came to rest upon the pamphleteer’s egg stained cravat. He made no attempt to move it.

Hattie Jacques was buried in St Paul’s Churchyard in London. The captain of industry’s body lay undiscovered in his captainy penthouse flat, where it was gnawed by rats and mice. Eventually it was tossed into a furnace by a feckless janitor. The shabby hotel vestibule was not Dobson’s final resting place, thank god. At some point in the evening of that October day, he bestirred himself, scrunched up the newspaper that had fallen on him and shoved it into his pocket, finessed the cravat about his neck, and plodded home, difficult and self-centred, like Norman Wisdom, along lamplit streets. He had a while left before his dotage descended upon him.

lemesurier

 

The Joke Pamphlet

One of the more startling works of Dobson was the text often called “the joke pamphlet”, dubbed such because its opening lines are almost identical to one of those gags that begins “There was an Englishman, an Irishman, and a Scotchman…” It is the least-read of Dobson’s pamphlets by a long chalk. Some think this may be due to the work itself being thought a joke, perpetrated by an anti-Dobsonist, and thus not part of the canon. Equally, it could be argued that the very rarity of the pamphlet has led to it being neglected. Most estimates conclude that only three copies were bashed out on Marigold Chew’s Gestetner machine in her crumbling shed.

The pamphlet begins thus:

There was a thnetopsychist, a psychopannychist, and an annihilationist, and they were loitering in a graveyard. The thnetopsychist held that the souls of persons and beasts perish along with their physical bodies, and that both body and soul are resurrected at the Last Judgement. The psychopannychist believed that the soul sleeps in the grave, to be awoken at the End . The annihilationist, as his name indicated, said that there was no resurrection at all, for either the body or the soul.

Clearly, any sensitive reader would not be expecting Dobson to follow this with a comic punchline. This is a serious pamphlet by a serious pamphleteer. There follows a lengthy conversation between the trio, written in stilted, artificial, and highly-wrought prose, which Dobson disastrously tries to render in a variety of regional accents, choosing regions where he had never been, and of which he knew nothing. Indeed, it may be that the pamphlet has attracted so few readers because it is virtually unreadable.

But, as ever with the out of print pamphleteer, persistence pays off. Ted Cack has gone so far as to claim that it is Dobson’s finest, bravest, most valiant work, but he is probably just showing off.

One might be forgiven for thinking that the conversation between the thnetopsychist, the psychopannychist, and the annihilationist, which makes up the bulk of the pamphlet, consists of each arguing their case against the other. But it swiftly becomes apparent that this is not Dobson’s purpose at all. Well, it becomes swiftly apparent once one gets to grips with the tortured prose, but if one has to struggle it becomes slowly apparent. (In my case, it took about seven years hard slog, sitting up all night reading by the light of tallow candles, shivering in a blanket, to reach a vague understanding of this mighty text.) Rather than a standard mortalist debate about the fate of the body and soul after death, we are treated to a sequence of what can only be called rants by the three protagonists upon familiar Dobsonian themes – shipping timetables, foreign boot manufacture, breathtaking ornithological ignorance, and so on – interspersed with passages in which ghouls rise from the tombs in the graveyard and dance a sort of tarantella.

Obviously, the pamphleteer is playing with his readers here in a quite un-Dobsonish manner. Our moorings are loosened, and we are set adrift. We wonder, or at least I wondered, by about page 44, if we were heading for a maelstrom, like something out of Edgar Allan Poe. We cling on, though, trusting in Dobson to rescue us. And rescue us he does.

In the final pages of the pamphlet, the dancing ghouls harry the thnetopsychist into one of the graves, chop up the psychopannychist with their ghoul-axes, and hoist the annihilationist up a gum tree which just happens to be growing in a corner of the graveyard and which we have glimpsed, briefly, earlier in the text, when one of the protagonists – it is not clear which, given the stultifying density of the prose – shins up it and taps it for gum to make a point about tapping gum from gum trees. The ghouls then do a final little dance – more a hopping about, in truth – before returning to their tombs. But of course, one tomb is newly occupied by the stricken thnetopsychist, leaving a single ghoul with nowhere to rest. This ghoul wanders out of the graveyard, through the grim iron gates, past the cake shop and the colonic irrigation theme park and the butcher’s and the performing pinhead person’s plinth, and then vanishes into a mist, a mist reminiscent of the one that swallows up Arthur Gordon Pym of Nantucket. The ghoul is bound we know not where, and nor does Dobson tell us.

It is, in short, a tour de force, albeit one that is maddeningly difficult to make sense of. Oddly, not one of the giants of prog rock ever adapted it for a concept album. One can only imagine what a terrific gatefold sleeve would have been designed for the original vinyl release, and with what vim adenoidal youths would have carved Dobson’s name into their school desks with a penknife. Is there, one wonders, a parallel universe where such things came to be? And is there a piece of boffinry that could take us there, away, away… away from the sludge and gristle of our hapless hell?

Wilf

Dear Frank, writes Tim Thurn, who has taken to calling himself Tim Thurn Of That Ilk, I assume in a desperate attempt to lend himself some gravitas, I was intrigued to read in your account of the Old Farmer Frack Memorial Essay Contest that the judges would include Wilf Self, Wilf Amis, and Wilfette Winterson. I have never heard of any of these people, despite being incredibly well-informed in all manner of subjects. Indeed, so huge is the amount of information stored within my brainpans that I have been compared, by idiots, to Stephen Fry, and by people with a modicum of sense to Roger Bacon (c.1219-1294), “Doctor Mirabilis”, the man who, it was claimed, had read everything.

Not wishing to doubt your word, I ran the names past my uncle, whose name also happens to be Wilf. He looked at me witheringly and, with barely a pause, accused you of having invented your Wilfs, and Wilfette, out of whole cloth. “These people do not exist,” were his exact words, and I believe him, for he has made a point, during his long life, of keeping tabs on all the Wilfs and Wilfettes who have ever existed. Some may think it a foolish hobby, and it probably is, but that’s my Uncle Wilf for you.

Anyway, his pronouncement set me thinking. Why, I asked myself, would Key go to the trouble of making up a couple of Wilfs and a Wilfette when he must have known that he would be exposed as a fraudster and scoundrel as soon as anyone took the trouble to check? I must admit that for quite some time I was stumped. I just sat there, chewing the end of a pencil, risking lead poisoning, beflummoxed. But soon enough it was time for Uncle Wilf’s daily outing, and I pushed him in his super whizzo wheelchair a few times around the pond, the pond next to the cement facsimile of the Old Tower of Lobenicht. You will recall that as the tower which Immanuel (not Wilf) Kant liked to look at through his window as he sat by the stove in circumstances of twilight and quiet reverie, not that he could be said properly to see it. Perhaps something of Kant’s cerebral magnificence imbued my own brain, in spite of the cement copy being a poor substitute for the real tower, for in a flash of insight I realised what it was you were up to.

My theory, which I am going to write up into an essay and have published in some obscure and unread academic journal, Wilf willing, is that you were dropping great clanging hints to your readers of the full names of some of those Hooting Yard characters whose first names we are never given. Wilf Dobson? Wilf Blodgett? Old Ma Wilfette Purgative? Old Farmer Wilf Frack himself? You need neither confirm nor deny that this is the case, Mr Key, for so sure am I of the stupendous accuracy of my flash of insight that I know, as well as I know the consistency of the drool dribbling down my Uncle Wilf’s chin, that I will be proved correct in the Harmanite court of public opinion, the only court that counts.

Yours ever, Tim Thurn Of That Ilk (and his Uncle Wilf, Of That Ilk)

Dobson’s Boots

Ahoy there Key!, writes Dr Ruth Pastry, possibly trying to pretend she is aboard an ocean liner, I have a few questions for you about Dobson’s magnificent collection of boots. Yesterday we were told about the Austrian Postal Service ones and the Nova Scotian Seabird Tagging Patrol ones, and we can add to these the many other boots we have learned about over the years, those designed for Hungarian Flying Officers not least among them. What I want to know is, did Dobson have some sort of official connection with the many and various organisations whose boots he saw fit to wear? Are there gaps in the biography where he was, unbeknownst to us, actually employed by them? If this is the case, I really think it is time we were filled in on the details. Or, if not, it begs the question of how an out of print pamphleteer managed to obtain what I presume were pairs of boots normally made available only to those tireless servants who, for example, delivered the post in Austria or tagged seabirds in Nova Scotia. I do not want to think, even for a second, that Dobson may have gone marauding around the globe thieving boots wherever he found them. It pains me to consider the very real possibility that my favourite pamphleteer may have been wallowing in a fetid swamp of moral turpitude. I suppose it is only fair to declare an interest here. As you know, I am a woman of impeccable rectitude, and would never, ever stoop to thievery, but for many years now I have been coveting a pair of Uruguayan Butcher’s Assistant’s Boots and I cannot for the life of me think how in heaven’s name I can get my mitts on such an item, short of becoming an assistant to a Uruguayan butcher, a position for which I am hopelessly unqualified. My final question, then, is to ask if you have any advice for me in this regard. Not that I am expecting sensible answers to any of my queries, given the Key track record, but I live in hope, and at least I have got this off my chest. I am now going to wander up on to the deck of this entirely factual ocean liner, and stare at the sea, before eating my dinner at the captain’s table, jealously eyeing his Peruvian Sea Captain’s Boots which have been cobblered in a fashion very similar to the boots I covet. Passionately yours, Dr Ruth Pastry.

The Branch Line Less Travelled

Every now and then I receive letters from readers asking me to give some account of the geography of Hooting Yard and its hinterland. I have a standard reply to such requests, which is to say that through diligent study of the writings you could draw a map yourself. It would involve very close reading, being on the alert for clues and pointers, but all the information any half-competent cartographer needs is present in the texts.

Today, I am going to make things a little easier for aspiring mappers by saying a few words about the train journey from Hooting Yard to that ill-starred fishing village O’Houlihan’s Wharf. Last week it would have been fairly pointless to do so, but the exciting news is that the branch line, long fallen into desuetude, is running again. Using the proceeds from a winning raffle ticket (number 666, beige) a team of volunteers has reopened the line as a cross between a “countryside heritage family leisure facility” and a “cutting-edge arts praxis installation”. I have taken those two phrases from their brochure, a shabby piece of work duplicated on a Gestetner machine, designed perhaps to look like one of Dobson’s out of print pamphlets. Someone has gone to the trouble of hand-colouring all the covers, though, which shows the fanatical devotion of these enthusiasts.

brochure-450x4481

I am not one of these nutters myself, but I know the journey as well as I know the first three books of Paradise Lost, so take my hand, encased in a butcher’s mitten, and I shall lead you along the way.

hy-station-sign

Our thrilling railway excursion begins, naturally enough, at Hooting Yard. What was once a gigantic terminus alive with hubbub is now a ruin which serves mostly as a roost for sparrows. However, the volunteers have recreated a very convincing facsimile of one of the original platforms, and it is from here that the decrepit steam engine creaks into gear.

civic-platform

It is, of course, the Civic Platform. It had been hoped to place a commemorative copy of the Central Lever at one end, but Hazel Blears put the kibosh on that with a series of threatening letters. Diminutive and bumptious she may be, but she – or her officials – can certainly write poisonous prose. The branch line volunteer who opens the post has been admitted to a clinic for neurasthenics and has taken to wandering the grounds in a daze, like Ronald Colman at the beginning of Random Harvest, without the military uniform, of course, but with the pencil moustache. Anyway, off we go!

blister-lane

The first stop, some five hours down the line on a good day, is Blister Lane. When I say “on a good day”, I mean on a day when the train does not sputter to a halt about twenty yards out of Hooting Yard because the track is blocked by cows. This can happen distressingly often, for the fields hereabouts are teeming with cows, thousands of cows, and though they may be content to stand still staring at nothing, the likelihood is that mad Old Farmer Frack will come bellowing and waving his stick and drive them back and forth across the railway line for his own, no doubt profound, purposes. He is not a farmer who can be bribed, so if he is doing his thing with the cows, the train just has to wait.

hoon

From Blister Lane we head on to Hoon. There are many who contend that Hoon is a place of myth, like Atlantis or Lemuria. Even if they are right – and remember, there is no definitive evidence either way – that is no reason Hoon cannot have its own railway station. The station itself shimmers, as if in mist, even on a clear day, and eerie sounds echo about its turrets and crenellations, for the station building is both turreted and crenellated, if blurry. It is not advisable to disembark from the train at Hoon.

horrible-cave

Nor is it a good idea to alight at the next stop, the Horrible Cave, unless you are an emboldened spelunker. Actually, there is a reasonable chance you may be so, for last time we did a readership survey it turned out that almost three-quarters of Hooting Yard readers have survived terrifying imperilment in caves, though not of course in the Horrible Cave itself. And it has to be said that the Horrible Cave is so horrible that it makes every other cave in any given subterranean system seem like a Prudence Foxglove Sunday School. The branch line volunteers refused to place any health and safety notices at the stations, even here, so you will have to keep your wits about you and use that unfashionable tool, common sense. But if you are a regular reader of Hooting Yard, you will of course have plenty of that.

macabre-village

And so we steam on, still creaking, to the Macabre Village. Please note that this is not the Macabre Yet Goofy Village you may have read about in the works of Jean-Claude Unanugu, nor the same writer’s Goofy But Macabre Village. Those are fictional. This is just a macabre village, with no goofiness to be found, however hard you might search. If you jump off the train here, try not to go too close to any of the buildings, and take a torch with you, the more powerful the better. In fact, take a torch and a bag of pebbles. You can throw the pebbles at anything macabre that looms out of the shadows intent upon attacking you.

the-ponds

Anybody with any sense will have stayed on the train, and be rewarded by arriving some hours later at The Ponds. This used to be a popular destination for picnicking parties, particularly the pond known as Stagnant Inky-Black Fathomless Spooky Pond, where generations of tinies cavorted and capered. Some of them even made it home alive.

pang-hill

From The Ponds it is a short hop to Pang Hill, where the famous Orphanage graveyard is well worth a visit. Take a cotton napkin to mop up your tears. Various mawkish pamphlets are available from the graveyard gift shop, including some insufferably dreary collections of verse by Dennis Beerpint, penned (as he would say) before his reinvention as a twenty-first century beatnik. On that point, it appears that our cherished poetaster has disavowed his earlier work. He issued some kind of manifesto the other day declaring that he intends to rewrite each and every one of his pre-beatnik poems in the beatnik style. Whether or not that is something to look forward to I am not sure. It might be a good idea to snap up as many of his twee verses as you can while you are at Pang Hill, if you can cease sobbing and do a Winslety gather.

pointy-town

The next stop is Pointy Town. The station is, of course, magnificent, and very pointy. Indeed, it is thought to be the pointiest railway station on the planet. Before reopening the branch line, the volunteers made a special effort to eradicate any blunt bits on the station concourse, using a sort of antisandpaper, supplies of which they found untouched in a basement storeroom of Hubermann’s, the gorgeous department store.

oh-wharf

And so, finally, to the benighted fishing village itself, O’Houlihan’s Wharf. For obvious reasons, the timetables are less than accurate, but you should arrive within two or three weeks of setting out from Hooting Yard. You will be exhausted, and your head will be enveloped in steam, but you will I hope experience a Lovecraftian shudder as you step on to the platform, with the sudden, hideous realisation that there is no way back, and you must spend the rest of your days trudging up and down the rotting jetty, befouled seawater sloshing against your boots, and squalls blowing in from the west.

NOTE : Signage by OSM, to whom many thanks. The picture of the train on the cover of the brochure is from Agence Eureka.

Dobson’s Kitchen Groanings

I was mistaken, yesterday, to suggest that Dobson wrote a pamphlet entitled Kitchen Groanings, like the late eighteenth century work of the same name penned by an angry cook-wench or discontented housemaid. I was sure there was some kind of Dobson connection, and leapt to the most obvious thought, that it was yet another out of print pamphlet by the out of print pamphleteer. Unable to place it, however, I knitted my brows and set the tiny engines a-whirring in my pea-sized yet pulsating brain, and eventually, in the middle of the night, I realised I had been thinking of a radio programme made by Marigold Chew in the dying days of 1953.

Invited by the visionary producer Doug Hammarskjöld – no relation to the then Secretary General of the United Nations Dag Hammarskjöld – to create a piece of sound art for his fledgling long wave station Radio Doug Hammarskjöld, Marigold Chew rummaged in the broom cupboard where she alit upon her vintage Blattnerphone, a modified wire recorder that was the precursor of the mid-twentieth century tape recorder. The brief she had been given by the producer was precise.

Dear Marigold Chew, he wrote to her in his spidery handwriting, Here at Radio Doug Hammarskjöld we are on the lookout for pieces of belligerent, combative, confrontational sound art of between six and ten hours in length. Usually, the stuff we are sent consists of a lot of guttural shouting, often in German, which is fantastic as far as it goes, but it would be nice to bombard listeners with something a little more challenging. I know you used to sweep across the fields outside Pointy Town twenty years ago with your Blattnerphone, recording cows and peasants, and I wondered if you would rummage around in your broom cupboard for the vintage machine and make a programme for us, which we would broadcast every day for months on end, or at least until our licence comes up for renewal.

Marigold had fond memories of the bucolic field recordings she made in her younger days, and looked forward to heading out to her old haunts, armed with the Blattnerphone, mindful that there would be new cows in the fields and older peasants digging the ditches. She was already putting a sound collage together in her head, deciding to add the noises of rutting badgers and babbling brooks to the mix. She took the Blattnerphone from the broom cupboard and put it on the kitchen table and went upstairs to dig out the bus timetable and a map from her bedside bus and train timetable and map and chart and diagram cupboard. Alas, on the landing she tripped over a pile of Dobson’s out of print pamphlets, fell, clonking her head on a hard thing, and lost consciousness.

Meanwhile, down in the kitchen, the pamphleteer himself had just returned from a pointless errand. He was exhausted and rancorous. Carrying the kettle across the room, from its place of boiling, on a counter, to its place of filling, at the sink, he bashed it inadvertently against the Blattnerphone and in so doing flicked the switch which set the machine recording.

For the next six hours every noise that Dobson made was picked up and preserved for posterity on the thin steel tape of the Blattnerphone. Most of these noises were groans, for Dobson sat slumped at the kitchen table with his head in his hands, shifting only to make and then to drink copious cups of tea. If, by his groaning, he was trying to gain Marigold Chew’s attention, he was staring failure in the face, she being splayed flat on the landing away with the fairies. Indeed, she later recalled that during her swoon, which lasted the same six hours as Dobson’s groaning in the kitchen below, she had visions of fairies and elves and peris and aziza and nymphs and satyrs and tien and leprechauns and sprites and duendes and pixies and goblins. It was not often her head was cluttered with such twaddle, and when she awoke she was mightily discombobulated.

“Mighty is my discombobulation, Dobson,” she said, as she staggered into the kitchen, and she told the pamphleteer of her trip and fall and clonk and swoon.

Dobson groaned.

“The worst of it is,” she continued, ignoring him, “That my head is now so fairy-filled, presumably as a direct result of the clonk, that I am having the devil of a job trying to remember what I was doing. Or indeed why on earth I might have rummaged in the broom cupboard for that dear old Blattnerphone, which I see is perched on the table, whirring away.”

Dobson’s groaning had been so terrific he had not even noticed the modified wire recorder, perched like a miniature science fiction windmill between a packet of cornflakes and the tea strainer. But before he could speak, a hammering was heard at the door, like the knocking at the gate in Macbeth. Dobson ceased groaning and went to see who it was who could be paying a visit at so ungodly an hour. It was visionary producer Doug Hammarskjöld, who shoved the pamphleteer aside as if he were so much chaff, and bounded into the kitchen, where he babbled at Marigold Chew as if in an ungodly frenzy. Ungodly hours and ungodly frenzies can often come in twos, and, like magpies, even in threes, and as if to prove this last point an ungodly magpie came swooping through the sky and smashed into the kitchen window, clonking its small birdy head and falling into a swoon not unlike that from which Marigold Chew had just awoken. Such are the furious interconnections of the known universe.

“Marigold, Marigold!” babbled Hammarskjöld, “I see you have been making your tape of  belligerent, combative, confrontational sound art of between six and ten hours in length, albeit in your kitchen rather than out in the field. Thank heaven you have done so! I must snatch the tape immediately from the Blattnerphone and take it to the studio, for we have a suffered a calamity involving carpet beetles and the chewing clean through of wiring and other dramatic events, worse than the worse things that happen at sea, and if I do not have a field recording to broadcast right now, my fledgling long wave station will be shut down by the radio police!”

Thus it was that, later that evening, listeners to Radio Doug Hammarskjöld were treated to six hours of Dobson’s kitchen groanings, and the station was saved for another day. The programme caused a short-lived brouhaha, and the column inches of obscure avant garde sound art magazines were filled with guff about it. Marigold Chew herself disowned the recording, and rightly so, for it was not the tape she meant to make. Although, since the dying says of 1953 when all this happened,  Brian Eno has taught us to honour our errors as hidden intentions, Marigold Chew never counted herself as an Enoist, and forever regretted that she had not caught up with the cows and peasants, the badgers and brooks, for which, as far as she was concerned, the Blattnerphone had been invented. In any case, as she wrote in a letter many years later:

I had to listen to Dobson’s kitchen groanings day in, day out, for as long as they lasted,  and I did not consider them to be sound art. If I want sound art, like any sensible person I will listen to ill-tempered Germans shouting their heads off, or to cows and peasants and rutting badgers and babbling brooks. Dobson’s kitchen groanings, like all his other groanings, were to me merely the groanings of an out of print pamphleteer. He ought to have been writing, not groaning in the kitchen with his head in his hands as the Blattnerphone whirred and hissed, and the stunned ungodly magpie lay on the windowsill, away with whatever fairies clutter the tiny heads of birds.

blattnerThe Blattnerphone

Those Wednesday Potato Nights

Dobson adored Wednesday potato nights. It would be no exaggeration to say he was besotted with them. He would fairly skip along the twilit lanes to the appointed field, where he would join his many, many equally potatotastic pals as they

Hang on. I was always under the impression that Dobson was a solitary sort, even a recluse, sitting alone at his escritoire, with only Marigold Chew for company, and she in a different room. This is the first I’ve heard of “many, many pals”.

Ah. Well, Dobson was indeed an immensely popular figure, with friends of all shapes and sizes scattered in bailiwicks near and far. What one has to remember is that most of the time he shunned them. But they were a forgiving lot, entranced, perhaps, by the honour of being counted among the so-called “pals of the pamphleteer”. And so, at twilight on Wednesday potato nights, they gathered in a field, a happy band, and

This all seems a bit dubious to me. One minute Dobson is shunning his friends, as we might expect of him, and now he is skipping along a lane with them, presumably with an idiot grin on his face and flowers in his hair.

Your presumptions are wrong, whoever you are. A man – even a pamphleteer – can be happy without sporting an “idiot grin”. And flowers in the hair is your own invention. There is nothing to suggest Dobson adopted such a hippy head decoration. As for shuttling back and forth between the enshunment and the unshunment of his pals, how could it be otherwise if we regard Dobson as fully human, with all the flaws and inconsistencies and non-hippy headgear choices of an everyman? Now, gathering in the field, armed with their potatoes and camping-gaz stoves and flasks of water, the enthusiasts watched the last glimmers of sunlight vanish below the horizon, and ignited their torches of petrol-soaked rags tied to the ends of sticks. Over yonder, sprites disported themselves in the fug above the eerie marsh.

What?

Over yonder, sprites disported themselves in the

Yes, I heard what you said. Surely a fug is something you get in a confined space, like the fug of smoke in the saloon bar of the Cow & Pins in the days before the smoking ban. You wouldn’t get a fug over a marsh, however eerie, unless of course these are cigar-smoking sprites you’re talking about.

Pipe-smoking sprites, actually. And because there is no wind on Wednesday potato nights, not even the hint of a breeze, the air above the eerie marsh is still, and the smoke from the sprites’ pipes hangs there, eerily, in a fug. And Dobson and all his many pals stand in their field, torches lit, peering at the marsh-fug, as if transfixed, before setting about their potato business. They pour water from their flasks into pots, and they light the camping-gaz

You didn’t mention anything about pots before, when you listed what they brought with them. Potatoes and camping-gaz stoves and flasks, you said. In fact, you didn’t say anything about the torches of petrol-soaked rags tied to the ends of sticks, until they lit them. And you haven’t explained what they lit them with. Matches? Zippo lighters? I like detail, and you are not providing it. Would it not be better, at the outset, to give us a comprehensive list of all the items these people were carrying along the twilit lanes towards the fields, on Wednesday potato nights?

You want a comprehensive list?

That would be excellent! A catalogue, perhaps, with a description of each item, and a catalogue number, and price, and an online shopping basket and checkout, so that if I wanted to I could use my Hooting Yardcardâ„¢ to actually buy the things. You would have to add pictures too, of course, in colour.

Well, that would take

And while you’re about it, a supplement to the catalogue, inserted at the end, with similar details of the marsh sprites’ pipes and pipe-smoking paraphernalia, for there are always various bits and bobs a pipeist needs to enjoy a proper pipe-smoking experience, like pipe-cleaners, for instance. And even though it is just a supplement, not part of the main catalogue per se, it should have a similar level of detail, with photographs of all the pipe-cleaners and so on, in colour.

That is rather a lot of work.

Yes, I grant you that. But has it not occurred to you that this is the kind of thing your readers are crying out for? It’s all very well blathering on about a pamphleteer and his supposed unshunned pals boiling potatoes in a field in the night, but we want to be able to recreate these scenes in the comfort of our own community hub fenced-off frolicking compounds, and we need the kit to be able to do so. Think of the money you could make!

Well, I suppose the main catalogue wouldn’t be too much of a problem. Time-consuming and a bit finicky, but I could do it. Whereas the supplement would be much more difficult. Have you ever tried to take a photograph of a pipeist sprite above an eerie marsh?

I can’t say that I have.

I would need a spirit camera. Ordinary cameras would be worse than useless, all you would see would be a grey blur.

A blur will do, I’m not fussy. I can study the photographs using my etheric eerie marsh spriteoscope. Buy one, get one free at Hubermann’s.

So in essence, all your interruptions have been leading up to a blatant advertisement for that confounded department store? That’s despicable.

Maybe so, but as you know, Hubermann’s is a byword for utter gorgeousness.

Organised Fern Hunt

fernhunt

I was much taken with this illustration of a Victorian organised fern hunt, reproduced at the excellent Victorian Era blog. It reminded me that Dobson was a great one for fern hunts. Although he was a pamphleteer decisively of the twentieth century, he had about him something of the Victorian, especially at certain periods of his life, such as the two decades or so he spent blasted out of his brain on laudanum, as were most Victorians most of the time, if some accounts are to be believed. Gladstone, to give but one example, regularly made speeches in the House of Commons with his head swimming in an opiate fog. It makes one wonder if we would  be better governed today were the illiterate thickos in Parliament to have their brains ravaged and jangled a tad.

In spite of his boundless ignorance of the natural world, or perhaps because of it, Dobson developed quite a taste for fern hunting. In a memorable pamphlet, he described the attraction:

Hunting animals is the sport of fools. Nearly all animals run away when pursued. Ferns, on the other hand, stay right where they are, so you can go crashing through thickets with much gusto, a determined jut to the jaw, every so often emitting cries of panic or revelation, or both, all the while safe in the knowledge that your quarry is not dashing away over the fields, vanishing over the horizon, leaving you and your band of fellow adventurers exhausted and stupid and empty-handed.

Dobson did not always grasp the point of an organised fern hunt, however, and would arrive at the appointed gathering-place armed with a net, or a blunderbuss, or sometimes with a geological hammer. It had to be patiently, and repeatedly, explained to him what a fern was, information he had singular difficulty lodging in his skull, whether or not it was doused with laudanum. In another pamphlet, at another time, for example, he wrote this:

What better sport is there than chasing a wild fern across the countryside, watching it dash away over the fields, vanishing over the horizon, leaving you and your band of fellow adventurers exhausted and happy and empty-handed, but refreshed by bucolic air, panting, drugged up to the eyeballs and ready to go home and write dozens of pages of De Quinceyan babble?

To his credit, Dobson never made any attempt to suppress the pamphlet in which he wrote this drivel, but in any case, like all his works it was soon out of print, and forgotten, just as we have forgotten the delights of organised fern hunts.