Piling Ossa Upon Pelion

My appointment with destiny, or dentistry, I forget which, was cancelled, and I had an afternoon to play with, so I thought I would try my hand at piling Ossa upon Pelion, as the Aloadae did in the old story. In some versions, they piled Pelion upon Ossa, so to be on the safe side it seemed best to attempt both. Now obviously my withered limbs and general puniness prevented me from literally piling one mountain on top of another. I had in mind to construct miniatures, to scale, out of cardboard and rags and cotton wool and glue.

Before turning my hand to this exciting if pointless project, it occurred to me that it was just the kind of thing Tiny Enid might have done when she found herself at a loose end. The plucky infant fascist could not bear to be idle, and it was quite possible that, between adventures, she might have piled Ossa upon Pelion, or vice versa, although in her case I am sure she had the resourcefulness to tackle the real mountains instead of small lightweight copies. Had she ever passed the time in this fashion, I was keen to pick up any tips, so I consulted the literature. Ever since the publication of Mavis Gasball’s majestic Complete Reference Guide To All The Doings Attributed To Tiny Enid, In Twenty Volumes, With Rotogravures, it takes even the dull-witted a matter of minutes to track down the most obscure episodes in the life of the heroic tot. The afternoon was still young when I slammed the books shut, satisfied that there was nothing Tiny Enid could teach me about the task ahead. There was mention of neither Ossa nor Pelion in the index, nor of the Aloadae, nor of Otus nor Ephialtes, and the sole reference to Mount Olympus led to a thrilling, yet unrelated, account of Tiny Enid setting fire to a paper aeroplane upon its pinnacle at the culmination of the affaire désagréable in 1955. I was too familiar with this to reread it, so I replaced the books on the shelf, buckled up my boots, and pranced off across the greensward to the hut wherein I kept my cardboard and rags and cotton wool and glue.

Was ever a hut so cherished as mine? It is filthy and in a state of collapse, but to me it is a kind of paradise.

I switched on my radio to listen to Cardboard Mountain Modeller’s Playtime as I worked. They were playing Scriabin. How curious, I thought, that so accomplished a pianist had such tiny little hands! My own hands are leaden and fat and clumsy, more’s the pity. I am afraid that after an hour or two of inexpert fumbling and mashing and prodding I had created a quartet of shapeless compacted clumps. A quartet, because I strived to make two model Ossas and two model Pelions, that I might pile Ossa upon Pelion, and pile Pelion upon Ossa, simultaneously rather than consecutively. Perhaps, in so doing, I was overambitious, and would have obtained better results had I been satisfied with a single pair, the positions of which, Ossa atop Pelion, or Pelion atop Ossa, I could have switched as often as the fancy took me, or, indeed, never, were one tableau more pleasing to the eye than the other. As it was, all I had to show for an afternoon of strenuous cackhandedness were four almost identical messes of cardboard and rags and cotton wool and glue, a fuming temper, an overheated radio set, and a sense of defeat I would struggle to shake off for years to come.

I bundled my Ossas and Pelions into a burlap sack and, on my way home, chucked the sack into a pond, where it floated for a while, until it was eventually destroyed by the ferocious pecking of swans.

Five Years Ago

Exactly five years ago today, these words were posted in Hooting Yard:

“Remember, remember, the fifth of November, gunpowder, treason and plot. Remember, too, the case of the distressed pig, solved by Special Agent Blot. The distressed pig was found in a rowing boat crossing Tantarabim Lake. Agent Blot swam out to it and fed it with nutritious cake. As the pig grew becalmed Agent Blot took the oars and he rowed to the mud-splattered shore. He hoisted the pig right out of the boat and bedded it down in some straw. Then he plodded his way in his wellington boots to the pig farmer’s hut down the lane, and he felled the brute with a thwack of his fist and bound him up with a chain. Agent Blot dragged the pig farmer off to the prison, bang in the centre of town. And that is why, on November the fifth, the distressed pig did not drown.”

I am pleased to report that the tale so briefly told has been expanded, by bestselling paperbackist Pebblehead no less, into a thumping great airport bookstall paperback potboiler entitled Special Agent Blot And The Distressed Pig! : How A Distressed Pig Was Rescued By Special Agent Blot!

It seems Pebblehead is still managing to avoid the attentions of a copy editor. Those exclamation marks in the title are wholly uncalled-for. Obviously he is trying to drum up excitement in the casual airport bookstall browser, but surely he realises that the name “Pebblehead” alone, emblazoned in glittery glittering glitz upon the cover, is enough to cause perilous palpitations in the hardest of hearts?

Hooting Yard Rating : Sweeping & Magisterial

Pebblehead’s Picks On Spotify

God in heaven knows how he finds the time, but in between bashing out his innumerable bestselling paperbacks, bestselling paperbackist Pebblehead has managed to familiarise himself with Spotify. Not only that, but he has offered to share with Hooting Yard readers some of his so-called “Pebblehead’s Picks”.

So here is the first one. Those of you who are already Spotifyists can simply copy the code below and paste it into the “search” silo hub at the upper left of the Spotify screen:

spotify:user:pebblehead:playlist:3SNwkyCdDlxKEPJfBHXnZY

Pebblehead writes: “I am not going to tell you in advance what this is. Just copy and paste and hit play, and listen through to the end. Recorded and performed less frequently than some of the composer’s more popular works, it is, in my view, twenty-five minutes of transcendent genius.”

Pebblehead knows whereof he speaks.

Government Canoe

“… the pilot of the Government Canoe which had called at Santa Eulalia on May 2nd, 1966, reported that he was in the best of health and spirits.” – Geoffrey Household, Dance Of The Dwarfs (1968)

The Government Canoeist, or his pilot, checked on Dobson pretty regularly while he was holed up in an estancia twelve miles south of Santa Eulalia. Notes in the canoe log indicate that the pamphleteer was visited not only on May 2nd, but also on the 4th, 6th, 7th and 15th. Each time he was said to be in “the best of health and spirits”, except on the final visit, when he was apparently “cranky and cantankerous and possibly possessed by the evil spirits which haunt the jungle”. It was, of course, on May 15th, 1966 that Dobson was dragged on to the Government Canoe and taken upriver to the capital city, where he was interrogated by Captain Vargas.

But what was he doing in that remote estancia on the edge of the jungle for two weeks? He had neither pencil nor notepad with him, so he was certainly not working on a pamphlet. He shunned the few families who scrabbled a living in the village of Santa Eulalia, and when any of them approached the estancia he hid in one of its many cubbies. And yet he did not hide when the Government Canoe came by. Indeed, he was uncharacteristically welcoming, inviting the canoeist and his pilot ashore and regaling them with anecdotage. It is a pity no record was made of the tales he told them, for then we might have a better idea of his state of mind.

Captain Vargas got nothing out of him, for by the time he was shoved into the interrogation room, Dobson was raving and bellowing. Vargas himself had once been the Government Canoeist, but after an accident with a paddle in which he injured a riverbird he was demoted. Confined to the large important building in the capital city’s most spacious plaza, Vargas hankered for the river, and the canoe, and the companionship of the canoe pilot. He was hoping that if he could crack the Dobson case, he might be rewarded by being reappointed as Government Canoeist. After all, his successor had bonked many a wading riverbird on the head with his paddle, deliberately, and there was talk of demoting him, too. Vargas heard the unofficial chatter in the canteen on the ground floor of the large important building, as he sipped his pilgar and stared out of the window at the spacious plaza.

Yet Dobson defied him. All Vargas could glean was that the out of print pamphleteer had shown up in Santa Eulalia on May 1st, in hiking gear, mapless and famished. He stuffed himself with pancakes, told a couple of anecdotes, and carried on down the river until he reached the abandoned estancia, where he stopped, and stayed, seemingly in the best of health and spirits, for a fortnight. There were many bats at the estancia, and Vargas wondered if he had come to study them. But after a flurry of correspondence with experts, the captain concluded Dobson knew nothing of bats, or at least no more than a child would be expected to know.

The whole point of the Government Canoe was that it was meant to keep tabs on foreign pamphleteers. In this instance, it had signally failed to do so. Vargas felt sure that, had he still been the Canoeist, his reports on Dobson would have been more forthright. He would have questioned him more closely, rather than just suffering his anecdotage. He decided to go rogue, to commandeer the Government Canoe under cover of night and to search the estancia for clues. And he took a heavily sedated Dobson with him.

It is this nocturnal river trip on the Government Canoe that was the subject of Dobson’s remarkable pamphlet, written many moons later, entitled All About My Nocturnal River Trip In The Government Canoe With Captain Vargas, During Which I Was Heavily Sedated (out of print). The prose is hallucinatory, and strangely stilted. It is actually quite difficult to wring any sense out of it. But close reading, in the stupor of half-sleep, allows us to understand that Vargas took the Government Canoe in the wrong direction, bashed innumerable riverbirds on the head with his paddle, and eventually ended up in open sea, having inexplicably navigated his way through the delta. The pamphleteer and his interrogator were hoisted to safety by the Government Chopper, and the Government Canoe was allowed to drift away into the vast and pitiless ocean. Vargas spent the rest of his life trying to find it. Some say he is still alive, an old and wrinkled wreck, roaming the coastlines of the world.

As for what Dobson got up to in those two weeks in the remote estancia, the only clue we have is in the title of another late pamphlet, An Anecdote About Channelling Jungle Demons Wearing A Copper Cone Atop My Head While Hiding In A Cubby Full Of Bats (out of print). Unfortunately, this is written in prose even more hallucinatory and stilted, and it makes no sense whatsoever.

The Non-Doreen

alligator-2-girl

Outa_Spaceman rightly calls into question the caption on this photograph. “Surely this is none other than Tiny Enid?” he asks. Indeed, it is almost certainly the plucky little fascist, and one wonders why the captioneer felt the need to pretend it was a tot called Doreen. Note that the besuited chap in the background is holding the heroic infant’s lit cigarillo and bakelite prize ashtray behind his back.

There have of course been innumerable attempts to rewrite the true history of Tiny Enid. Readers are advised to rely solely on the accounts given here. We know what we’re talking about at Hooting Yard.

Rare Bobnit Tivol Mezzotints

You will be perplexed, or perhaps even sick with worry, at the unaccustomed lack of postages over the past few days. Has Hooting Yard been ravaged by some kind of toxic gas? Has Mr Key fallen down a mineshaft? Readers, fear not. All is well, but I have been terribly, terribly distracted, and in the best possible way.

On Saturday, as is my habit, I sat down at my escritoire, or its computer age equivalent, before dawn. I wrote:

There is a tavern in the town.

The tavern was the Cow & Pins, the town was Pointy Town. I was going to embark upon a quite breathtaking architectural survey of the tavern, its beams and rafters, its cornices and lintels, but before I crafted the second sentence my attention was caught by the singing of a siskin outside my window. According to the Royal Society For The Protection Of Birds, the siskin is an attractive little finch, small and lively. Obviously I was keen not simply to listen to the bird, but to commune with it, in what might be termed a Frank Key-bird-mind-meld. So I jumped up creakily from my chair, slipped on a pair of trendy footwear items, and headed out, making for the tree where I thought the siskin was perched, singing. Alas, I stepped in a patch of filth, and was disconcerted. Rummaging in the pockets of my windcheater to see if I had upon my person a rag suitable for wiping the filth from my footwear, I chanced upon a forgotten scrap of paper on which I had once copied out a Spirograph™ drawing, the one devised by the mentalist Gaston Freakorb. Yes, that one, the drawing that plunges the viewer into a fugue state. I made the mistake of uncrumpling the paper and peering at the drawing for three seconds. Thus did my Saturday morning become unmoored from reason, from common sense, indeed from memory. The architectural glories of the Cow & Pins were forgotten, as was the attractive little finch singing its heart out on a sycamore branch.

When I snapped out of the so-called Freakorb Mind Miasma, it was midday on Sunday and I was standing in a queue. To my distress I noticed that both of my trendy footwear items were now covered in filth. Luckily, there was a Regency bootscraper right next to me, so I scraped and scraped. By God, it was fun. I thoroughly recommend the scraping of filth off one’s footwear on a Regency bootscraper, particularly when one’s footwear is as trendy as mine.

There was no sign of the scrap of paper bearing the Spirograph™ drawing, so I was fairly sure I could keep my wits about me. I wondered what I was queuing for. Glancing up and down the line, I noticed that an alarming number of my fellow queuers were wearing cummerbunds. Was I about to enter a Spandau Ballet revival meeting? Then I recalled having read somewhere that the cummerbund was part of the uniform designed for “new modern technicians” to which the Prime Minister would refer in his upcoming conference speech. But I am a scribbler, not a technician, new and modern or otherwise. I had no business here, surely.

It turned out to be a complete coincidence. I learned that some of the cummerbundiasts were indeed new modern technicians-to-be, some were raddled old New Romantics, and some simply sported the cummerbund as, in their own witless words, a “lifestyle choice”. To find all this out, I had to interrogate each person individually, making notes with my pneumatic notemaking contraption, and in so doing I lost my place in the queue. Rejoining it, I found myself standing behind a twinkly elfin chap dressed all in green, though minus a cummerbund. Suddenly he spun around to face me, and he cackled, and shouted in a weird reedy voice.

“Guess my name and I’ll tell you / What you’re doing in this queue. / If you guess amiss three times / I will cease to talk in rhymes. / I will scream and shriek and howl / And you’ll be turned into an owl.”

Then he cackled again, daring me to challenge him. I did a stage yawn. I think I did it rather well.

“I suspect,” I said, “Your name is Rumpelstiltskin. Am I correct?”

The little chap shrieked, then, but it was not a shriek of triumph. Far from it. I had rumbled him and his feeble fairytale poltroonery, and his shriek was one of becrushment. Just before he scampered away with smoke billowing out of his pointy ears, he told me what I was queuing for. I was delighted to discover that I was in line for an auction of rare Bobnit Tivol mezzotints. I was even more delighted when, fumbling in my pockets, I found a wallet crammed with banknotes. It had not been there when I left the house to commune with the singing siskin, so it must have come into my possession during my fugue state. I made a mental note to write a thank you letter to Gaston Freakorb when I got home, and slowly made my way towards the front.

I was, of course, aware of the set of mezzotints of fictional athlete Bobnit Tivol made by the noted mezzotintist Rex Tint at the very beginning of his career. Commissioned by the fictional athlete’s coach Old Halob, paid for with the proceeds from an orchard-planting scam, the twenty-six mezzotints were no sooner completed than they were scattered to the four winds, and had never since been gathered together. Nor were they now, alas, but it was quite something to have three of them up for sale, along with an even rarer mezzotint purporting to be of Old Halob himself. I had so much cash in my fugue-wallet that I easily outbid everyone, even the creepy agents deployed by Rex Tint’s sworn enemy, he who is the man they call “Sting”. I admit I was rather dismayed to be handed the mezzotints rolled up into a cheap cardboard tube, but it has to be said it was a fairly slovenly auction house, as auction houses go.

Anyway, when I got home I flattened each of the mezzotints out on my kitchenette table, and spent hours upon hours poring over them, while outside the siskin, that attractive little finch, sang and sang. That is why I have not had time to post anything. I have been transfixed by my mezzotints. So let me show them to you, in the form of rough copies I have made, just in case the pebbles weighing them down are dislodged and they are scattered once again, to the four winds.

bobnit1

Here we see fictional athlete Bobnit Tivol as a Christ-like figure, flanked by a couple of thieves, just as in the crucifixion. It is thought the mezzotintist Rex Tint made some sort of arrangement with his local prison to have a pair of miscreants pose for him, hence the startling pelfeusement of the portraiture. As for fictional athlete Bobnit Tivol, he’s just great, isn’t he?

bobnit2

In this mezzotint, Rex Tint has captured the one occasion when the fictional athlete was disqualified for cheating. It shows him winning the fourth heat of the qualifiers for the 1926 Scroonhoonpooge Farmyard Polevaulting Tin Cup, where, notoriously, he vaulted without using a pole.

bobnit3

Rex Tint uses his vivid imagination to show how things might have been, depicting the same vault but pretending fictional athlete Bobnit Tivol had used his pole. Old Halob tried to use this mezzotint as evidence when seeking to overturn his protégé’s disqualification, a ruse which failed and led to the cantankerous coach being locked up in the eerie barn at Scroonhoonpooge farmyard for half an hour. He was never the same man thereafter.

Gustave_Dore_Inferno32

It is claimed that this mezzotint shows Old Halob himself, pausing on the way to his favourite tobacconist.

Instances Of Inanity In Blodgett

Yesterday I alluded to three particular Blodgettian inanities. There are, of course, many, many more, so many they are numberless. But it is worth looking in more detail at the trio I mentioned, if only to get the measure of the man.

His tin shadow. The tale is told that Blodgett awoke one day in a state of terror. Whether he had had a night of awful dreams brought on by a bedtime snack of processed goat’s cheese triangles and gooseberry paste, or whether he was just in a flap, we do not know. What we do know is that when he flung open his curtains to greet the day, Blodgett found the sky to be hazy and overcast, and the sunlight so weak that it cast no shadows. In his tumultuous mental state, Blodgett took this as evidence that he was becoming, or indeed had already become, insubstantial.

A sensible person would have tested this misperception by, for example, the Dr Johnson trick of kicking a stone, but there were no stones on the floor of Blodgett’s hotel room, not even a pebble. Doubtless there are other experiments Blodgett could have tried, such as bashing his body against the walls, or plunging off the balcony. But the mania seems to have had him in its grip. Looking at himself in the mirror was no help, as Blodgett always had a grey and ghostly pallor. It was one of his defining features. As a tot, he was always cast as a ghastly wraith in the school play, even when such a character was not actually required. Peering at himself now, in the milky light of his Tyrolean hotel room, Blodgett fancied that he was becoming transparent.

Hastily dressing in what fashionistas would deride as “tatterdemalion casual”, Blodgett crashed out of the hotel into the abnormally bustling streets. All these Tyrolean folk going to and fro, bent on their mysterious Tyrolean business, seemed solid enough. Blodgett, on the other hand, felt himself wafting, as if he were but a wisp that would be blown away by the first gust. The haze was oppressive however, and there was no hint of wind. Blodgett found a cafeteria attached to a secondhand snowplough dealership where he took breakfast. As he dunked iced dough fingers into a thin broth, he kept checking to see if his shadow had appeared, but there was no change in the light. It does not seem to have occurred to him that nothing else was casting a shadow in that town, on that morning. He was, as usual, a monster of egocentricity.

The reports tell us that after breakfast, Blodgett visited the town’s one and only metallurgical institute, where he badgered the janitor to let him in. It appears that he then armed himself with some hammers and cutting blades, found a supply of tin, hammered a quantity of tin into a flat sheet, and cut an outline of his body with the blades. He was seen carrying his tin effigy through the streets, heading towards a Tyrolean glue and adhesive supplier. The next witness statements indicate that Blodgett had glued the feet of his tin self to his heels, so that as he strode through the streets and lanes and expansive boulevards of the town, he dragged the tin Blodgett behind him, like a shadow. It is said that he was much becalmed, and no longer jangling with terror.

The Swiss dramaturge Rolf Turge wrote a squib based on Blodgett and his tin shadow, in which the lead character goes berserk when the haze disperses and sunlight batters down upon the town, casting shadows so strong they are as black as pitch. In real life, Blodgett was oblivious to the sun, and he dragged his tin shadow with him for months and months, until the glue dissolved when he stepped into a chemical puddle outside a post office in Pepinstow.

His dockside groans. Can one reasonably include Blodgett’s dockside groans in a list of his inanities? After all, which of us has not groaned when trudging around the docks? There is surely something about all that clanking and shouting, the winches and bales, the crates and chains, the chugging and hooting, the stink of oil and fish and brine, that elicits a groan from the sunniest of dispositions, and not just a single groan but a whole series of them. Why, then, charge Blodgett with inanity, when his dockside groans were of a piece with yours or mine? Do we succumb to inanity too? Well, no, of course we don’t. We are level-headed, sensible persons. And Blodgett, of course, was not. He lived in a fool’s paradise. So when we consider him plonking himself down on an iron bench at Pepinstow docks, and groaning, we think to ourselves, “there is a man flailing helplessly in the extremes of inanity”. He may no longer have a tin shadow glued to his heels, for the glue dissolved just a couple of hours ago in a chemical puddle outside the post office, but he is by no means freed from his embonkersment. Look, a gull has perched on the bench next to him. Now, soberly, taking your time, judge them both, the man and the bird, and choose which one you would trust to best perform a simple task such as savagely ripping and rending a sturdy cardboard box to shreds. Your answer will not, I think, be the man with the ghostly pallor who sits there groaning, groaning at the dockside.

His futile picking at unbuttons. Blodgett devoted much of his time, one autumn, to a study of the unbutton. At first, he went off on completely the wrong track. Adducing that the unbutton was “that which is not a button”, Blodgett mistakenly concerned himself with “that which is, where the button is not”, in other words, the buttonhole, the emptiness, the void the button will, one day, occupy, or, perhaps, once did occupy, before its thread snapped and it fell into a puddle, perhaps even the chemical puddle outside the post office in Pepinstow, where it lay alongside Blodgett’s unglued tin shadow. But of course a buttonhole is but a buttonhole, not an unbutton. Autumn was a month old before Blodgett realised his error. He had been shuttered in his Tyrolean hotel room picking futilely at buttonholes, only occasionally stepping out to wolf down breakfast and afternoon tea and dinner at a cafeteria. Then, one morning, he had an epiphany. A monologue devised years later by the Swiss dramaturge Rolf Turge gives us a flavour, albeit imagined, of the Blodgettian brainpan pirouettes of that day.

I was picking futilely at a buttonhole when a crow landed on my Tyrolean hotel room windowsill. I cast aside the buttonhole and looked at the crow, and the crow looked at me. I thought, if I were to make a puppet of the crow, out of black rags and tatters, I would use buttons for its eyes, would I not? And then I thought, perhaps the crow is thinking of making a puppet Blodgett, out of torn-up shrouds and winding-sheets. Would it, too, make my eyes out of buttons? Or, being a crow, primed by the bird-god that made it to peck out my eyes, would it need, for its puppet, not buttons, but unbuttons? That is when I realised that the unbutton is something greater, stranger, far more uncanny than a mere buttonhole. The crow flew away, bent on Tyrolean worms no doubt. But I had seen the error of my ways, and I stamped my foot repeatedly upon the buttonhole I had been picking at with such futility, and I crashed out of my hotel room into the street, the abnormally bustling street, and my eyes glowed brightly, real eyes, not shiny buttons on a puppet, and I strode with my head held proud and high, seeking afresh the true unbutton I knew, now, was there, somewhere, hidden in plain sight.

By the time autumn turned to winter, Blodgett had found an unbutton, or at least what he took to be one. Certainly it met the definition of “that which is not a button”, and Blodgett pounced upon it, there in that Tyrolean town. Yet, having found it, what did he do? It is a measure of the man’s inanity that he simply picked at it futilely, for days on end, sitting on an iron bench at the dockside, groaning, shadowless, having fled the Tyrol for Pepinstow, in the autumn of 1963, just before the Kennedy assassination, and the Beatles’ first LP.

Inanity And Its Bedfellows

I am beginning to think that stealing the titles of other people’s blog postages may be the Way Forward… forward, of course, to that bright upland where I can bask under the Aztecs’ mighty orb when my work is done. Even while the Key cranium is ticking and whirring as it ponders John Ptak’s postage header along comes Patrick Kurp at Anecdotal Evidence with “Emptiness; Uncertainty; Inanity”. Again, I advise you to read the original postage, but meanwhile I shall be pondering some prose to which it will serve as a fitting title.

The “inanity” part should give me no trouble, as virtually any anecdote about Blodgett will fit the bill. His tin shadow, his dockside groans, his futile picking at unbuttons… there is so much material.  But “emptiness” and “uncertainty” may be more troublesome.

One uncertainty is to what extent I can get away with writing about prose I have not yet written. Best not to dwell upon it, for that way emptiness lies.

ADDENDUM : As Dave Lull notes in a comment, Patrick Kurp’s title is a quotation from Dr Johnson’s A Dictionary Of The English Language (1755). Though that is clear from reading the postage, I ought to have acknowledged it here.

Googie ‘n’ Bee

The two most consistently popular search terms leading interweb hikers to swing open the gates of Hooting Yard, far ahead of all rivals, are bees and ectoplasm. Occasionally, some befuddled soul gets here after searching for bee ectoplasm. Another favourite, much to my delight, is Googie Withers, though the 92-year-old screen siren gets misspelled as Google Withers in some searches, which makes one wonder what is going on inside some people’s cranial integuments. And then of course there are the search terms which are arresting in their singularity. Today someone came to Hooting Yard because they wanted to find out about character flaw of mediaeval peasant.

Anyway, perhaps I should write a piece in which Googie Withers, taunted by a particularly pesky bee, paralyses it with a splurge of ectoplasm. Or, alternatively, a bee taunted by a particularly pesky nonagenarian actress stops her in her tracks by emitting a jet of ectoplasmic bee goo.

Either scenario could provide heroic tot Tiny Enid with the perfect pretext to come clomping club-footedly to the rescue, of either Googie Withers or the bee.

Which scene warms your cockles? Vote now and vote often!

In which scenario would you prefer to see plucky tot Tiny Enid intervene?

Sick Amid The Blossoms

“O Dobson thou art sick! Thou art sick amid the blossoms! O what shall we do? What shall we do? Let thy pamphlets be our guide!”

This was the little recitation made, oh so plaintively, by a band of hiking orphans who stumbled upon a sick and feverish Dobson in a blossom-bestrewn field one morning in 1956. Orphan hikes were a short-lived social phenomenon of the decade, one which is almost forgotten today. Inspired by the Swiss film masterpiece The Hiking Orphans, children all across the land gathered into groups and went marching off o’er hill and dale, munching toffee apples and consulting extensively detailed maps. So popular did the hikes become that many of the tots taking part were not actually orphans at all. Some became dab hands at forging death certificates, others suffocated mama and papa in their beds, or poisoned their breakfast cereal.

Dobson became a sort of patron saint of the orphan hikers following publication of his pamphlet My Parents Are Dead, But Christ!, I Adore Hiking (out of print). Because of the blasphemous abuse of the Lord’s name in the title, the pamphlet was swiftly banned and the print run pulped, but such was the demand from hiking tinies that illegal Gestetnered copies were soon circulating, often secreted in the folds of the extensively detailed maps the orphans carried in waterproof pouches strung from lanyards around their scrawny necks.

These maps were themselves a marvel, more extensively detailed than any other maps ever made. It was said that the most extensively detailed of them showed the precise alignment of chaffinches perched on the branches of an aspen you would pass if you bore left at the hedge in which a rusted farm implement had been shoved and abandoned.

Unusually, Dobson’s pamphlet included an illustration of the great man, a linocut by the hyperrealist linocutter Rex Hyper which showed the pamphleteer’s visage in breathtaking hyperrealism. So familiar was his face to the more indefatigable orphan hikers, who pored over it whenever they sat down on a log to rest, that when a band of them came upon the sick and feverish figure sprawled amid the blossoms, they instantly recognised him as Dobson. Hence their plaintive recitation. Let us parse it.

“O Dobson thou art sick!”

The orphans are making it plain that they recognise the crumpled invalid for who he is, and they recognise, too, that unlike the blossoms amid which he languishes, he is far from blooming. We might criticise them for not being more specific in their diagnosis of his ague, but ought to remember that they are mere tots, and orphaned tots at that, except for the one called Vincenzo, who is a fraudulent orphan, having used his pocket money to purchase a counterfeit newspaper cutting claiming his ma and pa perished in an avalanche.

“Thou art sick amid the blossoms!”

By repeating their declaration of the pamphleteer’s medical condition, the orphans reinforce its seriousness. This is no fugitive swoon nor spasm, they are saying, nor is Dobson lying there with his limbs splayed out because he has simply tripped upon a clump. And having driven home the point, they go on to place it in a geographical location – “amid the blossoms”. If an air ambulance is coptering in the vicinity, equipped with fantastic sound detection technology calibrated to pick up piping orphan voices, they have pitched their recitation superbly. But of course, in 1956 such air ambulances were rare, and rarer still those with fantastic sound detection technology calibrated to pick up piping orphan voices. And the chances of one hovering in range of the blossom-bestrewn field in which Dobson lies crumpled are so remote as to be not worth a fig. Tiny they may be, but the orphans know this, and thus the despair of the next line.

“O what shall we do?”

We may be brave and doughty hikers, they say, we may be free from our often repressed and oppressive parents, God rest their souls, except for Vincenzo’s, obviously, yet we are still but fragile and vulnerable tinies, and faced with this dramatic medical emergency we are beflummoxed and in some cases about to burst into tears.

“What shall we do?”

The repetition here is a pleasing echo of the repetition of “thou art sick” in the opening lines. It also commands our attention. The orphan hikers are not larking about. They are confronting, probably for the first time in their lives, a mortal dilemma. Toughened as they are by their hikes, well able to ford streams and negotiate bramble patches and vault dry stone walls and run screaming from flocks of savage angry swans, they are not so tough that they can cope with the sight of a sick and feverish pamphleteer amid the blossoms. Well, Vincenzo can, because he is, let’s say, an interesting little chap. The way in which his voice drops out of the recitation for this pair of lines lends an added harmonic jouissance, if one is listening with due care.

“Let thy pamphlets be our guide!”

Vincenzo’s voice returns for this triumphant ending. There is renewed hope. Medically ignorant and lacking such kit as bandages and tablets and proprietary nerve tonics, the orphans have one invaluable resource – the stricken pamphleteer’s own pamphlets! For all of them, their imaginations sparked by Dobson’s illegal pamphlet on hiking, have each acquired their own little collection of his works, which they carry with them wherever they hike. They realise that by taking all their Dobson pamphlets out of their pouches and combing through the texts, they are bound to alight upon a passage absolutely pertinent to the situation. As the pamphleteer himself continues to groan amid the blossoms, the orphans end their recitation on this note of optimism.

So there we have the words in context. What is curious is that, for as long as the orphan hiking fad continued thereafter, roughly until the winter of 1958, the recitation became a sort of generic chant, along the lines of the seven dwarves’ * “Hi ho, hi ho, it’s off to work we go”. Having been cured and then recuperated in a clinic a few yards away from the blossom-bestrewn field, Dobson was as hale and sprightly as ever, a fortnight after the orphans stumbled upon him, and yet they carried on chanting their recitation as they hiked hither and yon, from the outskirts of Pointy Town to the Terrifying Grim Black Mountainous Horror Of Gaar, and even further afield, to places beyond imagining. And as our little band crossed paths with other hiking orphans, their chant was picked up, until all across the land, from Blister Lane to the Big Wet Sea, every hiking orphan knew the words by heart, and chanted and hummed and howled them as they hiked.

* NOTE : See here for important seven dwarves information.

Ask The Artificial Brain!

Ubermungo™ is Hooting Yard’s terrifically lifelike artificial brain, built out of dough and string and wax and coathangers and processed cheese triangles and fig newtons and titanium. Every Sunday, it answers readers’ questions.

Dear Ubermungo™. I am a flapper. When I flap with too great enthusiasm, my cloche hat becomes dislodged. What advice would you give? – Poopy Clingclang

Well, Poopy, if you glue your hat to your head with a proprietary hat-head adhesive, future dislodgements will be rarer than albino Stalinists, and you can flap the night away to your heart’s content.

Dear Ubermungo™. What in the name of god is a nudibranch? – P V Bib

Wait while my innards process the question, P V.

Dear Ubermungo™. Yesterday I tied a yellow ribbon round an old oak tree. Today I am searching for the hero inside myself. Tomorrow I am thinking it might be a good idea to find out if my friends are electric. Are any of these activities valid? – S Fry

Stephen – No, they are not. Go and boil your head.

Dear Ubermungo™. Who won the FA Cup Final in 1968? – Bathsheba Gubbins (Mrs)

My innards are still whirring and buzzing away at P V Bib’s question, Mrs Gubbins, but the answer is something like West Bromwich Noblia. You may wish to check that.

Dear Ubermungo™. Shortly after taking part in the Tet Offensive, I was sitting on a balcony in a foreign capital city when my attention was drawn ineluctably to a toad sitting on a neighbouring balcony. Like many toads, it had a jewel embedded in its head, a jewel that glittered so brightly it was visible through the toad’s translucent green skin. My balcony was covered with an awning, so when a violent rainstorm began, I was untroubled. But the toad’s balcony had no awning, and despite its amphibious nature the toad appeared disconcerted by the rain, and it hopped away, out of my sight. The thing is, in the years that followed, I have been haunted by that brief vision, and more particularly, unmoored from peace and reason by my ignorance of precisely what sort of precious stone was lodged in the head of the toad. If I were to draw, with a pencil, from memory, a sketch showing the way the soon-to-be expunged sunlight glistened, through the skin, upon the jewel, the angles it cast, the tints and textures of the light, do you think you might be able to ascertain whether it was, say, a ruby or an emerald or an amethyst? – “Phnom Penh Vet”

Dear Tet Vet, All would depend on the skill with which you wield a pencil. You should also bear in mind that I am a mere artificial brain, and have no eyes, and thus cannot see. What I can do, at last, is tell P V Bib that a nudibranch is a sea slug.

Dear Ubermungo™. What is life but a vale of affliction? – Old Halob

Life can also be an opportunity to stand at the side of a running track, coughing up catarrh and keeping a beady eye on a stopwatch, dressed in a sordid raincoat and a Homburg hat. You should know that better than anybody, Old Halob!

A Note On Pedagogy

A new academic year will begin soon, and all across the land anxious parents will watch as fresh clumps of tinies skip through the school gates for the first time. By now, most places have been allocated. But I am still receiving letters seeking judicious Hooting Yard advice on what type of school is best. Often, my correspondents seem deluded, for they bang on about so-called “faith” schools, or Montessori schools, or even Steiner schools. Please remember that the latter are based on the ideas of a man who believed in invisible gnomes.

There is of course only one type of institution to which the wet-behind-the-ears infant ought to be entrusted, and that is a Dobson school. Named after the titanic twentieth century out of print pamphleteer, these academies use pedagogic methods devised, not by Dobson himself, but by Desdemona Ferncraze, a brilliant bluestocking who was for many years responsible for the instruction of the inmates of Pang Hill Orphanage.

Shortly after her arrival at Pang Hill, Dr Ferncraze, a voracious reader of everything she could lay her hands on, contracted a common ague which led to water on the brain, after which she became convinced that the sum of all human – and inhuman – knowledge was to be found in the pages of Dobson’s pamphlets. Even the pamphleteer himself did not make such a claim, though he came close to doing so in his slim work of 1953 The Death Of Stalin Has Led Me By Dense Entangled Byways To The Unshakeable Conviction That A Complete And Thorough Pedagogic System Can Be Based Entirely Upon My Own Pamphlets (out of print). Curiously, it seems this was one work of Dobson’s which Desdemona Ferncraze never read. She developed her “method” while lying in her sickbed on an upper balcony of Pang Hill Orphanage, having instructed the gruesome brute Pepstow to dispose of her entire library, save for the Dobson items, by shredding the books and feeding them bit by bit to gulls and other scavenging birds. This he did, despite his qualms, for he burned with a secret passion for the stricken bluestocking. Pepstow was at his least gruesome and brutish when in her presence, though such was his yearning that he became tongue-tied and could only grunt at her unintelligibly. Dr Ferncraze herself was utterly oblivious to his blandishments, before and after her ague, a circumstance of such pathos that it has been adapted for the screen under the title Desperate Pang Hill Orphanage Brutes. For dramatic purposes, a fictional rival brute has been inserted into the story, hence the plural.

When sufficient water on her brain had been evaporated using the Gillespie Head-Steaming Procedure, Desdemona Ferncraze leapt from her sickbed and set about drilling the Pang Hill orphans according to her new lights. Out went the wall-friezes of alphabets and numbers and fluffy farmyard animals, out went the Good Citizenship And High Self-Esteem Module Workbooks, and out went the Tuesday morning caterwauling. Instead, each week was devoted to the memorising of the complete text of a Dobson pamphlet. By midnight on Friday, scratching at their slates, every single tiny was expected to be able to write out an accurate copy, including any marginalia that their wild-eyed teacher saw fit to add. Those who failed were handed over to Pepstow, who wreaked his gruesome brutality upon them down at the drainage ditch.

Dr Ferncraze’s astonishing discovery was that a firm grounding in the pamphlets of Dobson, memorised in whatever order, fitted the orphans perfectly for lives as bumbling, distracted polymaths given to lengthy walks along canal towpaths, chucking pebbles at swans, just like the pamphleteer himself. With her boundless energy, she set up a network of similar Dobson schools in and around Pang Hill, in derelict buildings and abandoned campsites. They are still flourishing, if that is the word I am looking for, though it probably isn’t. Such a school is, without a jot of doubt, the perfect place for the progeny of Hooting Yard readers.

Erk Gah

It is hard to think of an esoteric sect more hidden, more obscure, than the Erk Gah. We know virtually nothing of its membership, its ceremonies and rituals, its raiment and vestments, its perfumes, its symbols, its armaments cache, its hierarchy, its headgear, its idiosyncratic buttoning methods, its potions, its nostrums, its pomposity, its colour schemes, its texts, its insignia, its dietary stringencies, its bucket and spade seaside outings, or its ultimate purpose. Some have suggested that the Erk Gah does not even exist.

One wonders, then, what to make of Evaporated Milk & Ducks’ Blood, the latest bestselling paperback by Pebblehead, with its audacious subtitle The Truth About Erk Gah Revealed! As ever with his ventures into non-fiction, Pebblehead’s prose is breathless and slapdash and at times laughable, but he makes grand claims, and they deserve to be treated seriously. After all, we are unlikely to get a better guide to this mysterious sect, even if it is wholly spurious.

One thing Pebblehead refuses to tell us is from what sources he cobbled his 300-plus pages together. Indeed, one reviewer has already insisted that the book ought to be shelved alongside Fantasy Fiction, that Pebblehead has made the whole thing up. But how would anybody know one way or the other, unless they were a member of the Erk Gah? It may be pertinent that the reviewer in question disguised his identity behind a terrifically-wrought anagram.

But let us look at some of Pebblehead’s claims.

Membership. The Erk Gah has a finite number of members. When one dies – of which, more in a moment – they are replaced by a new recruit. How this newcomer is chosen is an ineffable mystery. It is possible that there are as few as twelve members at any one time, although other estimates give a figure of several thousand. Erk Gah members do not die in the sense that you or I would understand the term. Instead, they are “begusted into flimflam”. Pebblehead does not expand upon this.

Ceremonies And Rituals. The major Erk Gah ceremony is the so-called “knocking about of the ball with the puck”, which as far as one can gather may look to the innocent eye like hockey practice. “Thus,” intones Pebblehead, ominously, “does the sect conceal its existence by creating a facsimile of a well-loved sport which is part of the fabric of our everyday lives, if we are sporty persons of course”. There is another ritual, involving binoculars, promontories, and seabirds, which can be equally misconstrued by the ignorant.

Raiment And Vestments. Unutterably gorgeous, according to Pebblehead, and so stylish that Erk Gah members can be mistaken for dazzling stars of the Riviera set. Apparently, there is something called the cufflink code, but the details of that, too, are an ineffable mystery.

Perfumes. The Erk Gah can be sniffed out, we are told, if one is sensitive to certain vaporous effusions. Pebblehead gets rather tied up in knots trying to explain what on earth he is babbling on about here, and the passage is dense with footnotes. At one point he suggests the scents with which the Erk Gah spray themselves are odourless, which, if true, is either foolish in the extreme or perhaps yet another of those ineffable mysteries.

Symbols. Chiefly pelicans, silkworms, bowls of alphabet soup, chunks of gack, herons, old bakelite wireless sets, dust, corks, bats, cravat pins, big fat magnetic robots, chaffinches, oildrums, pulp, song thrushes, camphor sausages, toadflax, jibs, cloudbursts, mayonnaise, tin tabernacles, blots, mist, and Herculean effort. All these things, with their deep Erk Gah significance, are depicted on a gigantic shield, carted about the countryside at dead of night, by blind devotees. Or so Pebblehead would have us believe.

Armaments Cache. The Erk Gah are fond of Howitzers, and have been known to fire them when unprovoked. If you hear a mysterious explosion in the distance, on a Thursday at dusk, that might be the Erk Gah.

Hierarchy. “There are so many levels,” writes Pebblehead, “So many, many, many levels, gosh, my head is spinning!” Novelty Pebblehead dolls with spinnable heads went on sale in toyshops as part of the publicity for the book, presumably to give some credence to this assertion.

Headgear. Less Riviera set, more grimy peasant. Shapeless, filthy rags puckered up and scrunched and plopped atop the pate. Beetles and other black creeping things scurry among the folds. They can hardly be called hats, but are made by milliners contracted individually by some kind of Erk Gah hat emissary. Whereabouts this position fits within the Hierarchy is moot. Pebblehead’s head was presumably spinning far too rapidly for him to be able to enlighten us. And was the paperbackist himself wearing a sordid Erk Gah hat as he wrote? There are, after all, plenty of corrupt milliners setting up shop in our streets, more’s the pity.

Idiosyncratic Buttoning Methods. “All this buttoning and unbuttoning!” wrote the anonymous 18th century suicide. Was he or she a member of the Erk Gah, practising auto-begustment into flimflam? Pebblehead does not tell us, probably because he doesn’t know. But he does devote an excruciating forty pages of his book to the matter of buttons and buttoning and unbuttoning and unbuttons. Excruciating, because here his prose it at its sloppiest, and it is impossible to make head nor tail of what he is trying to say. I, for one, would have been interested in the Erk Gah concept of the unbutton, for example, “that which is not, and cannot be, a button, on any possible planet”.

Potions. The most popular of Erk Gah potions appears to be a decoction of evaporated milk and ducks’ blood, hence the title of Pebblehead’s tome. This mixture is drunk from lovely goblets, or from paper cups, depending upon the alignment of the stars and the idiosyncratic buttoning method in use at the time. Where the devotees get all the ducks’ blood from is an ineffable mystery, as they seem not to approve of the slaughter of ducks or of anything else which paddles in ponds. There is another potion, of evaporated milk without the commingling of ducks’ blood, of which the Erk Gah are equally fond.

Nostrums. Pebblehead alludes to a bulky collection of nostrums which the Erk Gah are said to apply to common agues. Many of these remedies are of a purgative effect, which I am afraid conjures up the image of a troop of sectaries throwing up all over the place, and an overpowering stink of regurgitated evaporated milk and ducks’ blood. I looked up “mops” and “disinfectant” in the index, but neither word appears there. In fact, the index is a very shoddy piece of work, and I think it may have been taken from another book entirely. Pebblehead has done this before, of course, through either indolence or stupidity.

Pomposity. There is an inherent pomposity in most occult and esoteric sects, acting as a sort of protective veneer. Without pomp, the edifice might crumble, and crumblement must be avoided at all costs.

Colour Schemes. Mostly sepia.

Texts. One of Pebblehead’s most startling discoveries is that a list of the foundational texts of the Erk Gah is identical in every particular to a list of volumes stolen over a period of five years from the Tundist Owl Library. We know that the Tundists were so enraged by the thefts that they sent a gang of merciless cut-throats in search of the culprits, but the fact that the books were never returned to the library suggests that the Erk Gah, if indeed the thieves were among their number, must have outwitted the Tundist avengers. This ought not be surprising, Recent studies have shown that, contrary to myth, the Tundists were a witless and noodle-brained bunch, many of whom did not even know what an owl was, despite the comprehensive collection of owly prose in their library. But if the basic texts of the Erk Gah are indeed originally Tundist, are they a mere subsect? That is a question to which, one hopes, a writer more scholarly and less populist than Pebblehead will address themselves, though the survival rate of authors investigating Tundism is calamitously low, and much blood has been spilt, not all of it the blood of ducks.

Insignia. Pebblehead makes a cack-handed attempt to sketch the insignia of the Erk Gah on the frontispiece of his book. It looks as if he used crayons. A six-year-old would have made a better fist of it.

Dietary Stringencies. What foodstuffs, we might ask, do the Erk Gah wash down with their evaporated milk and ducks’ blood potions? The answer, according to Pebblehead, is “anything from the tuber family” and “anything with a –hip or –wort suffix”. That seems pretty stringent to me, but then I’ll eat anything, as will Pebblehead himself. I had dinner with him a few weeks ago and we scoffed a surfeit of lampreys and more bloaters than his dining table could support. He had to have it shored up with cast iron props.

Bucket And Spade Seaside Outings. An endearing feature of the Erk Gah is their predilection for bucket and spade seaside outings. Less endearing – much less endearing – is that their favoured destination is the foul and filthy fishing port of O’Houlihan’s Wharf. It is a curious place to rattle towards on the train, waving one’s bucket and spade cheerily out the window, for of course there is no sandy beach there, merely a couple of rotting jetties built upon squelchy oozing mud, mud that is home to disgusting squirmy wriggling things which are surely abominations in the sight of God. And yet year after year the Erk Gah descend upon this briny hellhole, mad with glee. What they actually do with their buckets and spades when they get there does not bear thinking about. The most Pebblehead will divulge is that shutters go up in the whelk-encrusted hovels, the streets empty, and a fug of eerie mist falls upon the port.

Ultimate Purpose. This, of course, as Pebblehead readily admits, is the final ineffable mystery of the Erk Gah. It brings his book to a limp and unsatisfactory ending, which he tries to bolster by dazzling the reader with vividness. But Pebblehead doesn’t really do vivid, at least not in his non-fiction, and the resulting closing paragraphs are pitiable. The reader senses that he knows this, which is why in a last desperate lunge at thrillsomeness, Pebblehead chucks in an extremely potted pen-portrait of his favourite pig. It is, he says, “a committed pig”.

Further Reading. A rival account of the Erk Gah, which differs from Pebblehead’s book in every single detail, can be found here.

Dobson’s Cacodaemon

Even the most learned of Dobson scholars has difficulty with his pamphlet How I Thwarted My Cacodaemon With A Pointy Stick And Some Bleach (out of print). For one thing, who knew Dobson had his own personal Cacodaemon? It is never mentioned elsewhere in the canon, nor does it make an appearance in his voluminous diaries. Occasionally, like other indefatigable diarists, Dobson had recourse to codes and symbols, but all of these have been deciphered after decades of study by Aloysius Nestingbird and their significance revealed in his magisterial survey The Meanings Of Every Single One Of Those Enigmatic Symbols And Scribbles In The Journals Of The Out Of Print Pamphleteer Dobson, itself, alas, now out of print too. Nestingbird realised that the childish drawing of a horned and hooved goaty devil figure brandishing a spit fork, usually done in red ink, which appears in the diaries from time to time without additional written comment, had nothing whatsoever to do with some putative Cacodaemon of Dobson’s, but was simply the pamphleteer’s idiosyncratic manner of noting that Hungarian football ace Ferenc Puskas had played a blinder in a match that day. Puskas was never known by a nickname aligning him with a devil of any kind, but Nestingbird shows convincingly that the inside of Dobson’s head was rarely in accord with the wider world.

Nor do we find any reference to a Cacodaemon in any of the recorded utterances or memoirs of Marigold Chew. Surely the woman who knew Dobson better than anyone else would have known of it? There is a possibility, of course, that she did know, but kept a judicious silence for fear of exposing her inamorato to ridicule. But then, there was much else that was preposterous about Dobson, from his boots to his handwriting, and she seems to have happily acknowledged, even celebrated, his various absurdities.

What of the pamphlet itself? In its startling opening sentence, the pamphleteer announces that he is going to tell us all about how he thwarted his Cacodaemon with a pointy stick and some bleach, and that if his prose were paint, in this pamphlet it would be matt rather than gloss. The fact is, Dobson continues in some of the glossiest prose he ever wrote. Indeed certain passages are so glossy that Nestingbird, among others, has recommended reading it through a screen or veil to dull its unearthly sheen.

Dobson gives his Cacodaemon no “back story”. He does not explain when it first began to haunt him, nor how terrible, or otherwise, has been its impact upon his life. It merely shimmers before him after breakfast one drizzly morning in April, and he reports this matter-of-factly, as if it is a familiar accompaniment to his post-breakfast drizzly April morning doings. On the particular morning of which he writes, Marigold Chew is away, which may in itself be significant. Dobson does not tell us where she has gone, but by checking the calendar one can conclude she was probably on one of her periodic jaunts to Shoeburyness as part of the bottomless viper-pit study group.

Dobson then recounts how he loses patience with his Cacodaemon. It is making demands upon him, as we are given to understand it “always does”, and the pamphleteer snaps. He goes to the broom cupboard and takes out a pointy stick, and dips the end of the stick in bleach, and charges across the room at the Cacodaemon, shouting his head off and threatening to impale it upon the stick. At this point, with a hideous sort of sucking and seething and squelching noise, the Cacodaemon seems to implode in upon itself. Bringing himself to a halt just before he clatters into the wainscotting, the pamphleteer peers down at the floor and sees a tiny smudge of noisome goo. This, he suggests, is all that is left of his Cacodaemon. He leans the pointy stick against the wall, and goes to the draining board to fetch a rag. He wipes the smudge with the rag, pours more bleach into a bucket, and drops the rag into the bucket. There is, he writes, “a faint echo of the sucking and seething and squelchy sound, as if heard through a funnel blocked with pebbles and dust”.

And thus the pamphlet ends, save for a rather curious colophon from which not even Nestingbird has been able to wring any meaning. I suppose we have to ask if Dobson was just making the whole thing up. We know there were times when he felt compelled to write a pamphlet even when his head was empty of ideas. Perhaps this was one of those times. Further light will no doubt be shed on the matter with the publication of Aloysius Nestingbird’s forthcoming study Dobson’s Head, Its Innards, And What They Reveal About The Colossus Of Twentieth-Century Pamphleteering.

I had hoped to be invited to write an introduction to this book, but I was told, in a dream, that there would be no such invitation, that Nestingbird had never heard of me, and that my pretensions to Dobsonist scholarship were flimsy and pathetic and doomed. Hard to argue with that, belched and spat out as it was from the fiery maw of a Cacodaemon.

Bungled Heists

At the last count, Blodgett is thought to have been involved in no fewer than six bungled heists. By comparing the circumstances of each heist, we may learn not only about their bunglement, but something, too, about Blodgett the man.

First heist. The plan was to steal a consignment of birdseed being delivered to a crow sanctuary. Prices in the millet market had rocketed, and a tidy sum could be expected when the “hot” birdseed was offloaded to a fence. The gang spent weeks hidden behind a hedge observing the routine. At exactly 11 o’ clock each morning, a truck arrived at a gate in the perimeter fence and, after a cursory check of paperwork, it was waved through and driven at snail’s pace to the silo, whereupon a sanctuary worker hauled the vacuum-packed bags of millet off the truck and put them on a hoist which was winched up to the top of the silo. There, on a platform, a second worker slit each bag open with a birdseed-bag-cutter and dumped the contents into the silo. The empty bags were chucked back to the ground and replaced on the back of the truck, which then drove off, through the gate. The entire operation took about fifteen minutes. Blodgett’s role was to thump the truck driver and the gatekeeper, disabling them for sufficient time to allow the gang to steal the birdseed before the truck entered the crow sanctuary. At this time, Blodgett carried quite a thump, and he practised it on life-size cardboard cut-out persons, which toppled over at the first thump. This was the key to the embunglement of the heist. Both the truck driver and the gatekeeper were great thick-set brutes, much less flimsy than Blodgett’s practice figures. When thumped, neither of them toppled over. Instead, they thumped back, the two of them, with alarming violence, until Blodgett was sprawled on the ground battered and bloodied and unconscious, at which point they summoned Detective Captain Cargpan by walkie-talkie.

Second heist. Blodgett joined a different gang for his next heist. This was a smaller-scale affair, the aim being to pinch a packet of arrowroot biscuits from a half-blind doddery octogenarian crone as she creaked along a secluded lane. Technically, it can be argued that such a venture falls outwith the strict definition of a heist, but quite frankly I am not prepared to countenance such a cavil, as it would threaten the basic integrity of my narrative thrust. The idea was that the gang would hide behind a clump of aspens, and, at the approach of the crone, Blodgett would leap out into her path and thump her. Taking advantage of her surprise, alarm, and possibly fatal injury, another member of the gang would snatch the packet of arrowroot biscuits from her pippy bag, and the gang would make off with all due speed, cackling. In this case, the bunglement consisted of failure to realise that the crone in question was Mrs Gubbins, herself a criminal mastermind, and one who could deploy her knitting needles to lethal effect. When set upon by Blodgett, she poked him in the solar plexus with a sharpened 4.25, jabbed his head with it as he crumpled to the ground, and then coolly tucked it back in her bag before calling Detective Captain Cargpan on her klaxon.

Third heist. Blodgett had rejoined his original gang, but made it clear he wished to have no part in any thumping on the next job. He was thus engaged as a look-out man. Blodgett did not pay attention, however, to a particularly riveting Dan Corbett weather forecast, and was ill-prepared when a dense and freezing and engulfing mist descended upon him as he sat in his perch overlooking the big cash-register warehouse. He was peering hopelessly into the murk when he felt the begloved hand of Detective Captain Cargpan nabbing him on the shoulder.

Fourth heist. This heist was, at least in its conception, the most ingenious. Inspired by the classic art-house film Snakes On A Plane, had it been fictionalised for the cinema it could have been called Otters In A Laundry Basket. Unfortunately, the otters escaped from the laundry basket and ran away to a riverside before they could be deployed. This was Blodgett’s fault, as he had been enrolled into the gang specifically to train and control the otters. He was in bad odour after this, and considered becoming an informer for Detective Captain Cargpan, but instead holed himself up in a chalet in Jaywick for some years, lying low.

Fifth heist. Tempted out of his Jaywick hidey-hole by the prospect of a share in the proceeds from a daring smash ‘n’ grabby-type heist, Blodgett returned to the criminal fray as part of yet another gang. A plate glass window was to be smashed, and a display of ornate cornflake packets dripping with jewels was to be snatched. The packets were the work of a bumptious and bespectacled artist of great, if unfathomable, repute. Everything went according to plan, except that the gang left Blodgett to guard the art in a lock-up under the arches of Sawdust Bridge while they tracked down their expert fence, who was hobnobbing with hedge fund managers. Peckish Blodgett opened up the packets and ate all the cornflakes, dry, without milk, thus destroying their value as art. Left with nothing but a bunch of jewels, albeit valuable ones, the gang fell foul of a pasteman in the trade, who tricked them as a pasteman will, and turned them over to Detective Captain Cargpan, who was waiting outside with his ruffians.

Sixth heist. One can gain some idea of the duration of Blodgett’s criminal career when one considers that the sixth heist took place more than fifty years after the first. By now, Blodgett was old and wheezy, and as creaky as Mrs Gubbins had been (see second heist). It was his creakiness which led to the bungling of his last heist to date. The vaults of the big important bank into which the gang broke their way with the aid of industrial slicing and cutting and burrowing equipment were, of course, heavily alarmed. Multiple sensors would pick up the tiniest sound or movement. One by one, each sensor was disabled by the gang’s sensor disablement man, using his pliers or pincers or, in one case, a soaking wet dishcloth. Things were set fair for a successful heist. But Blodgett creaked as he crept towards the cash-cage, alerting a tiny rodent, which scurried in fear towards the big important bank’s basement wainscotting, and in so doing dislodged some wiring, causing a short circuit which knocked out all the electrics. Plunged into Stygian blackness, Blodgett and the gang were helpless, and could do nothing but await the arrival of the janitor in the morning. This janitor was an old mucker of Detective Captain Cargpan, who was himself on the scene within seconds, blackjack and manacles at the ready.

According to a story in a recent issue of the Weekly Heist Intelligencer, Blodgett is a member of a gang plotting a forthcoming heist at an amusement arcade in a seaside resort. Letters have since appeared in the correspondence columns pleading with the gang to drop Blodgett from their plans. The inherent sentimentality of the criminal demimonde suggests this is unlikely to happen. It is thought Detective Captain Cargpan has already splashed out on a railway ticket to the seaside resort.