Professor Zazzo Investigates 13: Kafka’s Soup

The chance to buy Kafka’s soup was just too good an opportunity to miss. The fact that it had been discovered after so many years was a small wonder in itself, but the department, no doubt mindful of the envy which would sweep across our rival institutions knowing that they could have  such a valuable commodity for themselves, decided at once to stump up the cash. Professor Zazzo Thim was dispatched to Prague.

          He arrived during a thunderstorm. The lightning played around the concrete tower blocks which stride so confidently down the hills around the suburbs of the city. Thim found lodgings at a former communist hotel and, from his window, watched as the lightning flashed and forked across the premature evening sky. Already, he could feel that something was amiss. He didn’t know exactly what it was, but it was as if the thunderstorm was heralding something deep down, some bad news. He did not sleep well at all.

          When he woke, a bright sun filled his room, and a little of his enthusiasm began to come back. The room was decorated with old, flowerry curtains and wood panelling, and the windowsill was taken up by a gigantic radio which was bigger than the average television.

          When he went to the bathroom for a wash, he pulled the plug and watched, incredulously, as the water came out of the bottom of the basin on to the floor, and then down a drain in the middle of the room. Thim felt that he was in another world

He reflected once again on the reasons why the department wanted to buy the soup. A new professor in the science wing wanted to scrutinise the soup so that he might find traces, embedded in the remains, of Kafka’s undoubted genius, that such intellectual DNA’ might be reconstituted and used to further the aims of mankind. Indeed, a list of volunteers had come forward already, that they might be implanted with Kafka’s ‘intellectual DNA’, that it might help them with their writing or their general view of the world. Secretly, Thim shuddered to think of a hall full of Kafkas, moping about the state of the human condition, but he had a job to do and he was always professional in his outlook.

          He went down to breakfast and met an American tourist by the name of Arlene. They shared a table and they got to talking about their different jobs, and it turned out that Arlene worked for a company which published romantic fiction, and that she was there to try and open up a new market for her employers. Arlene was a jovial lady with false eyelashes and an infectious belly laugh. She also had an annoying habit of slapping the professor on the back when she emphasised a point.

          “What do you think about that, eh, Zazzy?”, she roared, slapping him mid-shoulder. “Haw haw haw!”

          The Professor couldn’t remember what kind of point she had been making, but there was something about Arlene which comforted him, and he wondered if it was possible to spend more time with her.

          “The thing is”, he said, somewhat croakily, “I’m here to make a purchase for my university. If it wasn’t for the fact that I have such worthy and important work to do, I might be inclined to spend more time with you”.

          “Purchase?”, she asked, “What kind of purchase?”

          Thim took a deep sigh. 

          “There has long been a school of thought that intellectual vigour might be transmitted by close proximity to objects utilised by those of a particular literary bent. I have come to Prague”, Zazzo announced, “In order to buy Kafka’s soup”.

          “Huh”, she said, snorting back a laugh. “Can’t be arsed with all that!”

          “I can assure you”, he continued, “That the soup shall be a most valuable commodity. If it wasn’t for this, I’m sure we would have a remarkable future together”.

          “Well, Zazzy”, said Arlene, as she got up from the breakfast table, “Some things just aren’t meant to be”.

          The Professor went about his duties and was taken into town by taxi so that he might view the fabled soup. He looked at it, where it was on display in the museum protected from the general public by a glass screen, and he thought how remarkable it was that such a relic should survive for so long. But the more time he spent in the company of the hallowed soup, the more he started to think about Arlene, and remember the fun that they had had just by sharing breakfast. When he left the museum he managed to secure a place in the front row at the following day’s auction, but the moment he left the room, he had forgotten that the soup had even existed

          Arlene was holding court in the hotel bar that evening. A drab, sullen waitress with her hair tied back served Zazzo unsmilingly, though Zazzo would hardly have noticed if she had. immediately, he went and sat on the periphery of Arlene’s group, close enough to hear the phlegm rattling at the back of her throat. 

          “So I said to them”, She continued, “If that’s a side of beef, my dear, then I think I’ll stick to the moose!” And then came that familiar laugh. “Haw haw haw!”

          The surrounding men laughed appreciatively and Zazzo joined them, though he was upset to see Arlene demonstrating as much joviality to these complete strangers as she had done with him that very morning. The men were all of a certain age – younger than Zazzo, smarty-dressed, tanned, knowingly handsome. Zazzo felt out of place and he looked down at his old jacket and moth-eaten pullover.

          Of a sudden Arlene hooted: ‘Oh my! If it aint my old good friend, Zazzy!” She stood up, waddled across the bar, and flung her arms around him.

          “Hel-lo!”’, Zazzo croaked

          “My my!”, she said, letting go of him at last. “Did you buy the soup?”

          “Not yet” he replied.

          She half-turned him to the rest of the group. “This is my old friend Zazzy”, she said. “He buys food and makes writers who are grumpy, or something like that. You should talk to him, he’s a laugh and a half!”

          Arlene’s assembled throng began to disperse, mumbling under their breath. She took hold of Zazzo’s hand and took him over to the corner.

           “Now”, she said, “Let’s have ourselves a bit of quality time, eh?”

          “Yes”, said Zazzo, “That sounds rather pleasant”.

          ‘Let’s shoot the breeze. Let’s have ourselves a little chinwag’.

          Zazzo nodded eagerly. Neither of them said anything for a very long while. A light rain began to fall on the bar window, distorting the image of a nearby tower block so that it seemed almost ethereal, like a Christmas tree.

          “Well”, Zazzo said, “The, um, the modern propensity for… literary experimentation…seems to have subsided of late, wouldn’t you agree?”

          “Oh, yes, yes”, Arlene replied. “Totally”.

          There was another, agonisingly long period of quiet.

          “Though I can only see this”, said Zazzo, “As a bad thing”.

          “Totally”, Arlene said. “Totally”.

          Arlene drummed her chubby fingers on the table, while Zazzo, sadly, looked at his own reflection in the glass window. The rain was coming down heavy now, and he wondered what it was he might be able to talk about.

          “In the course of your job”, Arlene said, “Do you get to read much romantic fiction?”

          “No”, he replied.

          And now a very long section of quiet lasted almost until bed-time.

That night, he could think of no-one else but Arlene. He saw her as a commentary on his life so far, the fact that he might be able to dream of a cosy union but never actually commit to the niceties and the jovial harmony which necessarily came with such a partnership. Late night trams rattled his hotel room, and he wondered if he would get another chance with Arlene, another opportunity to demonstrate just how much of a man he could be. Before long he realised that sleep would be quite impossible, so he went for a walk.

          Outside the hotel, the surrounding tower blocks loomed down on him like concrete robots.

          He walked around the grounds, over grass lawns and the car park, as a full moon revealed itself above and shone down a lunar glow. He sat for a while on the bank overlooking the main road, and he watched the cars as they made their way into the city. Of a sudden, he realised what he might do.

          He went to the hotel reception shop, where a display of Arlene’s romantic fiction had been installed the previous day, and he bought a copy of ‘Stud Lover’, a cheap novel set on a dude ranch somewhere in western America. The hero was a rugged man named Brad, the object of his desires was a southern belle named Nancy. Zazzo sat on a leather armchair in the lounge and read the whole book in one sitting, reading frantically as Nancy fell for the wrong man, then saw Brad leading his horses to the stream, then fell for Brad, then watched aghast as Brad and her old boyfriend, Tim, had a duel, then spent a night of passion with the saintly Brad and listened as he eulogised the beauty of the open plains, the thrusting mountains, the moving power of the desert. At once Zazzo recognised that Arlene associated masculinity with landscape, and that he would try to do the same the very next day.

He slept late and missed breakfast. At lunch she came in and sat down at his table, giving him a sweet smile, but saying nothing. He knew she was thinking of their conversation on the previous day, so he cleared his throat.

          “My dear Arlene”, he said, “What beautiful eyes you have”.

          She looked up at him, slightly mistrustful. “I’ll have the fish chowder”, she said to the sullen waitress.

          “When I see you”, he said, “I begin to think of… of the landscape of my native Thames Valley”,

          She frowned, and leant back in her chair.

          “The … the wooded vales, the wide plains, the industrial estates around the western fringes of the airport”.

          “Hmm?” she asked.

          “The miles and miles of rolling countryside, the sun setting over the council houses, illuminating against the red sky each individual chimney pot – and oh, the incessant rumble of traffic on the M25″

          “Uhrrr…”, she said.

          “The thrusting, penetrating hills of the Chilterns, the long, straight, inexorable line of the Waterloo to Basingstoke line …”.

          There was a period of quiet, and then Arlene threw back her head. “Haw haw haw! Oh Zazzy, stop, stop! This really is too much! Where did you get such corny language?”

          “From… from your book”, he whispered.

          “Honey”, she said, “I could never respect anybody who actually read that crap”.          And at this, she stood up, patted him twice on the back, and left the table.

          Naturally, Zazzo was devastated, not least when her lunch turned up and he had to pay for it. He watched Arlene leave the restaurant and he felt a piece of him die, quietly, a part of his need in life disintegrate. And then he knew what the thunderstorm had been about: it had been the death of his companionship, the final fling of his heart before it settled, once and for all, into a life of quiet subservience.

And then he remembered the auction, but it was too late. The soup would have been bought, and he had failed, there was nothing he could do. He would have to go back to his institution empty handed, a failure once again, a laughing stock.

          Unless . . .

          He reached out towards Arlene’s fish chowder.

Two weeks later the university unveiled the culmination of their scientific model. One of the Professors made a moving speech about progress and about recreating the ethos and the mind-set of a literary genius. He then thanked the volunteers, and, laughingly, wondered if they ought to thank him for their new personalities, that they would progress far and write such beauteous prose now that they were embedded with Kafka’s intellectual DNA. Indeed, he continued, perhaps this might be the start of a new intellectual rigour at the university, that the solemnity and weight which Kafka took to his life might be applied now to every aspect of thought and circumstance at the facility.

          At this the curtain was pulled and the stage was filled with ladies dressed in floral dresses who, en masse, on seeing Professor Zazzo Thim, shouted:   “Zazzy! Coo-eeee! Zazzy! Haw haw haw!”

          The experiment was not deemed a success.

Where’s my FIFA Peace Prize?

I also deserve a Fifa Peace Prize, and I’ll thump anyone who says I don’t.

          All of my friends want a Fifa Peace Prize, too. We were in the pub the other night. We sat around talking about the Fifa Peace Prize and Doug said that he was the most deserving because it’s been three years since he’d last hit someone over the head with a coffee table. I told him that such an aversion to violence was commendable. But I deserved it more because, for me, it was five years since I had last coffee tabled someone.

          That’s how it is with friends, you can be open about such matters. It really does pay to talk. Mumbling John said that he had given all of his relatives Fifa Peace Prizes. Apparently, they made pretty good door stops. You can wedge a fire exit open with a Fifa Peace Prize, he opined, especially those with a spring-loaded hinge mechanism. Doug then told him that there were probably knock-off Fifa Peace Prizes out there, made of cheap metals and available widely on the counterfeit goods market. And they almost came to blows, the two of them. 

          ‘Stop it, lads’, I said, ‘there’s no reason to fight’.

          They then accused me of saying this just so that I could be in contention for a Fifa Peace Prize.

          Mumbling John then pointed out that his sister Vocal Sue sold items online and made a living from it, that her garden shed was stocked full of the latest fads, trends and crazes. The deeper she goes into her shed, the different layers of such trends she comes across. The most recent layer is Labubus. If she goes further back, then it’s Tickle Me Elmos. Right at the back of her shed is where you find her tamagotchis. Soon, she reckons, another layer will be added of Fifa Peace Prizes. She calls herself an archeologist of the present moment, which is quite literary for someone who once said, ‘I’d give my right arm to be ambidextrous’.

          I then suddenly remembered that I hadn’t checked in on my tamagotchi for about fifteen years, which made me feel both guilty and undeserving of a Fifa Peace Prize.

          We started talking about what we wanted for our next birthday presents. We always buy each other gifts. Mumbling John said that he would be okay with socks, or some cheap after shave, or a Fifa Peace Prize. Doug said that he didn’t want anything too special, perhaps just an Amazon voucher, or a Labubu, or a Fifa Peace Prize. But before they could ask me what I wanted for my next birthday, Doug suddenly felt it necessary to yell at the man at the next table, ‘What the bloody hell are you staring at, mate?’, which was his traditional precursor to a punch-up.

          ‘Come on, lads’, I said, ‘no need to fight’.

          ‘You’re only saying that to get a Fifa Peace Prize’, Doug replied.

          ‘No I’m not’.

          ‘You bloody are!’

          ‘Want to fight about it?’

          ‘That’s more like it’.

          The old reverse psychology. Tensions lifted. We’d half-raised ourselves out of our seats, but then sat back down again. Neither of us could be arsed. Which got me wondering if the ultimate deterrent for world conflict is genuine and widespread apathy.

          And this might well have been the case on this occasion, were it not for the fact that I felt obliged, at that moment, to flick the end of his nose.

          The man on the next table threw back his head in laughter. So at least I was bringing joy to the world.

          It was Mumbling John who calmed us down. ‘Hey lads’, he said. ‘Watch this’.

          He picked up a plastic straw and placed it in a glass of lemonade. An optical illusion made it appear as if the end of the straw was disjointed.

          ‘See that?’, he said. ‘That’s a demonstration of light refraction.’

          ‘Fascinating’, Doug said.

          ‘Remarkable’, I replied.

          We both looked at the straw in the glass of lemonade and neither of us felt like escalating our violence. Even the man on the next table was interested.

          At that moment, the door opened and some representatives of Fifa entered the pub. They approached our table, and Mumbling John’s face lit up.

          Could it be? Were they about to . . .

          A fanfare sounded and a silence fell across the boozer. Every head swivelled in our direction. The horse brasses hanging from the old oak beams glistened in the glare of the mobile phones recording the impromptu ceremony.

          ‘Congratulations’, one of the officials said, lifting up a huge trophy and placing it on the table in front of Mumbling John.

          ‘What is it?’

          ‘The Fifa Physics Prize’.

          He looked at it, a little sadly.

          ‘Thanks’, he said.

Professor Zazzo Investigates- 8. The Law of Infinite Reverse Criticism

THE LAW OF INFINITE REVERSE CRITICISM

I believe it was Professor Zazzo Thiim who first conceived of a branch of criticism which, in its entirety, was devoted to the criticism of criticism. For a while, only those in academic circles were aware of this new science, and the principals to which it could be attached. The theory of Reverse Criticism, it was hinted at the time, might be applied not only to literature and the arts, but also to other facets of human conscience and philosophic living. It was an interesting concept, and, more than a subtle joke, a hypothesis which demanded attention before, inevitably, it was superseded by the next fashion, the next phase. However, it seems only the one proponent has not completely abandoned the concept, and indeed, has made it the basis of his life work. And this man? None other than Professor Zazzo Thim himself.

          I first became aware of his work when I met him at an art gallery. It was one of those evening exhibitions open only to members of the gallery, in which work by a substantial artist, working in water colours,based on the life cycle of the grizzly bear, was being displayed for the first time. I noticed the Professor, a tall, white-haired man with a long scarf, working his way around the room and peering at the notes being taken by various critics. Indeed, it seemed he was more interested in the notes than the actual work hung around us. At last I managed to make my introduction.

          ‘A civilisation’, said he, ‘Is defined through its art critics. Every facet of its aesthetic life is categorised, pondered, and probed by those who profess to know better, or at least, those who offer advice on the protocols and temperaments observed’

          ‘And?’ I asked.

          ‘The point is, most of them have appalling handwriting

          I frowned, and started to walk away, but then the old man reached out and grabbed my arm.

          ‘Think of it!’, he said, excitedly. ‘There are but two layers – those who can, and those who criticise. Remember the old maxim – ‘those who can, do, those who can’t, teach?’

          I nodded.

          ‘What if there was another level? A level of those who can but decide not to? A civilisation in which even criticism is criticised, can only be a better place’.

          That night I went back to his office and he showed me some of his work. There were folders filled with script, reviews of art criticism, literary criticism. One critic was pointed out as having a more than average dependency on adverbs, another used too many paragraphs.

          The most interesting review was that of a literary critic who, according to Thim’s report, had made the mistake of reading James Joyce’s ‘Ulysses’ while wearing a hat. ‘A trilby, perhaps’, Thiim had written. ‘Even a beret, but certainly not a bowler! How can one ever have confidence in, or an affinity with, the content of the book they are reading, with a bowler hat perched on the top of their head?

          I soon became friends with the formidable Professor Thim and we would meet at least once a week so that I could read more of his Reverse Criticism. Yet towards the middle of this year there was something of a crisis, hinted at only in the fact that his secretary had phoned and warned me not to come for a couple of weeks. When one morning I finally insisted I arrive and carry on with my reading unhindered – using the flimsy excuse of a post-graduate thesis in the role of the critic – she told me that the Professor had been taken ill, and that the department could not be as accommodating as they had previously been.

          I arrived in any case, as if everything were the same. His office seemed fairly normal, though there was no sign of the Professor. As was my practice, I sat myself at his desk and leafed through one of his collections, although I did note that the book itself had been rearranged and some of the pages taken out. Half an hour passed with no sign of the Professor, and I was in the middle of making some notes for myself when the door opened.

          ‘Ah’, said a rather pleasant, middle-aged man. I was led to believe that nobody would be here’.

          I stood from the desk, feeling rather sheepish. ‘I rather bullied the secretary, I’m afraid’.

          ‘Yes’, said the man, leaning back and placing his hands in his pockets. ‘All very sad, isn’t it?’

          I asked what he meant, and watched as his face folded first into shock, then a well-meaning affectation of acceptance. ‘Zazzo’, said he, ‘Is very ill’.

          ‘What do you mean?’

          ‘It all started a few weeks ago.’ The man sat down on the other side of Thim’s desk and lit his pipe, an object which seemed to juxtapose with his relative youth. ‘My dear colleague had just returned from a production of Romeo and Juliet, and he was anxious to catch the first of the play’s reviews, that he might begin to dissemble them as was usual for him. Indeed, he was particularly excited, having clearly seen one of the critics picking his nose during the balcony scene. How could a critic properly criticise one of the key scenes in such a state? Zazzo wanted to begin work immediately. Ah, the poor fool. How tenaciously he clung to that outdated philosophy, and look what harm it has done him’.

          ‘What?’ I asked, impatiently. ‘What happened?’

          ‘While waiting for the reviews he sat down right here and began leafing through that selfsame folder, the one in which he had kept all of his Reverse Criticisms since he had first conceived of it. And what do you think occurred? He began criticising his own criticisms, themselves criticisms of criticisms. And when he had finished that, he looked at what he had written and decided that these, too, needed criticising. But this did not satisfy him, so he criticised the criticisms of criticisms of criticisms of criticisms, until he was literally spinning in circles, frantic that the cycle of event and criticism would never be broken. You see, each new criticism was a separate event, a new work worthy of classification’. My new companion looked down at his lap. ‘The poor man. He hasn’t stopped since.

          ‘And where is he now?’ I asked

          ‘He has been confined to the medical centre. A nurse administers whatever help she can, but Thim will not rest until he thinks his job is complete. Yet it does not take a genius to work out that his work will never be finished. Oh, poor Zazzo. Poor Nurse! How she suffers, merely trying to do her job’.

          ‘Why?’ I asked

          ‘Because he keeps criticising her!’

          For a while we both sat there and pondered the fate of our mutual friend. What a delirious, hateful circle he had invented.

          When Zazzo Thiim was judged to have improved sufficiently to leave the medical centre, myself and a few of his colleagues decided to throw a party on his behalf. The middle-aged academic I had met in his room – Doctor Hubert Worthington – had by now become a close friend too, and we had spent the last couple of weeks planning how we would handle the Professor when he returned.

          We had decided that there would be no criticism, not the slightest word for or against any aspect of our lives. Worthington suggested we shield Thiim from any work of art but, in an institution such as ours, this would almost certainly be impossible. The most important aspect of his return would be that there was no mention of the illness he had just suffered, or the reasons behind that illness. Apart from this, it was assumed that everything would go according to plan.

          The party was held in the main canteen of the building, and it was dutifully and respectfully attended by colleagues and students alike. The illness that had befallen Thiim had been worrying for us all, for he, despite his eccentricities, had always been respected and well-liked.

          The tables were spread with a buffet lunch and there were several bottles of white wine on a side-table. The chatter in the room was low-level and jovial, as if everyone was conscious that they were in the presence of a sensitive man. Thiim himself was happy, oblivious to the concern of his contemporaries, and he held court at the buffet table, explaining in great detail the hidden significance of works as diverse as Kafka’s ‘Metamorphosis’, Michelangelo’s ‘David’ and the Postman Pat books.

          Of course, I was especially anxious about meeting the Professor again, for our association had been built around the concept of Reverse Criticism, the very theory which had resulted in his illness. Yet the moment Thim saw me he opened his arms wide and greeted me with such friendliness that it was obvious he didn’t blame me at all.

          ‘My friend’, he said. ‘How are you?’

         Choosing my words carefully, so as not to hint at any criticism, I said: ‘How well aren’t I?

          ‘My word’, he said, throwing the end of his scarf over his shoulder. ‘The weather’s taken a turn for the worse, hasn’t it?’

          ‘It’s colder than it was yesterday’, I agreed, without the slightest criticism.

          ‘I must say, I do like your jumper’, he said, bending over and peering at the stitching.

          ‘Good’, I said.

          We stared at each other for a moment.

          ‘Well’, he said. He looked at his watch. ‘I suppose I’d better mingle. After all, isn’t that what this party’s for?’

          ‘Yes’, I agreed.

          I didn’t see much of the Professor after this, although I could tell from the various conversations he was having with his colleagues that they, too, were as cagey as I had been in their replies to his questions. For some reason, I gravitated towards Doctor Hubert and the Nurse, who were sipping white wine in the corner of the canteen.

          ‘How does he seem?’ I asked.

          The Nurse frowned. ‘It’s hard to say. Some people can be remarkably resilient after a period such as his. I would say, just by looking at him, that he has recovered most of his faculties. However, we must still be careful

          ‘You mean’, said Hubert, ‘That something could set it off again?’

         ‘Absolutely. And he could suffer as a result. His illness – I am sorry to say – would be much worse than it was before’.

          This was not good news, and I was dispatched round the room to warn the other guests that Thiim could suffer a relapse at the slightest mention of any criticism. However, the mood of the party did not suffer as a result, and Thiim remained oblivious to our sensitivities.

          I worked my way around the room and spoke with a good many people about a wide number of subjects. It seemed everyone had an opinion about the world, or about literature and art, and I got into a few heated debates about one aspect or another concerning these. Yet whenever we saw Thiim approach, we would change the subject and begin discussing, in earnest tones, what we could see through the window.

          ‘A bird!”

          ‘A tree!’

          ‘A house!’

          ‘A lawn-mower!’

          It was a tiring event and I wanted, desperately, to go home, to think about something else.

          The more I thought about it, the more I wanted no more to see Professor Zazzo Thiim, for I, more than any of his contemporaries, had been closer to the philosophy behind Reverse Criticism. To continue with my studies now, after everything that had happened to the main proponent of that philosophy, would not only be dangerous for Thim’s health, but also my own.

          What, I began to wonder, if the same thing happened to me? Would I be as lucky as Thiim?

          Would I make such a full recovery? Or would I spin out of control, into a vortex of eternal criticism, unable, ever, to find my way out?

          At last it came time to give a couple of speeches and applaud the return of Professor Zazzo Thim. Hubert Worthington took to the stage at the end of the hall and gave a moving – though empty – appraisal of Thiim’s work and career.

          ‘He became a Professor. He worked hard. He sat at a desk. He marked papers. He delivered lectures. He read books. He went for long walks in the orchard…

          And then, suddenly realising that this could, conceivably, be regarded as criticism, he amended his words.

          ‘A-hem. Sorry. He went for walks in the orchard’.

          When Hubert had finished his speech, there was a polite, muted applause, for anything more thunderous or spontaneous might probably have indicated some form of opinion.

          It was then the Nurse’s turn to make a speech.

          ‘Professor Zazzo Thiim is a man. He is a Professor. His name is Zazzo Thiim. I am a Nurse. He was my patient. We both work here’.

          Another muted round of applause followed, and the Professor himself stood on the stage.

          He thanked everyone for coming, and said how nice it all was, that the food had been good, that he particularly admired the brushwork on the painting over his left shoulder, though not the frame it had been placed in, and that he was looking forward to coming back to work, although his office needed a coat of paint and the radiator smelled. At the end of his speech there was a tentative, subdued clapping, and a buzz fell on the room as various guests began to file towards the door.

Alas, Hubert chose this moment to pick up the wrong cup of tea. ‘Oh god’, he said. ‘That’s disgusting!’

          A silence fell on the room and everyone looked at him.

          ‘No it isn’t’, someone yelled

          ‘I mean. the purpose of my saying that it was disgusting was

          ‘Handled with great sensitivity’, someone said, finishing his sentence for him.

          ‘No it wasn’t’, said the Nurse.

          ‘Not that it’s important, someone else said.

          I could see that the downward spiral had begun. ‘Of course it was important!’ I said.

          ‘Yes’, someone agreed. ‘Important, but not relevant.

          ‘The question is not the quality of the tea’, Hubert said, ‘But the fact it had sugar in it, which is, I think you’ll agree, only a product of my own prejudices regarding hot drinks’.

          ‘No’, a student yelled. ‘The whole criticism itself was not important’.

          ‘It wasn’t even a criticism’.

          ‘Yes it was’.

          ‘He smokes a pipe’, someone shouted. ‘How can someone who smokes a pipe make a valid judgement on taste?’

          By now, everyone in the room was shouting and screaming, adding their opinions and criticisms on the original criticism, which had been that Hubert had felt the cup of tea he had inadvertently supped to be disgusting. And while this was happening, Professor Zazzo Thim stood on the stage next to the microphone, regarding us all with a quizzical eye, puzzled, and yet strangely entertained. Indeed, the whole performance was only ended when the Nurse managed to round us all up and transfer us at once to the Medical Centre.

          Which is where we remain today, unable to finish our eternal criticism of the main point, the beginning factor, that of the cup of tea drank by Hubert being disgusting. We shout, we scream, we pound on the tables, unable to let go, unable to accept that the problem will never be solved, that the criticism will be infinite.

          Professor Zazzo Thim, meanwhile, has returned to work. He visits us every now and then. He always chooses his words carefully.

Professor Zazzo Investigates – 4. The Peacocks are Restless

With a sonnet so perplexing as this, there only seemed the one course of action: to call in the literary investigator, Professor Zazzo Thim.

          He asked for accommodation on the second floor, where he might afford a view of the lawns and the sculptured hedgerows. He said he wanted to see a peacock. He said he had never seen a peacock, not a real one. I reminded him of the bad sonnet, that he had a duty to perform. I want to see the peacocks first, he replied, dropping his bags in the hall and rubbing his hands together with glee.

          I reminded our guest that he had a job to do, that he had been promised a quite substantial sum to analyse the sonnet we had uncovered in our renovating of the library.

         “Yes”,  he said. “Yes, of course, how silly of me to forget. I am here for a specific reason and your hospitality should not be taken for granted”

          The old man was taken to his room and I repaired to the library, expectant of his appearance therein. It was a crisp autumn morning and a mist rolled in from the vales across the lawn in front of the french windows. As a devotee of literature in all its forms, I had been intrigued to discover the sonnet in a notebook hidden in a crevice between two shelves and I was anxious that the work be scrutinised. that any literary merit might be deduced from its faded pages. Upon inquiry as to who might best carry out this investigation, I was told that Professor Zazzo Thim was at the very top of the profession, and I spared no expense at securing his services. I looked out on the mist-shrouded gardens with my hands behind my back, expectant and looking forward to the knowledge that he would impart, only to see his decrepit form ambling across the eastern lawn in hot pursuit of a peacock, waving his arms in the air, and hooting with delight.

          Over dinner he showed no sign of his exertions. He leaned his padded elbows on the edge of the table and grinned at me. “You know”, he said, “This whole place exudes a certain atmosphere. I can tell that there might be more to it than just the one sonnet. I fear, my friend, that this whole building might conceal a wealth of literary surprises”.

          “How so?”, I asked

          “It has a certain feel to it, the same sensation I get when I walk into a library for the first time, or museum, or even a bookshop, and sense that words have been played with here, that language has been exerting itself, contorting into new and uncomfortable positions for the benefit of general entertainment”. He then grinned, and leaned closer. “And another thing”, he said. “You’ve got peacocks here”

          “And what of it?”

          “Peacocks congregate around places where sonnets have been written. It is a well known fact in the literary community. Wherever you see peacocks, there have been works of great power created. The peacock, you see, operates on the premise of sonic reverberations, and, in particular, the beat created by iambic pentameter. Mark my words, young sir, there are sonnets in this house!”

That next morning we met in the library and I showed him the notebook I had found during the renovations. He sat down next to the fire and, with a quizzical expression on his face, began to examine it in detail with a magnifying glass. The wood crackled and spat, and I stood there, awkwardly, with my hands behind my back. The old man was a sight in himself, every facet of his aged countenance concentrated upon the page, his thin, bony legs crossed at the knee, the long, slender fingers holding the magnifying glass daintily, as if he might lose all thread of his conscience if he were to hold the handle too tightly. At long last he turned to me and he said:

          “It’s a sonnet”.

          “I know! I know!” I could not help the tone of exasperation in my voice, for I had long imagined this moment.

          “Ah”, he said. “You mean, you want me to analyse it in some greater depth?”

          “Yes!”

          He gave a great sigh and leaned his head back in the chair. “That could take some time”, he said.

          “Is this not what I am paying you for? You may have all the hospitality you need, but I want a thorough dissection of this poem so that we might know exactly what it is about, where it came from, and what it means for the history of this house”.

          “Fine”, he said. “Give me ten minutes”

          I went for a walk around the gardens. The winter chill bit into me and I pulled the coat around my shoulders. The old man was plainly mad and I wondered if he really knew what he was doing. The university department, it is true, had seemed glad to be getting rid of him for a while, or at least, that was the impression I had received from their eagerness to unload him on me. Yet he had not come without his plaudits. I had entered his name on a search engine to find a list of credible achievements in the field of literary extremism, as well as several spoof web sites in which his methods were derided and mocked by affectionate ex-students. The more I thought about him, the more I told myself that he was a gentle man, an eccentric devotee of literature who would, I was now certain, get to the bottom of the mystery of the sonnet.

          At this moment I heard a strange hooting sound. I turned a corner to see Professor Zazzo Thim, his arms outstretched, inches behind a peacock, which appeared to be running for its life.

          We met again that night over sherry in the grand hall. “I must say”, he told me, “I was surprised and enthused by the sonnet. It is a peculiar work, but it fits all the criteria of a Petrarchan sonnet, with a rather perplexing turn and a couple of cheekily-placed caesura, and a rhyme scheme which lends it a certain credibility. Yes, my friend, you have a sonnet and I think you should be proud of it”

          “I am glad”, I replied. “I feared it may have been nothing but a cheap imitation”.

          “It is a fine work, which, within its lines, compares the love of a simple country boy for a young milk maiden, for the simple joy a cow feels upon milking. Some of its imagery could be seen as quite daring for its time.”

          “Such as?”

          And now the Professor quoted, “How joyously, betwixt thumb and forefinger, the teet is squeezed”.

          “I see”

          “But my friend, there are greater mysteries here, are there not?”

          “What do you mean?”

          “The peacocks, I note, are particularly agitated in my presence”

          “Perhaps that’s because you keep chasing them all over the place”.

          “I’m sorry?”

          “Nothing”.

          As I was saying, the peacocks , perhaps knowledgeable of my literary credentials, are loath to let me into certain pars of the garden as if they are protecting something. Have, you ever noticed this before?”

          “I can’t say that I have”.

          “It is a quite odd manifestation, and I think it should be investigated at this moment. You see, it is my prognosis that the peacocks are protecting another sonnet, perhaps one of such magnificence that its iambic pentameter powers them and keeps them agile in these autumnal frosts. Surely, by now they should be deep in their hibernation”.

          “Peacocks do not hibernate!”, I told the old man.

          “Then you see, they are being energised by something beyond our control.”

          At this, Professor Zazzo Thim pulled on his jacket and slugged back the last of his sherry. “Come, he said, “We shall investigate this moment!”

          Indeed, his enthusiasm was infectious. We left the grand hall and, by way of the main front door, entered the grounds of the house. Zazzo led the way, despite the cold, and a frost which had already begun to form on the lawns, a sparkling white which lent an ethereal splendour to the night. How strange that the peacocks should still be so restless, and not confined to their winter hut. For the first time I started to believe that the Professor might even be correct in his assessment, that the peacocks were hiding something, that they didn’t want us to proceed any further.

          The gravel paths crunched under our footsteps and the lawns were hard with frost. The Professor was fearless as he pushed his way through the peacocks, their tails fanned as if in some attempt to halt our progress. And it was so cold, down in the hollow where the ornamental gardens were laid, a strong coldness which gripped my body and chilled me right to the bone. Our breath turned to vapour in the light from the torch, while the peacocks followed us down the hill, constant footsteps in our wake. At last we turned a corner to find a barrier of them blocking our path, their tails fanned, an impenetrable wall. 

          “What should we do?”, I asked, now fully reliant on the old man.

          “We must do as they want”

          “But we might risk the whole project!”

          The beady eyes of the peacocks bore down on us, and, as one, they started to call, their shrill exclamations bouncing back at us from the shrubbery, from the trees and the bushes of the ornamental garden. A cacophonous moment, both frightening and sublime, and, with a force I had never seen before, they guided us, gently but persistently, into the entrance of the maze.

          We were running now, running with them right behind us. We couldn’t stop, there would have been no option but to be pecked to death by their beaks. We turned corner after corner in the maze, the scampering feet of the peacocks just inches behind us, until, as if they had guided us, we were in the very centre, the small statue of my great, great uncle which marked the epicentre of the maze.

          And there we saw them, hundreds of them. Peacocks lined around the hedges, as if in parliament, and were in the middle of them, just us and the statue. 

          “This is it”, I whispered, “This is the end”.

          “On the contrary”, the Professor replied.

          He bent down and began to wipe his hand along the wording on the plinth of the statue.

          With a beating heart, I saw as the moss and the dirt began to be flaked off, and a poem be revealed to us, centuries old perhaps, yet persistent in its survival. The peacocks began to crowd around. The stone letters, so regular and formal in the light from our torches, archaic in their construction, their sentence structure.

          “A sonnet!”, I breathed.

          But the Professor was frowning. He crouched down and worked his way around the plinth, reading as he went. “It has a rhyme scheme”, he said. “And a ceasura, and a definite turn between the sixth and seventh lines. Yes, a sonnet, but….

          By now, the peacocks were crowded in on us, as if they, too, were trying to read.

          “But what?”

          “There’s a syllable missing in the ninth line”.

          “Read it to me!” I urged The Professor bent closer.

          ‘And yet my old heart it be not saved””.

          “Nine syllables”, I whispered, counting them on my fingers.

          The peacocks were pushing against us now, evil in their intent, crowding around, and they could surely have crushed us if they had the inclination.

          At this, the Professor reached into a pocket and pulled out a chisel. And then, using a rock to hit the top of it, carved a small accent over the ‘e’ of ‘saved’ to transform it into ‘savèd’.

          The result was instantaneous. The peacocks drew back, satisfied, then began to file out of the exit, allowing us to follow them into the cold night, from where they went back to their winter hut for hibernation.

          The Professor and I returned to the Grand Hall and helped ourselves to another sherry.

He left the next morning and I was more than happy to cough up the extra money he demanded from his extra investigations. How happy we both were, to have solved a little mystery and put right the travesty of a bad sonnet. I thanked him once again as he clambered into the taxi, and as it pulled away he rolled down the window and he waved, smiling. His last words to me were:

          “The peacocks shall bother you no more”,

          I went back to the library and looked once again at the poem l’d found, the old notebook, now so faded as to be hardly recognisable.

          I counted down the lines. “Hang on”, I said, to myself. ‘This isn’t a sonnet! It’s for fifteen lines!”

Professor Zazzo Investigates – 3. On the Silken Breath of a Penguin in Repose

When I heard that the great literary extremist Professor Zazzo Thiim was holding a symposium on the use of alliteration in Antarctic literature, I knew I just had to attend.

      I knew that getting to the venue in the first place was in itself was a hard enough job; the convention was to be held in a remote hotel in the mountains which, in the middle of winter, would be cut off from the world by snow drifts, and sure enough, when the week of the convention came, the only way to get to the hotel was by walking the last two miles. As the darkness gathered around me, and large

fiakes of snow began to fll from the black, black sky, I gripped the handle of my suitcase and made my way up the track into the wilderness.

          It must have taken a couple of hours to make the journey, and when I arrived at the hotel I was feeling irritable and uncharitable to say the least. My eyes were blinded by the motion of the snow as it had flown across my vision, and my fingers numbed from gripping the case for so long. The first thing I did was to dump my bags next to the reception desk and sit next to the roaring fire, in order that I may thaw my aching bones and curse my stupidity at having set out on such a journey in the first place. Yet only the one thought, of any substance, kept coming to me as I sat there in the orange glow: after all this effort, this had better be worth it.

          I soon became aware that an old man was sitting next to me and, after a while, he asked if I was there to see Zazzo Thim.

          “Yes”, I replied, “Though I am now beginning to wonder if I have made a mistake.”

          The old man wrapped his scarf tighter around his neck and gave a chuckle. “I can assure you that the convention will be well-managed and adequately attended for my needs, for I, myself, happen to be Zazzo Thiim”.

          “What makes you so sure that it will be so well-attended?” l asked. It was snowing heavily outside now, and the hotel did not seem to be bursting with guests.

          “The subject in itself”, the old man said, smiling gleefully. “Who could fail but be enchanted by such a subject? Antarctic literature, let me remind you, is an expanding genre. I expect there shall be quite a rush tomorrow morning for seats”. 

          At this, he looked first left, and then right, and then whispered to me in a severe, confidential tone: 

          “It’s quite possible that some people might not be allowed in’.

          At once l felt bad. How close l had been in deciding not to come, yet others might not have been so foolhardy. I knew that there would probably be a limited attendance as it was, yet Thiim was sure that there would be more. I felt a sinking sensation inside of me, the dejection he might feel on walking into the conference centre that next morning only to see myself sitting there.

          “I can assure you”, I told the old man, “That we shall all be thoroughly enlightened”

          I went to my room and changed for dinner. I decided that I would enjoy myself, and I ordered the most expensive item on the menu, yet the restaurant was virtually empty, with the exception of a table on the far side of the room where Professor Zazzo Thiim slurped, quite noisily, his soup. Every now and then I would look over at him and feel a well of pity deep in my stomach, and I soon decided that something would have to be done. But what could I do? As the waiters kept moving past, as if gauging whether or not we had finished, a plan began to formulate in my mind that I could, somehow, interest other people in the subject of Antarctic literature and perhaps even bribe them into attending. But the plan seemed hopeless, even fanciful.

          After dinner I went for a walk outside in the snow. The mountains loomed, black shapes and shadows in the night sky, while gentle flakes fell from above, illuminated by the lights from the hotel. A frost was setting in, and the ground crunched with each footstep. At last l came to one of the chalets, and I was just about to turn around and head back to the main building when the door opened and Zazzo Thiim himself emerged.

          “Ah!”, he said. “It’s you! Come in, come in, we shall discuss literature!” Feeling awkward at this sudden invitation, I tried to formulate some reason why I might go back, when all the time I advanced towards his cabin. “What a brave, hardy soul”, he said, “To be out on a night like this!” He held the door open for me and I entered the chalet.

          It was warm inside and a fire blazed in the hearth. He motioned that I sit down, and before long he was telling me about his interest in Antarctic literature.

          “I have always been interested in a young writer of Norwegian descent, Petter Jansen, a writer of such talent and deftness of touch. He would describe the harsh winters of his homeland and the very essence of being in the snow, a subject I would find most glamorous in comparison to my lowly upbringing. As soon as I could I decided I would seek out Jansen and learn from him the craft of story-telling, of descriptive language and other literary ideals. Only, according to those who worked in the book industry, Jansen was working in the Antarctic, at a research station near the South Pole”.

          “Armed only with protective clothing and a set of his works, I joined an expedition by ski-mobile in the middle of the Antarctic summer. The nights were cold and the days long, the sun never seemed to leave the sky, and all the time I was filled with so many questions, so much I wanted to ask. His characters, you see, were fragile beings, brittle, like flowers left too long in the frost, and I wanted to find out why he spent more time describing the weather than he did the emotions and sensibilities of his characters. There were other questions, too: why he

should have spent all his life in cold places, when surely he could have lived anywhere on the royalties from his volumes, and why he had given up writing fiction only to work as a research scientist in the South Pole.

          “On the tenth day we reached the Norwegian research station and I was privileged enough to meet Jansen. He was not what l had expected; of course, in the years since he had been published he had become an old man, and he sported the most wondrous beard, which almost reached down to the middle of his chest. He had a gruff accent, a dismissive way of sharing information, and a healthy dislike of anyone, including myself. I followed him as he worked, and watched as he drilled holes in the ice, sank instruments down into packed snow, took readings on electronic devices. He was monosyllabic, non-committal, and despite

everything, I started to wonder if I should have been there at all.

          But that night we went to his tent and he shared a bottle of vodka with me. ‘And now’, he said, ‘The real work begins’. Imagine my surprise when he produced from a wooden chest a large manuscript, several thousand pages long, and a pen, whose ink kept freezing and he had to warm by candle-light. ‘What is this?, I asked. He turned to me, wearily, his face lit by oi lamps and the candles, and he said: “This is the finest Antarctic novel ever written. Indeed’, he continued, This is the only Antarctic novel ever written’.

          I watched, silently, as he wrote. And with what devotion! He forsook everything in the outside worid, every distraction, and bent his head over the manuscript, writing with a bare hand, the fingers gripped tightly around the nib. For two hours he wrote, diligently, painstakingly, until his alarm clock buzzed and, of a sudden, he put the pen down, gathered the pages, and placed them back in a wooden chest.

          The next day followed the same routine: scientific work in the daytime, an evening of vodka, then writing by table light. He didn’t seem to mind the fact that I was there with him – indeed. he almost welcomed my company and the interest I showed in his writing. Finally it came time for me to leave, for my colleagues were due to start the hazardous journey back to the coast, and I decided I would revel in his company for the last time.

          “When he began writing I tried to watch the words as they were formed, but he kept shying away from me, positioning his body in such a way that I could not read what he was writing, and when the alarm clock rang to signal the end of his writing shift, he placed the pen down, the manuscript in the box, and he said to me: “That’s it now. Scram. The experiment is over!’

          ‘How crestfallen I was! It was as if I had been stabbed in the back. I returned to my tent that night feeling hurt, abused, and with a general dissatisfaction not only with Petter Jansen, but with all writers everywhere. That night I could not sleep, and a fierce wind blew up, which rattle the tent and moaned across the barren lands. In the midst of this delirium one thought came and it would not go – that possibly I might sneak into Jansen’s tent and read the manuscript for myself.

          ‘Two hours later the idea still lived with a bizarre logic. I could take the strain no more, and, as the first rays of the sun began to peek over the continental mountains, I left my lodgings, walked across the snow, and let myself into Jansen’s tent. He slept well, and I had managed to let myself in without him hearing. With the wooden box right below me, I had no choice but to open it up and read the manuscript right then and there.

          ‘Oh, the power! “The Silken Breath of a Penguin in Repose’ is a work the likes of which I shall never forget! The intense truth, the humanity on display, the concern for a world forever spoiled by man’s eternal folly! The language seemed to ooze like honey poured on from a spoon, and yet the prose was sparse, the words as economical as ice. The book was set in the future, or very slightly in the future, and Jansen himself was a character, a fortune teller who was never wrong. And the final scene, where the mad explorer wipes away a frozen tear to think of the harm his fellow man has done, almost reduced me to an insensitive and indiscriminate howl

of anguish. When I glanced up, I noticed that Jansen was staring right at me.

‘What treachery is this?’, he asked. ‘My private words, spoiled for all time! What is this but an invasion of the lowest order! How dare you spoil these most sacred pages!’

          ‘I had no choice’, I replied. ‘And in any case, such a wondrous work needs an audience. There is much here that might change the world. How selfish can you be if you keep this from those who need it the most? What I have just read is the most intelligent, the most poetic work ever created’.

          ‘You have ruined my work!’, Jansen continued. ‘You have ruined me! We had a trust, you and me, a friendship . . .’.  .. And then he looked at me for a while. ‘Did you really think it was that good?’

          “So we came to an arrangement, right then and there, that I would tell the world about his work, but only if I choose locations and places that would guarantee the audience would be small. And that’s why l’m here now, in the mountains, in the middle of winter, about to host a conference on alliteration in Antarctica Literature. I mean, what kind of sad person would possibly venture all the way out here for such a thing?’

          I looked at the old man and smiled. Professor Zazzo Thiim then cleared his throat. 

          “Apart from you, that is”.

Alas, the conference did not work out exactly as he had planned. I had left messages and notes to most of the staff and the guests of the hotel that the old man needed support, that he would be crestfallen if the conference was overly attended, and that they should do everything within their powers to put off potential attendees, and yet, that next morning, when Professor Zazzo Thiim took to the stage, he was confronted by a hall completely filled with people.

          “Well …”, he said, laughing feebly into the microphone, then wincing as the feedback screeched round the hall. He activated the overhead projector to show a picture of a penguin, which then hung on the wall behind him, solemn, ethereal.

          “There is . .”, he stuttered, “There is, in the power and beauty of.  .  .Huh-huh”.          

          Pleadingly, he looked at me, as if asking that I should remember the reasons why he had decided to hold the conference at this particular hotel. So what else could I do?

While no-one else was looking, I leaned behind me and activated the fire alarms. Everyone got up from their seats and the hall was evacuated in seconds.

Live at the Exeter Phoenix (Taking the Mic)

I had a lovely time last week performing a headline set at the Taking the Mic event at the Exeter Phoenix arts centre. Thank you Tim for having me!

I videoed my efforts and they can be viewed right here:

Let me know what you reckon!

Reception

In 2010, on the way back from Australia, I stopped in Tokyo for a few days, arriving at midnight. I’d booked a hotel but they lost my booking and so began a strange few days of existentialist angst when I started asking, who am I? What is my history? Do I exist? I started writing this novel.

A few weeks later, of course, once the novel was finished, the tsunami hit, so reading this novel again always gives me a strange sense of foreboding.

Anyway, you can now read Reception as an ebook!

The New Fridge Freezer is Suspiciously Quiet

The new fridge freezer is suspiciously quiet.
The new fridge freezer is suspiciously quiet.
I don't want to cause a fuss
And I don't want to cause a riot
But the new fridge freezer is suspiciously quiet.

Put some feta cheese in there,
Put some Camembert in there
Put some other things in there
It's very very quiet.

The new fridge freezer is suspiciously quiet.
The new fridge freezer is suspiciously quiet.
I don't want to cause a fuss
And I don't want to cause a riot
But the new fridge freezer is suspiciously quiet.

Bought it from a man from Bern
The man from Bern his name was Bern
Fridge freezer, Swiss geezer
So so quiet.

The new fridge freezer is suspiciously quiet.
The new fridge freezer is suspiciously quiet.
I don't want to cause a fuss
And I don't want to cause a riot
But the new fridge freezer is suspiciously quiet.

Have you turned it on?
Of course I’ve turned it on.
Have you plugged it in?
What am I, daft or something?

The new fridge freezer is suspiciously quiet.
The new fridge freezer is suspiciously quiet.
I don't want to cause a fuss
And I don't want to cause a riot
But the new fridge freezer is suspiciously quiet.

The old one went chigga chum chigga chum
The old one went witty witty woo
The old one went chigga chum chigga chum
The old one went to the tip.

The new fridge freezer is suspiciously quiet.
The new fridge freezer is suspiciously quiet.
I don't want to cause a fuss
And I don't want to cause a riot
But the new fridge freezer is suspiciously quiet.

The new fridge freezer is suspiciously quiet.
The new fridge freezer is suspiciously quiet.
I don't want to cause a fuss
And I don't want to cause a riot
But the new fridge freezer is suspiciously quiet.