Life’s Morning Hour by E H Visiak

Visiak’s Life’s Morning Hour. As the original of the cover is listed among his papers, I wonder if the art isn’t by Visiak himself.

I first read E H Visiak’s Life’s Morning Hour (1968) about 15 years ago, when all I really knew of him was his essays on David Lindsay. I’d been hoping for more on Lindsay but, despite the book mentioning other literary friends Visiak had (among whom John Masefield is the only name I knew), there’s no mention of Lindsay. (Unless, that is, I take Visiak’s comment at one point, “I could no more describe it than I could describe an unknown colour had I seen one”, to be an indirect reference to the invented colours in A Voyage to Arcturus. The “it” Visiak is talking about, by the way, is a vision of God. But I’ll come to that later.) The thing is, Life’s Morning Hour is about the first half of Visiak’s life, and comes to an end as his literary career is getting started. (There’s no mention, for instance, of other writers he later knew, including Walter de la Mare and Colin Wilson.) But, having recently read Visiak’s weird novels Medusa and The Haunted Island, and having done some research on his life to flesh out my (previously very skimpy) biography of him on my Violet Apple site, I came back to his memoir, this time to learn about him, rather than Lindsay.

But first, is it a memoir? In a post at his Shiver in the Archives blog, Douglas A Anderson calls it “Visiak’s so-called autobiography”, adding it’s “actually a novel (originally titled David Treffry) Visiak tried to market in the very early 1930s”…* But, it’s frankly very bad as a novel. My impression on re-reading it is that its earlier chapters didn’t so much belong to a narrative meant to be read by others, as a man’s private mulling over his earliest impressions and fragments of memory. (Towards the end of the book, Visiak claims he wrote Life’s Morning Hour “to record my childhood, of blissful memory”.) These early chapters are more about intense sensory experiences the very young Edward Harold Physick (as he was born) had of colours, smells, glints of light, textures. They don’t even work as anecdotes, just fragments. And this is the main argument against Life’s Morning Hour being a novel — it has no story, nor even an attempt at one. Even in its later sections, when Visiak covers his miserable time at the Manchester offices of the Indo-European Telegraph Company (for which he worked before the First World War), he doesn’t cast it as a narrative. He mentions his misery but doesn’t fully explain it, then goes away and remembers a few random incidents at the office, comes back to it again, then goes away from it once more. This really is a memoir — a collection of reminiscences — more than it is even an attempt at an autobiography. And, of course, Visiak had written novels by the 1930s, so he knew how to do that, so the idea he wrote this as a novel isn’t very convincing, unless he was attempting something very new and modernistic, and, ultimately, unsuccessful. (What seems more possible is that, having written this memoir for his own amusement, he wondered what to do with it, and tried to place it with publishers as a novel. But I don’t know.)

Crimes, Creeps and Thrills (1936), edited by John Gawsworth, included Visiak’s “The Shadow”

There are a few frustratingly fictional-feeling aspects to the book, though. Some people’s names are omitted or invented. Visiak is very evasive about the names of family members. He refers to “my literary uncle” a number of times without giving his name, and only late in the book provides a telling footnote to indicate he’s quoting from the Memoirs of W H Helm (which Visiak himself edited, in 1937). Helm was the literary editor of The Morning Post, wrote several books (Jane Austen and Her Country-House Comedy, Homes of the Past: A Sketch of Domestic Buildings and Life in England from the Norman to the Georgian Age), and was married to Visiak’s paternal aunt. Visiak also provides very little information about his father or his father’s family, even though both were successful sculptors, a fact he doesn’t even allude to. (And Visiak spent a lot of time with his grandparents as a boy, it seems.)

Even more fictionalising comes about with Visiak’s changing some names. He mentions, for instance, going to “the Grammar School at Hallingford”, during which time he stayed at the house of a “Mr Blackwaters”. As far as I can tell, there is no such place as “Hallingford”, and the name “Blackwaters” doesn’t appear at all in Short biographies about Visiak, though, mention his going to Hitchin Grammar School (a history of which is among his papers at Reading University), but the only definite proof of a school I can find is his and his brothers’ names in the enrolment lists of St Augustine’s School, Westminster, at the age of 10. And this school isn’t mentioned at all in Visiak’s memoir. Certainly, Life’s Morning Hour can’t be entirely relied on as a factual autobiography. But it is interesting, I think, as a means of learning a little bit more about the man — certainly the inner man.

(His brothers get only a few mentions, despite his having six of them. One who does, Noel Gilbert, died of meningitis at the age of 17, and Visiak describes him as having, at the end, ribs like a skeleton, which can’t help recalling, for me, the “Skeleton Antic Lad” of The Haunted Island.)

Visiak poem from The Graphic, 12th April 1924

Visiak edited the Nonsuch Edition of Milton (1952)

Visiak took a strong pacifist stance during World War I, registering as a conscientious objector and refusing to take even non-military war work as an alternative, as he didn’t want to have anything to do with war. (There’s a quite comprehensive stack of documents at the National Archives detailing the process he went through.) Life’s Morning Hour traces the origins of his pacifism to a story he wrote, as a Rider Haggard-obsessed boy, in which a Zulu king lays down his weapon on a battlefield rather than continue the carnage — an action which seems to have taken Visiak by surprise. (He went on to read about the treatments of the Zulus under the British, and later wrote a poem about them. When it was published, he was surprised to come home one day to find a Zulu man waiting for him, who was in turn surprised to find the writer of the poem wasn’t a Zulu, as he’d thought the rhythms of the poem could only have come from a fellow countryman.) But Visiak wasn’t a lifelong pacifist, certainly not in the personal sense, as at each of the schools he mentions going to he confronts bullies head on, fighting them as soon as they start to pick on him. But his pacifism in relation to the war was perhaps intensified by two other factors. One was his social conscience, which extended not just to his fellow human beings (and he was always writing not just to newspapers but government bodies, suggesting ways in which people’s suffering might be alleviated, or complaining when bad things were done to them — he wrote to a US newspaper after it reported the lynching and burning of an African American, and received, because of it, several nasty replies). He also became a passionate anti-vivisectionist, at one point contemplating studying physiology (despite having no aptitude in the sciences), just so he could infiltrate animal-testing laboratories and expose their atrocities. It was as a result of this, which became an obsessive idea, that the other factor in his pacifism came about. Worrying how he could achieve this aim of infiltrating vivisection laboratories, yet knowing how ill-suited he was to the task, and so being caught in a situation he couldn’t resolve, he had what he interprets as a sudden vision of God, whom he saw as:

“…an orifice of golden motes… of ethereal fire. It was irregular in shape, curved, extending about half way across the office. At either side, within it, a form was visible… They suggested lions with wings. But it was the form I knew to be, but did not see, in the centre that drew and concentrated my attention…

“It was not a human form, nor was it that of any conceivable creature. Had it been that of an angel with wings in the conventional notion of such a being, I might well doubt the authenticity of the vision, suspecting it to have been of subjective derivation; but it was, as I have said, unimaginable

“The Appearance was ineffable; it surpassed the human form as the human form surpasses the most elementary form of life. I should say, indeed, that it transcended form. It was awful, adorable, transcendental. It was also, and identically, a sound; a sound alike ineffable, incomparable in soul-enthralling harmony with any musical chord…”

The effect of his vision, oddly, was to make Visiak feel that his grand anti-vivisectionist plan mattered less in the broad scheme of things than simply continuing his day-to-day life, and this released him from his obsessive thoughts on the matter. But it also no doubt strengthened his Christianity, which was, ultimately, the reason he gave for not wanting to participate in the Great War.

Visiak’s birth name, in his own handwriting (from the 1911 census)

Life’s Morning Hour isn’t a wholly satisfying book. It only works as any kind of autobiography if you have a more factual record of his life to hand; most of its content as a memoir is impressive in terms of how he retained intense early childhood sensory experiences, but generally fails to be interesting even at the level of an anecdote, more as a series of poetic impressions. It certainly doesn’t work as a novel, it has no focus of story or conscious development of character. What it reveals about Visiak as a person is its strongest point: the things that were important to him, his formative moments, the people he met and how he interacted with them. (He petitioned on behalf of a sacked alcoholic colleague three times, each time succeeding in getting him reinstated. The third time, the Indo-European Telegraph Company actually decided to take an active hand in the poor man’s care and rehabilitation.)

Certainly not an essential read, then, even for those who’ve enjoyed Medusa and The Haunted Island (which was mostly written, he reveals, on the train to and from work, just as his early Buccaneer Ballads were written at work), but a valuable addition if you want to know more about the sort of man Visiak was.

(* Just to note, this isn’t speculation on Douglas Anderson’s part, but based on the manuscript to Visiak’s unpublished novel, David Treffry, which, it turns out, is basically the same as Life’s Morning Hour, apart from being partly in the third person.^)


The Haunted Island by E H Visiak

1946 reprint of The Haunted Island from publisher Peter Lunn. Illustratred by Jack Matthews.

Like his 1929 novel of “Mystery and Ecstasy and Strange Horror” Medusa, E H Visiak’s first novel, The Haunted Island (published in 1910), is a sea adventure that turns into weird fiction in its second half. But, although the Encyclopedia of Fantasy says it is “clearly fantasy” (“and engagingly deploys ghosts and magic in a tale of pirates set on a mysterious island”), most, perhaps all, of the fantasy elements are eventually explained in non-supernatural terms. Even then, the atmosphere of weirdness and menace remains, so you feel that you have been in the presence of something that at least hints at extra-human forces.

The narrator is young Francis Clayton, whose older brother Dick heads a mutiny among the crew of one of the King’s ships (this is 1668) so they can head off in search of a rumoured treasure of incredible wealth on a distant (but haunted) island. Finding himself caught up in the action, Francis insists on staying with his brother as the ship evades its pursuers and they set out on their quest.

On the way, among other mostly episodic adventures, they pick up two sailors adrift in a boat, an Englishman and a “Mosquito Indian”. The Englishman tells of a remote island presided over by the mad alchemist Doctor Copicus, and Francis realises this is the same island as his brother is trying to find.

When they eventually arrive at the island, they are greeted by a spectre of gigantic size. The petrified crew want to flee, but by this point the ship is in the grip of inescapable water currents, and they’re drawn in to the island to become captives of the mad alchemist.

Illustration from the first edition, by N W Physick (presumably Visiak’s cousin, Nino William Physick)

Doctor Copicus, it turns out, is totally focused on revenging himself on his homeland (England) for exiling him. To this end, he is seeking to create a “combustible”, “an explosive searching as lightning, [so] mighty that blasting gunpowder would be, compared to it, but a puny breath”. He seems able to command others through sheer force of will, and rules the seamen and pirates who work for him with no tolerance at all for the slightest mistake — when his loyal secretary Ambrose forgets to bring him the sulphur he asked for, Copicus orders his execution in twenty days (during which time Ambrose continues to work for him as faithfully as ever).

The island has its own volcano (or “volcan” as Visiak has it, in mock-17th century prose), and this is, in a way, an image of the burning desire for revenge within Copicus’s Satanic breast:

“I grow liker and liker to thee!” said he [Copicus, addressing the volcano], with passion in his shrill voice, “Liker to thy hollow heart! thy hollow, fiery heart! . . . I, too, am a volcan! On fire! On fire! Waiting!“

Because he can read and write Latin, Francis is given the task of copying the Doctor’s manuscripts, but has time enough to explore the island and learn some of its mysteries (including the mechanism behind that giant ghost). The strangest thing he finds there is the “skeleton antic lad”, a bone-thin boy who gibbers alchemical nonsense, and to whose speech Copicus pays great attention. Ambrose hints at what may be the book’s only truly supernatural element:

“The lad is a daemon, or familiar, of the Doctor,” answered Ambrose. “He is, as I may say, super-rational. He hath strange powers. He can see spirits.”

This was the element David Lindsay picked out from his reading of the book, as he says in a letter to Visiak early on in their correspondence, in 1921:

“At first I took you at your word and started reading the ‘Haunted Island’ as an adventure story, but then ends began refusing to fit in, and I saw it must be more than that. Does not the clue lie in that weirdly marvellous ‘skeleton antic lad’?”

To me, the “skeleton antic lad” feels like an image of Copicus’s tortured soul. However much he likes to think himself like the volcano, with its raging fires, destructive power, and “hollow heart”, he is nevertheless a human being, and the human part of him must have all the vulnerability of a child (and a malnourished child at that, as Copicus has not exactly been nurturing his human soul), and may well have been driven babblingly insane by his singleminded need for revenge.

There are a few points of similarity between The Haunted Island and Medusa. Both, for instance, have a character whose hobby is sculpture — Mr Falconer in Medusa, who carves weird figureheads on his model ships, and Copicus’s secretary Ambrose here — which recalls the fact that Visiak himself was the son, grandson, great-grandson, and great-great-grandson, of a line of sculptors. Both books feature a dangerous, piratical character among the crew of the ship the narrator sails on — Moon in Medusa, Ouvery here. (Both recalling Long John Silver.) One strange echo, shared not just with Medusa but the later short story “Medusan Madness”, is a weird-tinged vision the narrator has of a numinous sea landscape, fraught with awe and dread. Here is The Haunted Island’s version:

“I saw a vision of a boundless expanse: the heavens loaden with masses of cloud ebon black, the firmament illumined with a spectral light, and, beneath it all, the deep! That was black as the clouds above, and surging in billows (though without foam) so stupendous, that the tops of them might not be descried, and sweeping together with a shock and tumult such as no man could imagine. But that which held my gaze — yea, and nigh unseated my reason! — was the Thing, whether brute or demon, that seemed to be the sole denizen of the waters, swimming and wallowing there. Merciful God! may I never look upon the like of it again.”

This seems to be an encapsulation of Visiak’s entire cosmic vision, with the “spectral light” of the heavens blocked to us poor mortals by the black, shadow-like clouds of our fallen existence; and then the “surging billows” of the (emotionally and spiritually) turbulent material world, haunted by some unseen but menacing “Thing”— a “Thing” that more recalls the climax of Medusa than the present novel. As Francis reads in Doctor Copicus’s manuscripts:

“For the material universe… is the shadow cast by the spiritual universe… the light whereof proceedeth from the Deity, wherein all live and move and have their being. Wherein, rather, all sleep, or sleeping, dream; or dreaming, fitfully awake.”

The Haunted Island and Medusa are certainly both made from a similar mould. Medusa is the work of a better, and more experienced writer, but The Haunted Island is, in its second half at least, perhaps more conventionally satisfying than Medusa’s sudden descent into really mad weirdness. It certainly deserves to be read alongside Visiak’s later, more well-regarded novel — or on its own, by anyone who loves a 17th century Gothic-piratic sea-adventure.


A Glastonbury Romance by John Cowper Powys

1975 Picador PB, art by Mark Harrison

In some ways, John Cowper Powys’s massive 1933 novel A Glastonbury Romance bears comparison with David Lindsay’s massive 1932 novel Devil’s Tor. Both are set in rural South West England, where mystical visions seem to presage a worldwide spiritual or religious revival; both spend a lot of time examining, in intense detail, the inner lives of their characters; and both are, as already said, massive (A Glastonbury Romance being more than twice the length of David Lindsay’s 200,000-word “monster”). And this massiveness is part of their point — they want to come across as major statements, their physical heft a corollary to the weight of what they’re trying to say. But Lindsay’s and Powys’s intents are poles apart. Lindsay’s fundamental urge was world-rejection; his need was for a radical re-understanding of the universe’s troubling core mystery. Powys, on the other hand, was all about acceptance of life. To him:

“There is no ultimate mystery! Such a phrase is meaningless, because the reality of Being is forever changing under the primal and arbitrary will of the First Cause. The mystery of mysteries is Personality, a living Person; and there is that in Personality which is indetermined, unaccountable, changing at every second.”

But Powys isn’t the sunny-minded optimist you’d imagine as Lindsay’s opposite. He doesn’t turn away from (Lindsay’s touchstone) pain. He believed in accepting all of life, from the sublime and mystical to the crude and rude, and not merely with a stoic shrug, but by seizing it with an almost pagan ferocity. As one of the central characters of A Glastonbury Romance, the unconventional preacher, faith-healer, and (for most of the novel) Mayor of Glastonbury, “Bloody Johnny” Geard, says of his (very personal and idiosyncratic) beliefs:

“It matters not at all from what cups, from what goblets, we drink, so long as without being cruel, we drink up Life. The sole meaning, purpose, intention, and secret of Christ, my dears, is not to understand Life, or mould it, or change it, or even to love it, but to drink of its undying essence!”

The novel starts with the reading of a will. Canon Crow has died, and his family, with members ranging from the trampish rogue John Crow to the opportunistic industrialist Philip Crow, gather to learn that none of them has inherited anything. The whole £40,000 has been left to “Bloody Johnny” Geard of Glastonbury. Geard, though, does not see this as a personal bequest. He believes it’s his mission to turn his home town of Glastonbury — resting place of the Holy Grail and the Blood of Christ — into a world-class site of spiritual pilgrimage, “a mystical rival to Rome and Jerusalem”, and sets about doing just that. His first act is to announce a Passion Play, with mixed-in Arthurian elements, and he hires John Crow to organise it and advertise it to the world.

But really, Powys is almost wilfully uninterested in plot. His intent, as stated in a 1953 preface to a later edition, was to examine:

“Nothing more and nothing less than the effect of a particular legend, a special myth, a unique tradition, from the remotest past in human history, upon a particular spot on the surface of this planet together with its crowd of inhabitants of every age and of every type of character.”

Which reminds me of Alan Moore’s intent with From Hell, to take the Jack the Ripper murders and examine them as a “human event” that touches the lives of many different people in many different ways. Powys is doing the same with the myth of the Holy Grail. But even this is to imply A Glastonbury Romance has more focus than it has, and I’d say a better guide to the sort of thing this novel is doing is a quote from the critic George Santayana, who said of Dickens (in a 1921 essay called “Dickens”):

“…what he had was a vast sympathetic participation in the daily life of mankind.”

And that seems more like what Powys is doing. With the excuse of following the events (very loosely, and often only as background or rumours) surrounding the putting-on of Geard’s Passion Play (in the first half of the novel) and, in the second half, the conversion of Glastonbury to a Socialistic commune, and Geard’s use of the healing powers of its “Grail Fountain” to turn the town into a British Lourdes, Powys dips into the inner lives of his many and varied characters, some of whom have nothing to do with the Play or those later events, or who only touch them lightly. Even major-seeming plot events are brushed aside offhand. In one chapter, Geard takes Tittie Petherton, who has been suffering awful pains from cancer, to the Grail Fountain, to cure her and provide his Glastonbury with its first miracle. We leave them there, mid-cure, and hear nothing for several chapters, then all-too-briefly glimpse Tittie Petherton, apparently fully cured, enjoying scones at a tea. It’s never stated that she’s cured, though she’s obviously better, and we don’t get the sort of disbelieving or believing reactions you want to hear. It’s almost as if the actual relation of plot is an embarrassment to Powys, and best brushed under the carpet. (Though it has to be said that in four of the book’s longest chapters — that dealing with the Pageant itself, and the final three which round off the book — Powys resolves his major plot strands with the same sort of dramatic brio as Peake displays in his Gormenghast novels’ major set-pieces.)

Powys is interested, most of all, in inhabiting the lives of his multitude of characters, in sampling their peculiar ways of experiencing the world, of thinking about it, of feeling about it, of relating to it. And he isn’t only interested in human characters. His is “a universe so thrilling and so aching with teeming consciousness” that, in wandering from one character to another, he occasionally brings in a non-human consciousness, including at one point a tree, or the sun (which takes a particular dislike to the Vicar of Glastonbury, though this only results in his feeling the heat a little more than others if he goes outside without a hat), the dead Canon Crow freshly laid in his grave (who has an ethereal though down-to-earth conversation with his wife, who’s buried in another country), and the “First Cause” — the God of Powys’s universe, a being whose nature generates all the good and all the evil in our world. (For Powys, it’s only human beings who can actually “produce good out of evil” as “this they do of their absolute free-will”; the First Cause just pours both good and evil out, constantly.)

In this way, Powys seems to stand in an odd relation to the modernist writers of his time. On the one hand, he employs the stream-of-consciousness technique of dipping into his characters’ minds, to relate both their consequential and their inconsequential thoughts, just as Virginia Woolf does in Mrs Dalloway. (Also her technique of shifting from one character to another as they pass in the street, or glance one another across a field.) On the other hand, he has no interest in the concept of the unreliable narrator, or of giving up any of the authorial authority the likes of Dickens took for granted. Which isn’t to say he comes across as dictatorial. Rather, he’s convincing through the sheer novelty and strangeness of the inner worlds he presents us with. In a way, Powys, as narrator, is like one of the “invisible anthropologists” he sometimes mentions as witnessing the events of his novel — the disembodied inhuman entities he tells us are lingering around his many characters, watching what they do with mild, dispassionate interest. Powys actually gets a mention in Colin Wilson’s monumental study The Occult for his having “deliberately set out to cultivate ‘multi-mindedness’, to pass out of his own identity into that of people or even objects”, and not just in his novels, but in his daily life.

There’s a quote from Wilson on the back of my 1975 paperback edition of the novel, calling it “Possibly the greatest novel of the twentieth century, and one of the great mystical masterpieces of all time”. Powys’s mysticism, though, isn’t anything like Lindsay’s. With Lindsay, visions give his characters a glimpse of another reality, and when they return to this world it’s with a feeling they’re sinking back into a second-rate or false reality. With Powys, visionary experiences are just one part of the vastness of the one, single reality — a rare part, yes, but still a part of this world, not a glimpse of another. And his characters’ visionary experiences don’t, in the end, turn out to be that important. Three of his main characters, the roguish John Crow, the would-be-saint Sam Dekker, and the would-be-sinner Owen Evans, have visions. Evans, who thinks playing the part of Christ on the Cross in the Pageant will cure him of his obsessive sadistic fantasies, does have a vision of Christ, but the effect of that vision wears off, and what actually saves him, in the end, is the love of his wife. Sam sees the Holy Grail, and feels the need to rush around telling everyone, but where he expects to have to overcome disbelief, he’s instead faced with indifference. John Crow has a vision of Excalibur, but this has even less effect; chapters later he’s disgusted with Geard’s peddling the reality of the Arthurian myths as “lies”. Geard, the most mystically-minded character in the book, is more childlike than saint-like, and in place of Lindsay’s need, in Devil’s Tor, for his characters to give themselves up to serve that book’s demanding, tragic Goddess, Geard sees Christ more as “a Power to be exploited”:

“He [Christ] was the Mayor’s great magician, his super-Merlin… Never once had it crossed the threshold of Mr Geard’s consciousness that it was his duty to live a life of self-sacrifice.”

(I like that fact that, ultimately, the source of Geard’s force of personality is “the man’s complete freedom from self-consciousness”.)

Powys’s mysticism is not about glimpses of other worlds, but more an awed appreciation of this one. Every moment, for him, however quotidian, is imbrued with a sort of mystical light, and he loves to let us into the mind of a minor character and reveal that, in some quiet way, they have the secret of life’s true meaning, and have had it, quite naturally, since they were born:

“When not in acute physical pain, or in the presence of acute physical pain, Nancy Stickles enjoyed every moment of life. She liked to touch life, hear life, smell life, taste life, see life…”

US 1st edition

It’s an odd thing, though, that for a book published in 1933, and ostensibly set in “the present” — and which features an aeroplane, and cars, and I think at one point someone suggests using a telephone, though nobody has a radio, but evidently it is the 1930s — it makes absolutely no mention of the First World War. None of the characters thinks of it, or recalls having served in it, or has lost anyone to it, or been wounded in it. If Powys is a modernistic writer in the techniques he employs, he seems utterly indifferent to the driving force behind such works as The Waste Land or Mrs Dalloway (with its shell-shocked Septimus Smith). Powys doesn’t even present his life-acceptance as an answer to the worldwide trauma of the Great War, and the widespread loss of belief of the 20th century; it’s as though it just doesn’t affect him, so he doesn’t mention it. (Which is doubly odd, because Powys obviously has a real hatred of cruelty. He apparently had a belief that, early in life, his thinking ill of others caused them actual ill, so he practised a sort of generalised benevolence, so as not to magically cause anyone harm.)

It could be that, as I said with Peake’s Gormenghast, the war makes itself felt in the way both that book and this one ends with a flood. In A Glastonbury Romance, the army even turns out to help, but there’s just not the same feeling, as with Peake, of this being a terrible disaster thrust upon all its characters in the same way the war was thrust upon the real world. With Powys, it feels more as though he just needed to find a way to end his massive book, so came up with a flood, as a sort of watery full-stop.

Reading A Glastonbury Romance is like taking a holiday, not just in another place, but in a timeless time. It’s a glimpse into Powys’s own worldview, one obviously nurtured in a rural upbringing, free of the modern world’s onslaught of communication and networking, a world in which one could really develop an eccentric inner life, an individualistic and even mystic way of experiencing one’s own existence and the quiet, slow-paced, characterful worlds of nature, and other people. That, more than anything, is what lingers, having read this book. It’s less about getting from page 1 to page 1,120, than it is about switching to a different mode of existence whilst being nestled between its capacious pages — a subtler, stranger, and perhaps now-lost mode of existence, but certainly one I’m glad to find preserved in Powys’s novel.