The Rhymer, an Heredyssey defies
classification in any one literary genre. A satire on contemporary
society, particularly the art world, it is also a comic-poetic
meditation on the nature of life, death and morality.
A mysterious tramp wanders from town to town, taking a new name and identity from whoever he encounters first. Apparently
amnesiac or even brain-damaged, Nadith Learmot nonetheless has other
means to access the past and perhaps even the future: upon his chest a
dial, down his sleeves wires that he can connect to the walls of old
buildings from which he believes he can read their ghosts like imprints
on tape. Haunting him constantly is the resemblance he apparently bears
to his supposed brother, a successful artist called Zenir. Setting out
to pursue Zenir and denounce or blackmail him out of spite, in his
travels around the satellite towns and suburbs surrounding a city called Urbis, Nadith finds he is always two steps behind a figure as enigmatic and polyfaceted as himself. But through second hand snippets of news he increasingly learns of how his brother’s fortunes are waning, while his own, to his surprise, are on the rise. Along the way, he encounters
unexpected clues to his own true identity, how he came to lose his
memory and acquire his strange ‘contraption’. When Nadith finally
catches up with Zenir, what will they make of each other?
Told entirely in the first person in a rhythmic
stream of lyricism, Nadith’s story reads like Shakespeare on acid,
leaving the reader to guess at what truth lies behind his madness. Is
Nadith a mental health patient or a conman? – or as he himself comes to
believe, the reincarnation of the thirteenth century Scottish seer True
Thomas The Rhymer, a man who never lied nor died but disappeared one day to return to the realm of the faeries who had first given him his
clairvoyant gifts?
Rachel Kendall, writer and Editor of Sein und Werden, has penned an introduction in which she says: “Obviously Thompson is a risk-taker, a dare-devil member of the literati, to
propose such a feat as this. Should the measurements be out of sync, the angles a bit skewed or the trajectory off course, this could have been
disastrous. But Thompson’s risks are calculated. He is a master
craftsman, pulling out all the stops with exceptional timing (comic and
otherwise).”
Rhys Hughes, renowned Welsh writer and essayist said: “The oldest and best stories in the world were told rhythmically, lyrically, with the music of beauty, terror, loss and longing. It’s a form that
has fallen somewhat into disuse in recent decades, and that’s a shame.
But Douglas Thompson, a new writer of immense promise, is helping to
find this wondrous method again, to ensure that the newest and best
stories are also told rhythmically, lyrically, with the music of beauty, terror, loss and longing, and, in The Rhymer, to additionally fuse the
form with modern and unique concepts, to create an effect that is richly complex but simply stupendous.”
The Rhymer also boasts a cover and interior illustrations designed by Alison Buck.
