Posts filed under ‘John Higgs’

Jason Arnopp interviews JMR Higgs

To celebrate publication of The First Church on the Moon, JMR Higgs’ sort-of sequel to The Brandy of the Damned, the author has been interviewed by none other than Jason Arnopp. Jason is the screenwriter of horror movies including Stormhouse and the writer of many Doctor Who, Sarah Jane Adventures and Friday 13th audios and books. None of that impresses us at all. No, the reason we at The Big Hand idolise Arnopp is because he is also the author of The Darkness: Permission to Rock. Yeah! I know!

Jason v UNIT

Jason Arnopp (left) after his capture by UNIT.

Here’s the interview:

JA: How would you quickly sum up The First Church on the Moon?

JMRH: The First Church on the Moon is a comedy about the staff of the Steve Moore Moonbase waking up with hangovers, and trying to work out exactly what happened the previous night. Alcohol on the moon is not a good idea, as I’m sure you know. Nor are cats. Or Free Will. It’s basically a novel about things that are not a good idea on the moon, most notably alcohol, cats and free will.

It’s also a concerted effort to imagine a positive future. Most of our current visions of the future are visions of collapse, and I wanted to imagine a future that didn’t shy away from the looming climate and energy problems but which still painted a future that was thriving and where people had a good time.

9780956416308-Perfect copy.eps

JA: The First Church on the Moon is much more of a comedy than The Brandy of the Damned. Why the change of tone?

JMRH: Partly for the challenge. Writing a novel that works is hard but writing a novel that works and is also funny is harder still.

Actually, that’s not true. I assumed that would be the case when I started but writing comedy was much easier. It was so much fun to do that I loved every minute of it and it never became a chore. I suspect all those comedy writers who say writing comedy is difficult are basically trying to convince their spouses that they’re deserving of sympathy and respect, even though they’ve just been mucking around all day giggling to themselves.

The other reason is that it is the middle part of a trilogy of three short-ish novels about transformative journeys. The first was The Brandy of the Damned and that was aimed at the head without being rational. This one is aimed at the heart without being sentimental, and the third one will be much more on the sex and death level whilst in no way being gothic or erotic. These are the constraints I set myself at the outset to avoid writing anything predictable or unoriginal. And the way I avoided being sentimental in this one was to be silly. Silliness is a great disinfectant to remove all but the deepest emotions, I think.

Plus it’s an effort to make the wild metaphysical speculations that so plague my books more acceptable, so for all those reasons it was always going to be a comedy.

JA: That third part of the trilogy – is that Phwoar & Peace?

JMRH: It is. Or at least, I hope that is what it will be end up being called, but there’s every chance I may come to my senses and call it something else. But Phwoar & Peace is a step up from some of the titles it has had previously. It was called Michael Once Fucked A Mermaid for a while. That’s really not a good title.

JA: Any idea when that will be released?

JMRH: Not for a while, certainly. I’ll be working on a book about the 20th Century for the rest of the year. I had planned to work on Phwoar & Peace after that, but a couple of other book ideas are shouting at me and for various reasons they need to be done sooner rather than later. So I may put it off for a bit. Plus I’m scared of it. I think it may be genuinely impossible to pull off, or at least it looks that way at the moment. After I had written The KLF and The Brandy of the Damned I seriously thought about not releasing them, as you know, because I thought they might get me sectioned. But this is the only book I’ve been afraid of releasing before it has even been written.

JA: The First Church on the Moon was credited to ‘JMR Higgs’, while the KLF book is coming out as ‘John Higgs’. Is there any logic there?

JMRH: Yeah, almost. ‘JMR Higgs’ is the indie novelist side of me, whereas ‘John Higgs’ is the traditionally published non-fiction author. The KLF and 20th Century will both come out properly on Orion as ‘John Higgs’, like the Timothy Leary biography. Those books are the result of an awful lot of thought, research and work and a great deal of concern for the reader and the bookseller and the publisher has gone into them. They should make sense to the wide world, basically. JMR Higgs books, on the other end, are the product of a dialogue between me and my subconscious and they are under no pressure to please anyone other than me, myself and I. So when they do find themselves chiming with others, that’s a real delight.

I can’t recommend having a foot in both camps enough, its keeps your non-fiction original and your fiction believable. It’s a bit like a band going between tour and studio, tour and studio. Also the subjects of the non-fiction act as a flag to attract people who might be on your wavelength and persuade them that maybe it’s worth risking the fiction.

JMR Higgs (moonstruck)

JMR Higgs (moonstruck)

JA: Will future JMR Higgs books keep the comedy up front?

JMRH: It could go either way at the moment. A lot will depend on the reaction to First Church, I think. Cruel experience tells me that my sense of humour is a bit suspect and something of an outlier, so it depends on whether it reaches enough people with a similarly wrong-headed view of things.

JA: One reference I didn’t understand was the naming of the Moonbase – the Steve Moore Moonbase. Is there a story there?

JMRH: The short answer is that I was reading Somnium by Steve Moore, which is a book about someone in love with the moon that was clearly written by an author who is in love with the moon, so it pleased me to think that there might be a Steve Moore Moonbase one day. The longer answer is that Steve Moore is probably best known for his influence on the considerably more famous Alan Moore, to the extent that he jokes his gravestone will read “Steve Moore – no relation.” But it struck me that the concept of Alan Moore is quite a complex and knotty one. There’s his comic work, his magic work, his influence on culture such as the V for Vendetta mask, his anti-Hollywood stance, his pro-Northampton stance – there’s a lot for future generations to get their heads around. Whereas, the notion that Steve Moore is the bloke who is in love with the moon is immediate and succinct, and as generations pass and memories become stories then stories become legends, I could see that notion being absorbed very easily into the collective unconsciousness. I could imagine that a few centuries from now academics would know all about Alan Moore, but everyone would know Steve Moore because there would be nursery rhymes told about him.

The First Church On The Moon is available now ( UK Paperback | UK ebook | US Paperback | US ebook )

The Brandy of the Damned by JMR Higgs and The Beast In The Basement by Jason Arnopp are available together as a AA-sided low-cost ebook.

Jason Arnopp is also author of How To Interview Doctor Who, Ozzy Osbourne And Everybody Else.

August 10, 2013 at 9:37 am 1 comment

KLF: Chaos Magic Music Money

New from The Big Hand – KLF: Chaos Magic Music Money by JMR Higgs. Out now on Kindle.

To celebrate, the artist Shardcore has built a time-limited algorhymically generated Discordian internet radio station called Radio Eris. He explains more here.

The author, meanwhile, has set up a related Tumblr called TheFuckersBurnedTheLot, and talks about the book here.

They were the best-selling singles band in the world. They had awards, credibility, commercial success and creative freedom.

They deleted their records, erased themselves from musical history and burnt their last million pounds in a boathouse on the Isle of Jura.

And they couldn’t say why.

This is the story of The KLF, told through the ideas that drove them. It is a story about Carl Jung, Alan Moore, Robert Anton Wilson, Ken Campbell, Dada, Situationism, Discordianism, magic, chaos, punk, rave and the alchemical symbolism of Doctor Who.

Wildly unauthorised and totally unlike any other music biography, ‘KLF: Chaos Magic Music Money’ is a trawl through chaos on the trail of a beautiful accidental mythology.

“[Higgs] takes us on a switchback ride to the edge of madness, taking in Discordianism, The Illuminatus! Trilogy, Alan Moore, Carl Jung and the number 23 as part of the experience. It’s like he has channelled the spirit of Robert Anton Wilson in the form of a rock biography and invented a new genre along the way.” – CJ Stone, Author of ‘The Trials of Arthur’ and ‘Fierce Dancing’


Amazon UK | Amazon US

November 23, 2012 at 11:41 am Leave a comment

Two New Books From JMR Higgs

Much excitement here at The Big Hand as we prepare to publish not one but two books by JMR Higgs this year. You may know Higgs as the author of I Have America Surrounded: The Life of Timothy Leary, or maybe from the interview he did for us with CJ Stone.

First up is The Brandy of the Damned, his short debut novel and a strange jewel of a book. It’s the story of three members of a band who, twenty years after they broke up, meet again to embark on a quest to drive around the coast road of Britain – in order to see where the coast road goes. It’s balls-out confident, unpredicable and a completely original book that plays with notions of fate and our relationship with time in a winningly good humoured and largely absurd manner.

We think it will delight you.

The Brandy of the Damnedwill be published in paperback in September but, for those of you who need summer reading on your Kindle, the ebook is available right now, DRM-free, from Amazon. Best of all, it has the low price of £1.64, and it will stay that price until the paperback is released.

Also in September comes his next book – which we are keeping close to our chest at the moment, save to say that it is a non-fiction title. We’ll announce the subject in due course, but until then if we tell you that the ground the book covers includes Carl Jung, Alan Moore, Robert Anton Wilson and Doctor Who, then perhaps you can work out what it is about?

May 27, 2012 at 10:15 am Leave a comment

CJ Stone interview

The Trials of Arthur tells the story of how a biker and ex-squaddie decided that he was King Arthur and that his quest was to free Stonehenge from the government’s exclusion zone. This he eventually achieved – after first finding Excalibur, being crowned a Druid King and being arrested over 30 times.  It is an extraordinary book and, as its co-author CJ Stone is currently hammering away at a sequel, it seemed time to ask him to explain himself.  To that end, John Higgs, the author of I Have America Surrounded: The Life of Timothy Leary, tracked him down and spoke to him at length:

JH – I’m delighted that Trials of Arthur is being republished, Chris, and that a sequel is on the way.  Why are you writing about Arthur again?

CJS – Because I always said I would, and the re-release of Trials has reminded me how much I left out of that book, how much more needs to be said. What you don’t get in that book is what it felt like to be Arthur, and that is what we’re hoping to capture in this new one.  Mostly, though, because it is all still relevant; to seek the roots of who we are as beings, and to find that in the mythological and the legendary. Arthur and I, between us, as resurrecting the legend of Arthur in this 21st century context in the hope of acting as a signpost for where we think humanity should be going. It’s up to other people to decide whether they want to follow it or not.

JH – This sounds like it’s coming from a more certain place than the first book. Is it true you were fairly cynical about Arthur when you started?

CJS – John, I was never cynical about Arthur. I’m not a cynical person. I’m a sceptic, which I think means something else. But at the same time I have this capacity to believe two contradictory things at the same time. I’ve always done it. So, while I was sceptical about Arthur at first, I was also fascinated by the whole story and wanted very much to explore it. I believed it on one level, while disbelieving it at the same time.

Being a sceptic, I reserve my judgement on the whole reincarnation thing. You ask Arthur, and he’ll tell you he believes he is the reincarnation of the historical Arthur, but I just don’t know about that. I don’t have enough perspective to judge. So my formula has always been: it’s not who he says he is that matters, it’s what he does, and if he acts in a way that you think Arthur would act, if the things he does live up to the ideal, then it doesn’t matter if Arthur is the reincarnation of some legendary King: what matters is that he fulfils the role in a modern context.

Arthur himself says a number of things which suggest this idea. Like that line about there being three King Arthur’s: “There was the pre-Roman Arthur, and the post-Roman Arthur, and the post Thatcher Arthur and that’s me.”

JH – So focusing on what he does is the key to taking him seriously?

CJS – I always took him seriously on one level, but I also always saw him as a comedy figure too. You know: he can be very funny about this weird role he’s taken on, and there’s a kind of glint in his eye when he’s fired up about something. He won’t take shit, but he does it all with a sense of humour. So I guess when I first was thinking about him it would have been as a form of comedy: “the nutter who thinks he’s King Arthur”, which is his own occasional take on himself of course.

But then there’s a sort of magic that kicks in. Things happen around Arthur that I think even Arthur can’t explain. So on the one hand he is just a mad biker druid-type who thinks he’s King Arthur, on the other hand there’s a self-activating portion of him on some deep, deep level – the term is “archetypal” – that calls on a something deep in you. I mean: you talk about something “higher”, but I think it might be something “deeper”.

JH – I think we’re talking about the same thing.

CJS – Absolutely.  Maybe there’s no contradiction there. Naturally the higher you go the greater the depth you create.

Anyway: so Arthur activates that and “things happen”. This is that level of synchronicity that Arthur refers to as “the magic”. The magic kicks in. Coincidences happen. The right people turn up at the right time. The Warband isn’t an organisation as such. It is just a loose conglomeration of these “activated” beings. There’s no formal gathering. So people arrive on the scene and then they disappear and it’s as if Arthur, on the magical level, is making this happen. The main occurrence of this for me, which I mention in the book, was when I rang up Thorsons looking for a book deal, and the editor had Arthur in the room with her at that exact moment. So we just came together through the ether, as it were. It was the magic that brought our skills into conjunction.

JH – Looking over what he’s achieved, the name ‘Arthur’ has both given him visibility but also robbed him of credibility – for many people, anyway.  Do you think the pros of taking that name have outweighed the cons?  Could he have achieved the same without becoming Arthur?

Another one of Arthur’s sayings is: “I’m the best Arthur we’ve got, and if a better Arthur comes along, then I’ll get out of the way.” This is a variation on that old exhortation to “lead, follow, or get out of the way.” Arthur is, both on an individual level, and a symbolic level, a leader. He leads from in front, he doesn’t push from behind. And in a sense maybe, this is the true meaning of the name “Arthur”: it’s as much a title as a name. It means leader.

JH – Absolutely.  That’s one of the better ways to get your head around him, I think, to view the name ‘Arthur’ as a strange type of title.

CJS – There was this dysfunctional boy from an army family, a soldier and then a biker, who, at some weird juncture in his life adopts this name and then it’s as if all the responsibility for living the life that the name represents is dumped on his lap. At this point he “becomes” Arthur. It doesn’t matter if he is the reincarnation or not. If he hadn’t lived up to the role none of that would matter, and by living up to the role he activates it on a magical level: he makes it real. I’ve adopted the role as writer, and by living up to it to the best of my ability I am making it real. You’d know that too, John.

Of course, by going round calling yourself King Arthur you are opening yourself up to ridicule, and to me, this is Arthur’s bravest act. He knows he will be laughed at. He knows people will point fingers and snigger at him, but, as he says, there’s one thing that unites all of his detractors and this is the fact that they haven’t met him yet. You meet him and you can’t help but be charmed by him; and I mean that in both senses of the word: he is both charming on a personal and on a magical level. He charms you into believing his crazy story.

I saw this at first hand once: this “charm”. We were in the Conway Hall in Red Lion Square, the year I started writing the book. It was a Fellowship of Isis meeting. Someone had made a film about Arthur, and had asked him to introduce it. It was a crazy day all round. It was the Year of the Snake in Chinese astrological terms and the Fellowship of Isis people were passing snakes around, all these crazy bohemian spiritual types in pagan fancy-dress and in the same building the Iraqi Communist Party were having a meeting. I’d noticed this when I first came into the building, as there was a sign in the hall telling you which room they were in. And then later, I could see these two faces peering in through the round window into the hall and I knew immediately it was the Iraqi Communist Party. I would have been the only person there to have made that connection and acknowledged them for who they were: these two, quiet, serious-faced Iraqis in western dress. I wonder what they would have made of all the strange goings-on in the hall? This was before the invasion, of course. Before 9/11 and all of that. That’s just an illustration of what that day was like.

But me and Arthur being who we are – or were at the time – we sloped off to the pub. It was Sunday afternoon and Arthur was in his full Druid outfit. And we walked into the pub which was full of Geordie steel erectors down from Newcastle on some building project, and it was as if we’d stepped onto a stage: everybody turned to look at him, and then immediately everyone was screaming with laughter. Someone actually pointed at him and said, “look, it’s King Arthur.” They were all pissing themselves at him. It was like he’d become a comedy routine – and you wonder why he drinks? And within half an hour he’d won the whole pub over. He walked into the pub with no money and now the whole world wants to buy him a drink. That was the charm. He charmed all of those drinks out of them, and then charmed them into at least a sceptical acceptance that he was who he said he was: not crazy at all. Real shit.

I remember one conversation I overheard. Arthur was telling some guy that he used to be a steel erector – which is true, another of those coincidences – and the guy said, in his Geordie accent, “so that was before you’s went loopy like?” But half an hour later Arthur was persuading him to come along to Stonehenge to take part in the solstice celebrations that year and you could see: the guy was fascinated by it all. He was lapping it up.

You see, its adventure isn’t it? It’s a life outside the routine. Arthur represents that. And then he unites people. First of all by making them all laugh at him or sneer at him, and then by calling on the spirit of adventure that lies within us all: the spirit that will challenge the forces of repression, but not in a dark or an angry way, in a funny way, in a fantasy way. Not by marching up and down and shouting, but just by living out this crazy life on the front line between fantasy and reality.

Could have achieved the same under another name? Of course not. It’s the name that has the magic. The name is resonant of so many things. For a start, it represents something ancient in the British landscape and in the British psyche: something real and authentic. So what Arthur does is to challenge the modern world – this criminal world of corporate irresponsibility – from the position of something more ancient, more authentic, more true. True justice as opposed to fake justice. Real truth, real honour. So when the man, Arthur, calls upon the name he is activating some deep reality which calls us all to rise up and challenge the corporate takeover of our world and to get back to our deeper selves.

No, he has to be Arthur, otherwise it doesn’t make sense. Otherwise he’s just a politician. It’s like when he stands for election. He’s got this keen political and legal brain. He’s very bright, and he could easily be a politician. If he wasn’t going round calling himself King Arthur, if he had a shave and joined some political party – maybe the Green Party – you could even imagine him getting himself elected. But this is the point. The whole political world is fake. Politicians are fake. Political parties are fake. They’ll say anything to get elected. They lie to you. And then you have this guy who says he’s King Arthur – claiming to be some imaginary King, some legendary figure from a mythological past that might not ever have existed – and he’s more real than they are. He’s not fake. He’s not lying. He’s never going to get elected, of course, but he’s there, offering the alternative, this grubby biker-king who lives in a caravan on the outskirts of Amesbury and who smells of damp and decay, who is simply not tempted by money or the corporate world, who is living his life according to his beliefs and not according to someone else’s greedy agenda.

JH – One of the most interesting things about Arthur for me is how the way he lives forces you to question how well you live up to your own higher values.  Have you gone under the sword, and pledged yourself to Truth, Honour and Justice?

CJS – I’ve actually been under the sword three times. I think I’m the only person to have done that. In case our readers don’t know what that is: Arthur has a sword which, on a variety of levels, qualifies as “the Sword of Britain”, not least because it has been acknowledged as such in the British Courts. All of that is in the book. Anyway, he knights you with this sword, making you swear to truth, honour and justice. Well you can’t argue with that, can you? Who can say they are against truth, honour and justice?

JH – I’m all for Truth and Justice. I’m not that arsed about Honour.

CJS – The first time I went under the sword was at Avebury, I think around Lammas time 1996, when I was just a sceptical journalist looking for a good story, I did it in such a way that I accepted the spirit of the oath without taking it too seriously. You’re on your knees when you take the oath, and then what Arthur does is he “raises you up” to an embrace, and then gives you your rank. There are three ranks as you might know: brother-knight, quest-knight and shield-knight. So the first time he raised me as a brother-knight, which is as someone whose feet are firmly established in the modern era. As Arthur says, it is our quest as brother-knights, to save our world and to bring back the ideals of truth, honour and justice, that the original knights have returned to help us fulfil.

Then later, after we’d got the book deal, he raised me up again at Stanton Drew stone circle just outside Bristol, with Ronald Hutton as a witness, and this time he raised me as a quest-knight, because I was on a quest to write this book.

JH – He raised me as a quest-knight too. It came out of the blue, he just sort of lunged at me. What was interesting about that was I had no time to think about it, I was just presented with this vow and had to react instinctively.  He didn’t have his sword though as we were in a London pub – the Kings Head in Southwark, suitably enough – so he used his hand, which I think makes me a handmaiden as well as a quest-knight.  So I’m in this quantum state where I’m both greatly honoured and a lowly wretch, which sounds about right.

CJS – My third time was in Glastonbury, after we’d finished the book, at some wild drinking party at a mutual friend’s house. I’d sort of retired downstairs with the drunken spins, while everyone else was upstairs, and I suddenly had this weird revelation about me being the reincarnation of Chretien de Troyes, and how I’d written about Arthur in a past life but had never actually met him, and now I was meeting him for the first time. So I kind of stormed upstairs to where the party was going on, filled up with this revelation, and, as I burst into the room everything kind of kicked into place. I looked, and there was my friend Denny with a silver goblet in her hand. And then my eyes settled on a silver platter on the table, and then on a stave leaning on the wall, and then onto Arthur’s sword. If you know about Chretien you’ll know that in his Romance of the Grail, the grail is actually four objects, called The Four Hallows of the Holy Grail: a sword, a lance (or stave), a cup (or grail) and a silver platter. So that was what I was looking at in the room: the Four Hallows of the Holy Grail made manifest in the 21st Century.  This is the thing that Arthur always refers to as “real shit”. Something is really happening here.

The third category of knight in the Arthurian hierarchy are the shield knights. These are the guys who, like Arthur himself, supposedly remember their past lives. So that’s what I did at this point. I insisted on being raised up as a shield knight, having rediscovered my true identity as Chretien de Troyes.

JH – I didn’t know any of this.

CJS – OK, I know that might sound a bit crazy, and I’ve never been quite sure of the exact meaning of the revelation after that night – I was very, very drunk – but on a symbolic level it still works. Just as Arthur embodies the spirit of Arthur as it was passed down to us through the generations, so I embody the spirit of Chretien.  And there’s an interesting thing here, because it was Chretien who popularised the Arthurian romance. Without Chretien it would just be a Welsh folk-tale. It was Chretien who gave it international fame and so brought Arthur and the “Matter of Britain” to European attention. Without Chretien we might well have forgotten Arthur.

JH – Going back the Matter of Britain, the Sickness on the Land and all that – that still seems relevant today, but for me it would relate to the greed of the bankers, the hypocrisy of Fleet Street, the short-termism of our politics and so on.  Arthur’s very much a part of the Druid world and the issues he takes on are very much Druid ones – such as the return of the human remains removed from Stonehenge by archaeologists.  As a non-druid I can see how that may be admirable but I’d personally like a King Arthur who goes beyond that and concerns himself with bigger issues in the wider society.  Do you think he’ll ever concern himself with things like this, or would he just not work in that context?

CJS – I must admit I agree with this one. I think this is where he sells himself short as generally I don’t have much time for the Druid thing. It’s the weakness in the book, as far as I’m concerned. The Druids – the modern Druids, as we don’t know anything at all about the ancient Druids – are basically gentleman dilettante types. Ronald Hutton refers to them as Romantics, one of the last flowerings of the Romantic movement, and I can see that, but a lot of these current Druids are just vain egotists more intent upon blowing their own trumpet than taking on or challenging any of the establishment values. It’s all about personal power for them, about their own individual status. Arthur is much bigger than that, and he’s at his best when he is part of a larger movement. That was the whole thing about the protest movement of the 90s: Arthur just fitted into that so well. It suited his lifestyle and his way of being. So he was fighting for the land – that’s a key Arthurian theme – but at the same time you have all these Situationist anarchists, like Reclaim The Streets, and Arthur fitted into that as well. He was part of a broad political and spiritual movement. He was showing people how to go about things, being a real leader. That was his great time.

Trouble is, the last time he took to doing anything like that it almost killed him. He was involved in a protest at Winchester and all that living outside and digging tunnels etc, he got pneumonia and almost died. Partly that was my fault. I wrote this article in the Independent about him being too fat and too old to going down holes, and, being Arthur, he took that as a challenge and proceeded to go down the tunnels. Sort of: “I’ll show you.”

But, you see, from Chretien’s perspective he shouldn’t be doing any of that anyway. If you read Chretien, Arthur is not the central figure. He’s sitting there feasting and carousing. It’s like a big party happening all the time. It’s his knights who go out on adventures. His job is to send them out there on their quests. That’s what I think Arthur should be doing now. He should be sitting and enjoying himself, and letting the young knights come to him, and then sending them on their way with whatever quests he thinks would suit them. So yes, taking on the banks and corporate greed and the corporate colonial takeover of our country, those sorts of things, but it should be the knights doing this. Arthur has a great strategic brain, and can think of all sorts of campaigns, but I think it’s up to others to go out and fulfil those things now.

On the other hand, his current campaign at Stonehenge has a deeper significance I think. It’s to do with the ancestors, and the guardians and the spirits of the place: this place which is the very heart of Britain. It’s always been Stonehenge which has activated Arthur, ever since his biker days. So while it seems like a minor point on one level, on another, perhaps it is fundamental to what he is trying to do. By bringing the bones of the dead back to their rightful place, maybe he is helping to create the magic which is at the heart of the hope of a British national revival: helping to activate the magic at the heart of these islands, which is what Arthur, the mythological figure, the “once-and-future King” of legend, has returned to fulfil.

The Trials of Arthur is available as a free ebook (below), and will be republished as a paperback on June 21st.  It’s sequel, La Vie D’Arthur, will follow before the end of the year.

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April 22, 2010 at 6:07 am 6 comments

Publishers of extraordinary books

The Brandy of The Damned

The Brandy of the Damned, by JMR Higgs

The Trials of Arthur: Revised Edition

The Nabob of Bombasta