The Nameless by Ramsey Campbell

Fontana edition. Cover by Les Edwards.

Successful literary agent Barbara Waugh is working late in her office when the phone rings and the voice on the other end of the line says, “Mummy.” At first she thinks it’s her assistant’s daughter, but when she says, “This is Barbara Waugh herself speaking,” the voice says, “Yes, Mummy, I know.”

But Barbara’s daughter Angela, born thirteen years ago, is supposedly dead. She was taken from her daycare centre by a man purporting to be her uncle, and the police found a body they were sure was hers (though it was too badly injured for definite identification). Barbara, whose husband died in an accident just before the birth, has spent the intervening nine years living with the loss and guilt of what happened, but now it seems she has even more reason to feel guilty: all that time, her daughter was alive and in the hands of a cult.

The cult are a group who take up residence in a series of derelict houses, moving constantly. They seem to be linked to a group in California that “one of Manson’s women had described as worse than the Family”, a group whose leader believes the worst murderers in history had all “been driven to experience the worst crimes they could on behalf of something outside themselves”. To better serve this “something”, cult members relinquish their names, becoming indistinguishable parts of “the Nameless”.

Ramsey Campbell’s 1981 novel The Nameless is about an archetypal fear. The cult are described at one point as being “into some very bad things, black magic and torture and that sort of stuff”, and this may sound rather vague but, really, that is the point. They are the embodiment of the most primal of parental anxieties about what may happen to a child, and the sort of hands they might fall into. And though it digs into some powerful themes, The Nameless is not so much a considered exploration of ideas as it is a cry of pure anxiety, a nightmare confrontation with the deepest fears centred around parenthood, nurturing, and creativity, and the vulnerabilities these things open you up to.

Family has always been a powerful theme in Campbell’s work, where it can be a sort of psychological crucible from which people emerge damaged and humanly flawed, or, sometimes, as monsters. This was addressed in his earlier novel, The Doll Who Ate His Mother, though that book only focused on one end of the equation, the effect their upbringing had on the novel’s adult characters. The Nameless is more about the other side of the equation; it’s about parenthood, and how having a child opens you up to a whole new set of fears and vulnerabilities.

Barbara Waugh feels she failed her daughter by going back to work and leaving her in someone else’s hands, even if only during the working day. Now she finds that Angela has fallen into the worst hands imaginable, a cult of sadists whose aim is to serve the darkest of forces, and to turn its members into inhuman monsters. There’s a sense, in The Nameless, of families as separate, embattled units, with some, like those of Barbara’s author-client Paul Gregory, or the family of cult-escapee Iris, driven to being suspicious of all outsiders and loyal only to themselves; or of failed families, such as that of Barbara’s friend Ted Crichton, whose divorce has led his wife, Helen, to use their daughter against her former husband in a not-so-subtle emotional conflict. And, of course, cults are a sort of family, too. (Evident in Campbell’s reference to the Manson “Family”.) The Nameless seek to erase the most obvious thing that binds a family together — their shared name — but another family Barbara briefly encounters is a somewhat more harmless occult group in Glasgow, the Undying Light, whose members seem to have achieved unity through a similar loss of individuality:

“…they looked manufactured by whatever factory produced families for television series, a fresh-faced young man and woman between an older couple, all their instant identical smiles gleaming.”

MacMillan hardcover. Art by Norm Walker.

After the deaths of her husband and daughter, Barbara has focused on her career, in which she “mothers” her authors and “midwifes” their books, and creativity is another theme in The Nameless. Writing a book and sending it out into the harsh world of publication is a way of opening up one’s vulnerabilities, and Barbara, as a literary agent, is on the forefront of that moment of first contact between a writer and the world. The Nameless seem to attract people with artistic abilities, and what the cult do could be seen, in a very twisted way, as creative or expressive. But the point about the Nameless, perhaps, is that their own particular (perverted) form of creativity is for their own consumption alone. The young woman journalist Gerry Martin, who infiltrates them, finds drawers full of photographs and films, no doubt of their own, or others’, acts of torture and murder, but when Barbara looks through a house previously inhabited by the cult, she finds only the ashes of these photos and films. The cult don’t share their work; they consume it themselves, then it’s gone. Stifled or thwarted creativity is another of the book’s themes. (Of Barbara, thinking of all the rejected novels she handles, Campbell says, “It unnerved her to imagine how much frustrated creativity there might be in the world.”)

It’s as though The Nameless is presenting, in nightmare form, the anxieties of a very human dilemma: on the one hand, there’s the vulnerability that having children, or producing creative work, opens you up to, through the possibilities of loss, rejection, betrayal, manipulation, and exploitation; on the other, there’s the idea that a highly embattled and secret creativity can, through being divorced from the stream of human contact, find itself serving dark, inhuman powers. Creativity, and family, make you vulnerable, but to be vulnerable is to be human; to turn away from that vulnerability is to turn away from your humanity, and to do that is to serve the darkness.

The Nameless was released as a film in 1999, as Los Sin Nombre, from Spanish director Jaume Balagueró. It drops the (relatively minor) element of Angela’s psychic abilities and adds another twist to the ending, while generally upping the pace and incorporating some truly gruesome effects. I can’t feel it has the same psychological intensity as the novel, nor the same focus on a mother’s (here an editor, Claudia, played by Emma Vilarasau) anxiety to find her lost child (and the many female roles in the novel are pretty much reduced to just Claudia, whose active role is also somewhat reduced, for much of the film), but it does have the occasional good creepy moment.

Year King by Penelope Farmer

Cover to Year King, art by William Bird

After A Castle of Bone, Penelope Farmer’s next novel was Year King (1977), and, in keeping with its protagonist’s age (eighteen), is more an adult than a YA novel, certainly compared to the not-yet-teens of that earlier book. Nevertheless, it’s about a stage of growing up: the struggle to leave home and break free of family ideas about who you are, and so to properly find yourself on the road to adulthood.

At the centre of the novel are Lan and Lew, twins of quite different characters:

“Lew playing rugger and excelling at work, Lan developing a reputation for being mildly way out… playing the guitar a little, having professedly anarchic friends, his hair over his shoulders…”

Lew is away at Cambridge, Lan is struggling with history studies at a local university while living in the basement at home. Although this gives him a certain amount of autonomy (the basement has its own front door, and its own kitchen), he’s nevertheless finding his mother’s presence too much. A lifetime of casually belittling judgements have left him ultra-sensitive to her moods (which Lew, who could play their mother like a harp, pretty much protected him from, before), and one day he takes her car and drives to a cottage the family own in Somerset, and starts spending as much time there as he can.

Although it takes him a while to adjust, Lan comes to love the rural community more and more:

“I am an alien, Lan thought. And then: but I love it. I must be stark raving mad. I love it all.”

He decides to give up his studies and gets work on a local farm. His long hair (the local men refer to him as “her”, though mostly joshingly) sets him apart from the community, but he starts to find himself accepted — with exceptions. One in particular being a middle-aged man, Arthur, for whom Lan feels “a strange, ancient antagonism”.

There are subtle mythic forces at play. One is to do with the land itself. Lan looks at its hills and dales, and though they’re overwritten by the “male lines” of hedgerows, feels, “underlying all of it, meet, receptive, yet in its own way just as strong, refusing to be eclipsed, the soft, lush, swelling shape of the countryside itself; like a woman laid widely…” And when he meets a young American woman of his own age, Novanna, staying with her aunt at a nearby farm, he takes the difficult first steps in building a relationship with her, though he has none of his brother’s ease with women.

Lan’s troubled relationship with his twin is another thing. His resentment of a lifetime of being compared to his (always more capable) twin has left him unsure of where the boundaries between the two of them lie. Now, suddenly, he finds himself at times literally slipping into his twin brother’s body:

“The outside, the crust, was wholly Lew, controlling Lew’s nerves and Lew’s responses; yet right at the centre lay this inappropriate kernel, this little hard obstinate nut which was Lan’s mind, Lan’s thinking.”

The valley isn’t a refuge from his family — no distance could be, because he carries its influence too much within him. Nor is his relationship with Novanna, which also has its troubles. Lew visits on his scooter, and instantly and easily chats Novanna up, and is the first to take her to bed. Lan’s mother asks him back, wants to know what’s happening with him and his studies, asks who’s going to pay the bills at the cottage, insists on having the use of her car. (There’s a younger sister, too, Bronnie, who comes to visit — an island of un-trouble amidst the rest.)

Penelope Farmer, photo by Jill Paton Walsh, from back cover of Year King

Year King has an air of other books I’ve reviewed from the same era. The way Lan slips into Lew’s consciousness without any warning recalls, for me, the way Donald in William Mayne’s A Game of Dark slips between worlds mid-sentence; the fact that Lan is experiencing what it’s like to exist in the body of a more sportily capable, masculine male makes me think of William Rayner’s Stag Boy; but there’s also Alan Garner’s The Owl Service, and Year King’s suggestions of ancient mythical patterns being played out in modern times.

Lan and Lew, for instance, are named after twins from Welsh mythology (Dylan and Lewis, or Lleu Llaw Gyffes — who has his part in the Blodeuwedd story Garner uses). More important, though, is Lan’s relationship with the land — his becoming, in a way, the “Year King”, as described in Frazer’s The Golden Bough, “the incarnation of a dying and reviving god, a solar deity who underwent a mystic marriage to a goddess of the Earth.” (from The Golden Bough Wikipedia page.)

As the year waxes into summer, Lan wins Novanna, and his place in the valley, from both his rivals (Lew, and Arthur, who I take to be, perhaps, the existing valley “Year King”, as he’s a local authority on farming matters), and everything seems to be going well as he works on the land. Then, as the summer changes back to winter, his fortunes wane. His sense of who he is — his resistance to that flickering into Lew’s body — was strong in the summer, but now he flips into Lew’s body more and more as the year approaches its end. When his brother comes down for an end-of-year visit, Lan is convinced the two must fight some sort of duel for psychological survival in a family whose boundaries aren’t at all healthily defined. As Novanna says:

“You’re all hooked up, you know, all of you, still. I’ve never known anything like your family. Like junkies, all of you.”

The mythic references in Year King are more understated than in Garner’s book, though it’s true they nevertheless represent a very real danger Lan could fall into, particularly at the end, in his final confrontation with Lew, that takes place “literally in the bowels of mother earth (and symbolically in utero)” (as a contemporary Kirkus Reviews review has it).

It’s far less tense and intense than The Owl Service, more lyrical and slower-paced — something fitting the 1970s ideal of taking a rural retreat in order to find yourself. (It feels, to me, very much in line with the folk-rock 70s that Rob Young covers in Electric Eden.) But also it’s timeless, in its tale of a young man’s struggle to find himself against the pressure of subtle, but nevertheless psychologically constricting familial patterns. Farmer is excellent at representing those subtle tensions without ever having to blow them up into major dramatic scenes (it could, after all, be the very lack of confrontations between the characters that cause them so much trouble). And the fantasy element — Lan slipping into Lew’s identity — is handled with just as much subtlety. It’s never central to the book, but is nevertheless essential.

The Death of Grass by John Christopher

John Christopher’s Death of Grass (published 1956) came out five years after John Wyndham’s Day of the Triffids. Both are about how the precariousness of modern life can so easily give way to a tooth-and-claw battle for survival when civilisation breaks down. Christopher’s chosen disaster — a virus that destroys all grass-related plants, including wheat, rye, barley, oats and rice, and which soon threatens the world with starvation — isn’t as instantaneous as Wyndham’s, but that’s only to give its English characters a brief chance to look on in combined pity and superiority as China, where the virus originates, descends into chaos. As the virus spreads, the Brits tighten their belts and roll their eyes at the thought of going back to war-time rationing, sure they’ll handle the situation with the same dignity:

“Yet again,” a correspondent wrote to the Daily Telegraph, “it falls to the British peoples to set an example to the world in the staunch and steadfast bearing of their misfortunes. Things may grow darker yet, but that patience and fortitude is something we know will not fail.”

But when our hero, John Custance, learns the government’s latest efforts to combat the virus aren’t working, he, his family, and a small but growing band of taggers-along, head for his brother’s farm in the north. Situated in a narrow-entranced valley, it should be easy to defend as the country goes feral — as long as they can get there in one piece.

They certainly can’t do so peacefully. Leaving London, they’re faced with a military roadblock. By this point, Custance is convinced the government are planning to drop hydrogen bombs on the major cities, including London, to bring the population down to the sort of levels that can be maintained with new levels of food production, so he knows it’s a matter of kill or be killed. This close to WWII, Custance is the sort of man who has had some experience of this:

He brought the rifle up and tried to hold it steady. At any fraction of a second, he must crook his finger and kill this man, unknown, innocent. He had killed in the war, but never from such close range, and never a fellow-countryman. Sweat seemed to stream on his forehead; he was afraid of it blinding his eyes, but dared not risk disturbing his aim to wipe it off. Clay-pipes at a fairground, he thought – a clay-pipe that must be shattered, for Ann, for Mary and Davey. His throat was dry.

The most significant addition to Custance’s group is Pirrie, an older man whom they encounter when they try to first buy, then rob, guns for their trip up north. After the robbery fails, they explain what they know and Pirrie agrees to provide them with guns in exchange for him and his wife being able to come along. He proves to be a crack shot, and soon becomes their most valuable asset. He is also quite ready to take advantage of the new lawlessness to his own advantage — not to the point of betraying the group, but certainly in getting his own, sometimes brutal, way. His pragmatism quickly becomes the embodiment of what this new world is going to be like. John Custance comes to rely on, and trust him, more and more.

There’s an uneasy air of compliance, in the book, in Custance’s shift from civilised man to survivalist leader. Perhaps because we started it off by taking his side — he was the reasonably-sounding, civilised one in the early chapters, as opposed to his friend Roger’s pessimism — but as we rarely get to see inside his head, we don’t witness the inner moments when he gives in to the way the world is going to be. We just see his actions getting darker and darker. At times it’s hard to tell if Custance is taking a certain pride, or grim satisfaction when, for instance, he finds his children being that much more obedient to him — and the women too — now he’s taken on the role of leader of a band of survivalists.

So, it’s an uneasy book. But, of course, it’s meant to be.

Day of the Triffids was far more about the ecological disaster, the loneliness of the survivors, and the many different types of challenges they’d have to face in order to survive. Although it addresses the same sort of moral issues as Christopher’s book, Christopher’s is more wholly, and brutally, about the moral issues alone. In Death of Grass, there’s no real concern for the idea of trying to preserve civilisation, or mourning its loss, just a cold looking on as it dies. As Roger says, “We’re in a new era… Or a very old one…” and everyone seems quite happy, after an initial inner tussle, to take that as read and join in:

“It’s force that counts now. Anybody who doesn’t understand that has got as much chance as a rabbit in a cage full of ferrets.”

It’s easy to see Christopher’s characters as the sort Wyndham’s might meet, try to talk to, and quickly need to escape from. Wyndham had no illusions about the depths human beings could sink to, but he did believe that some might (successfully) choose not to sink all the way — which is, after all, the basis of civilisation. Christopher’s book doesn’t really debate the point. The pragmatists are the most eloquent, and they are the ones with the guns. They survive, but we do, at the end, get to see some of the cost of that survival. (It should also be said that Christopher’s characters suffer more than Wyndham’s. Not only do they kill others, but two of the women are, early on, kidnapped and raped, something that Wyndham would never have included in a book. It’s not dwelt upon, but it certainly sets a grim tone for the mental state the group falls into.)

There was a 1970 film adaptation, named No Blade of Grass (after the US retitling of the novel), which is mostly faithful, and fits in neatly with the 70s fascination with ecological disasters and survival scenarios. The smaller cast changes the dynamics of the group, even improving on Christopher’s plot at one point, when Pirrie (here a younger rather than an older man) chooses Custance’s daughter Mary to replace his wife (instead of, in the book, another young woman picked up on the way), which makes Custance’s acquiescence all the more damning — or it would, if only Custance (played by Nigel Davenport) wasn’t so stolid and matter-of-fact throughout the film. The whole mood of the film really depends on how Custance is portrayed, and Davenport doesn’t bring the slightest hint of moral doubt to the role. The group might as well be out for a country stroll, for all the horrors (made all the more horrific by being depicted in lurid 70s fashion) they meet with, and perpetrate. (It doesn’t help that, with his eyepatch, jacket, and moustache, he’s the mirror image of Julian Barrett’s 80s action-star parody Mindhorn.) Plus, there’s a rather silly stand-off near the end with a motorcycle gang, who seem to be there simply to use up the film’s stunt budget. You can see its trailer at Trailers from Hell.

Nigel Davenport’s Custance, Julian Barrett’s Mindhorn

A Castle of Bone by Penelope Farmer

Puffin edition, 1974, cover by Peter Andrew Jones

I managed to end up with two editions of A Castle of Bone before I got round to reading it. Two editions with different covers, each suggesting a quite different kind of book. The Puffin cover from 1974 was the first commercial work from fantasy & science fiction artist Peter Andrew Jones. It suggests an exciting, danger-filled adventure in which young teens are menaced by a somewhat science fictional-looking castle, spiky, dark, and (seemingly) revolving. The other cover, by Angela Maddigan, is from a 1973 hardback edition issued by the Children’s Book Club. It suggests a much more laid-back, poetic kind of fantasy, a journey of wonders and discovery rather than dangers. Halfway through reading Penelope Farmer’s A Castle of Bone, I began to wonder if either of these covers actually suited the book. There had been brief, dreamy trips to another land that centred on a castle, but after a while these seemed to have been dropped for a completely different plot in which three of the four teen protagonists are having to look after a baby, while keeping the fact secret from their parents. There was, in the end, one more trip to the land of the castle, but it was far stranger than either cover suggested. (And there was no rending of blouses as in the Puffin cover, though nor was it as placid as the Children’s Book Club cover.) But I’d be hard pressed to say what might make a good cover to this very strange book, which took me some time after I’d read it to figure out what it might even be about.

Children’s Book Club edition, cover by Angela Maddigan

The book starts with arty, somewhat spacey-headed teen Hugh (or borderline-teen — he’s about twelve, I think) being told by his mother that he needs to acquire a cupboard so he can tidy his room. His room is somewhat of a problem, as it has an awkwardly sloping wall, meaning it’s hard to find something that will fit, and Hugh is precisely the sort of youngster not to mind living in a room strewn with clothes worn and unworn. He’d far rather be either painting or staring into space.

But a cupboard has to be bought, so he and his father set out, and find an antiques shop (“junk shop,” his father says), where Hugh sees, and instantly realises he needs, the perfect cupboard. (His father calls it “monstrous, abominable.”) They take it home — it seems, oddly, almost “supernaturally” heavy — and install it, whereafter Hugh forgets about putting any of his clothes into it, and that night finds himself in a strange land, working his way towards a castle that always seems to be changing — sometimes it’s shiny, sometimes dark, sometimes it’s see-through. When he wakes up the next day, his feet are dirty.

Hugh’s best friend Penn lives next door, and he and his sister Anna come round to visit Hugh and Hugh’s sister Jean. At some point Anna (who is even more given to dreamy absences than Hugh) puts Hugh’s wallet in the still-empty cupboard and closes the door. A moment later, odd sounds are heard from inside. They open the door, only for a live pig — “quite unmistakably a real pig, with hanging dugs and crude, prehistoric-looking skin” — to flop out and make a dash for the exit. The pig escapes, but the cupboard remains. Soon, the four teens realise it has a magical quality: if you put something inside and close the doors, when you open them again, that thing will have been transformed to some earlier stage of its existence. Hugh’s wallet, for instance, was made of pigskin. Brass buttons put into the cupboard sometimes emerge as a puddle of molten metal, sometimes as the individual rocks from which their copper and zinc was extracted. There’s no controlling, or predicting, what previous stage in their existence the objects will revert to. And then, of course, the cat gets in. It emerges as a kitten.

There’s an obvious next step, one that everyone is curious about but nobody wants to try. What if a person went into the cupboard? It’s a possible way of achieving a sort of immortality. When you get old you simply get into the cupboard, turn yourself young again, and live a whole new stretch of life. But Hugh, Penn, Anna and Jean are all young already, so why should that concern them? Why does Hugh find himself irresistibly drawn to the idea of getting into the cupboard?

Farmer has two excellent qualities as a writer of fantasy. On the one hand, she inserts fantasy elements into her story that are highly charged with a host of possible meanings, and though this sometimes left me wondering exactly what it all meant, I was never in doubt that it did all mean something. (There are plenty of references to myth and folklore thrown in, too, from King Arthur to Odysseus to Thomas the Rhymer, only adding to the meaningfulness and confusion.) As she says in an essay, “Discovering the Pattern”, published in a 1975 anthology of essays by children’s writers, The Thorny Paradise:

“I am asked why, as a writer for children, I do not produce nice, solid, useful novels on the problems of the adopted child or aimed at the reluctant reader, and so forth, instead of highly symbolic (according to some reviewers) obscure (according to others) — anyway, difficult fantasies.”

When A Castle of Bone ends with — at last — a proper visit by all four teens to the land of the titular castle, it proves to be a very strange realm indeed. This is no trip to Narnia. The land of the castle is a land of possibilities and potentialities, where everything is, moment by moment, the possibilities of what it could be, rather than (as in our world) the one thing it has ended up being. It feels like a unique land among the many lands of fantasy literature, though not one you’d care to linger in.

The other quality Farmer has is a great ability to evoke the peculiarities of real life in a way that really makes her characters seem like genuine individuals. Hugh’s spacey moments, for instance, when he drifts off and gives in to dreamy abstractions, are a perfect representation of a certain type of adolescent mood, as when he gazes out of a window and:

“…it left him with an extraordinary, strange, creative ache; a beautiful yet unbearable sense of growing out of himself, exploding skin and bone. He tried to catch this feeling sometimes, record it, pin it down…”

The relationships between the characters are wonderfully realistic, too, with the four teens being bound together by, at times, nothing more than a mutual feeling of vague annoyance with one another. And they all find their parents as incomprehensible and mildly annoying as their parents seem to find them. It’s not the sort of crisis level of dysfunctionality you find in an Alan Garner novel, rather it seems like the healthily human sort of dysfunctionality you get in families that are happy to let each member be themselves, even if it means for a little friction.

So what is the book about? I always like the way a good novel can be open to multiple meanings, but, at the same time, I feel unsatisfied till I’ve found at least one for myself, so here’s my take on what A Castle of Bone may be about.

I think it’s about learning to accept one’s identity, one’s being-in-the-world, and the choices that are available to you in this life. It’s about seeing that identity is, in a way, tied up with mortality — with the fact that the life you live is one of constant (though slow) change, from baby to child to teen to adult to old age, but is still rooted in something changeless: the fact that, throughout these changes, you are always you. The “castle of bone” is the person you are, the body you were born into, with all its peculiarities, a castle that is protective of your identity (as a castle is) while also imposing limits on that identity (a castle can be a prison, too).

When Hugh first sees the cupboard, he instantly knows he has to have it:

“Immediately he had never in his life wanted anything as much as he wanted that, not even his first box of proper oil paints.”

1992 Puffin edition

I think this is because, at some unconscious level, Hugh knows that the cupboard represents the next stage in his growing up, his becoming who he is. A cupboard can be seen as a sort of metaphor for identity — it’s the thing Hugh is going to put his clothes into, so it’s going to contain his public persona, but it’s also one of those magical interior spaces, both limited and limitless, that represent the human imagination. At first, he didn’t want to go out and buy a cupboard, he just wanted his parents to pick one for him — “A cupboard was a cupboard, was a cupboard” — but being forced to make a decision is the first step to making the more important decisions in his life, such as who he is.

And the old man who sells him the cupboard later says that this is what Hugh must do to end the complications that the cupboard’s magic have thrown into the four teens’ lives: he must enter the cupboard deliberately, “And go into your castle.” — choose who he is, then start to become that person.

This old man is a somewhat puzzling character. (In the “Discovering the Pattern” essay, Farmer identifies him to some degree with Tiresias, the blind seer of Ancient Greek myth.) He seems to change in character from moment to moment. His junk shop is filled with things that prove to be images of himself — a bust, a figure in a painting, a portrait. It’s obvious he has been using the cupboard to achieve immortality, but that it is in no way a satisfactory immortality. He has become fragmented as a person, a series of remnants of his many former lives — not valuable antiques but, as Hugh’s father said, “junk”. This, then, is not the way to be in this world; one must accept one’s mortality, commit to one’s identity, and see it through.

A Castle of Bone is an intriguing book. It’s perhaps as puzzling as, say, Alan Garner’s Red Shift, and while it’s certainly not as traumatic, it could well be in the same league in terms of richness of meaning, only in a very different direction. It doesn’t have Garner’s intensity of focus (though I think Garner’s intensity, which makes his books what they are, is also the reason for the feeling of trauma in them — it’s the intense focus of the over-powerful intellect, dissecting emotions in a way intellect was never supposed to). Farmer’s is a book that manages to feel as though it’s about ordinary life at the same time as it’s about the unordinariness of life, the state of being a particular human individual, with all the unique peculiarities a human individual has, including the richness of the inner life, particularly at those self-defining moments in which you must decide, at some level, how to be you. (Which links it nicely to another Garner work, The Stone Book Quartet, which is based around similar moments.) Reading it did, occasionally, feel a bit frustrating — particularly when the main characters were spending so much time looking after a baby, and I wanted them to be investigating another world — but the ending, I think, made up for that, and perhaps on a second read, when I know the sort of book it is, I might enjoy it even more.