The appearance of any new work by Tibor Fischer is a cause for celebration. Here, in a launch treat for Unbound readers, are two dazzling new stories that show why he is so admired. 'Crushed Mexican Spiders' is classic Fischer. Don’t be fooled by the title: the poet laureate of London grime is on home ground as a women returns home to discover the key to her Brixton flat no longer works…
Haunting images and crisp one-liners are about all that link it with the second tale, 'Possibly Forty Ships, the true story of the Trojan War. In a scene straight out of a Tarantino movie, an old man is being tortured, pressed to reveal how the greatest legend of all really happened. (Let's just say it bears scant resemblance to Homer: 'If you see war as a few ships sinking in the middle of the waves, a few dozen warriors in armour, frankly not as gleaming as it could be, being welcomed whole-heartedly by the water, far, far away from Troy, if you see that as war, then it was a war…')
The stories are being printed in a beautiful small hardback edition, each one illustrated by the work of the acclaimed Czech photographer Hana Vojáková . Although 'Possibly Forty Ships' is available as a download this highly collectible first printed edition is exclusively available through Unbound. It has two front covers: read one way you’re in south London at night; turn it over and you’re being burned by the harsh glare of Mediterranean sunlight. You can also buy prints of the two jacket images, signed by both Hana and Tibor
Below you will find the beginning of 'Crushed Mexican Spiders'…
UNBOUND TIP: Hip literary stocking-filler.
Ahead of her, struggling up the stairs strugglingly was a mother and pushchair, laden with bags and a screaming kid. Homebound workers salmoned past without offering a hand, blinkered by visions of supper or respite.
The comatose staff of London Underground didn’t think of helping the mother. She wouldn’t be helping either. Ten years ago when she had moved to London, she would have. Imperceptibly but perceptibly the city toxified you. Parking across strangers’ driveways, not saying thank you when a door was held open for you, murder. Somehow it got you.
London informed you that you got nothing for a lifetime of decency; not a free glass of water. Not that behaving badly necessarily got you anywhere, but it was generally easier and more fun; and finally any career criminal from Albania or genocidist from Rwanda passing through London got the same medical treatment as you and better housing rights.
You didn’t want to become the sort of person who didn’t help an entoiled mother, but you became one. No one had helped her when she had needed it. And now her help muscles had withered away. Single mothers were especially annoying because of their dishonesty. Very few of them could hack it. They either leeched off friends and family, sucking in services and cash or they botched it up, while maintaining how coping they were.
Outside, on the pavement, a Portuguese junkie was kneeling, while a buxom exorcist wielding a bible, intoned with two back-up entreaters and sprinkled him with holy water.
Sidestepping the adjuration she threaded her way through the clumps of beggars, drug-dealers, thugs and seething commuters that made up Brixton. She ran walking. To get home was all she wanted. The strength of the desire was almost alarming.
She had thought about getting out. She had been thinking about little else. And she hadn’t just thought about it. Job applications. She was convinced she had sent more job applications than any other human being. They had failed. She had written more. They had failed.
Then, while she would have been happy leaving London, her boyfriend couldn’t. Harun worked as a junior information officer at the Turkish Embassy, and just as he was coming to the end of his tour of duty, after three years, when she had been counting on escape, teaching English and getting a tan and a family, they had split up. She knew you couldn’t have everything. Harun farted a lot and always had to be infallible on international affairs, but had a sense of humour and was punctual. Now she was again at the mercy of London’s nightlife.
What was a night-out in London? Pleading your way into a club, past an ear-piece which had grown a moron. Once inside you had to fight to get served, and then your money went as if you were surrendering it to bandits. She had only managed to get the deposit on her flat because of her inheritance from her grandmother. Her grandmother hadn’t been well-off, but she hadn’t been one for drinking, smoking, eating much, buying much, going to the cinema or indeed anywhere. She played Bridge with old friends and was of a generation that worked or starved.
Everywhere she went, on holiday or on business, was better. Dublin, Copenhagen, Istanbul, St. Ives, St. Petersburg, Palermo. You name it, it was an improvement. You’d walk into a shop and the proprietor would say hello instead of assessing how much you would be attempting to steal. Everyone she knew talked of leaving London. Somewhere calmer. Somewhere greener. Somewhere sunnier. Somewhere else.
Do you remember the first time you watched Reservoir Dogs, or Taxi Driver? The disorienting sense of not quite knowing whether you’re witnessing comedy or tragedy? That’s what reading Tibor Fischer is like. Few writers have a better feel for the inventive set-up: the Soviet invasion of Hungary from the point of view of the national basketball team (Under the Frog); life as narrated by a 5,000 year-old Sumerian bowl (The Collector Collector), a man who teaches himself to read two books at once (Don’t Read this Book if You’re Stupid) and south London loser who decides to become a deity in Miami (Good to be God). Fischer’s books are philosophical in the proper sense of the word: they make you think about and question every assumption life is founded on, but only when you’ve stopped laughing. He lives in Brixton and Budapest and teaches creative writing. His first novel was rejected by 57 publishers before going on to be shortlisted for the Booker Prize. What else do you need to know? That he’s one of very few contemporary writers where you will want to read everything he ever writes.
Makes most other contemporary English fiction look like irrelevant persiflage. WILL SELF
This cat can flat out write! TOM ROBBINS
Fischer’s powers of invention are well nigh heroic. JAY McINERNEY
The best thinking person’s entertainer since Iris Murdoch TIME OUT
Conrad with jokes. SUNDAY TIMES
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