Book Two in the Vorrh Trilogy
By Brian Catling
Lose yourself again in the heady, mythical expanse of the Vorrh.
In the tradition of China Miéville, Michael Moorcock and Alasdair Gray, B. Catling's The Vorrh is literary dark fantasy which wilfully ignores boundaries, crossing over into surrealism, magic-realism, horror and steampunk.
The Erstwhile is the second book in the Vorrh trilogy.
Brian Catling (born in London, 1948) is an English sculptor, poet, novelist, film maker and performance artist.He was educated at North East London Polytechnic and the Royal College of Art. He now holds the post of Professor of Fine Art at The Ruskin School of Drawing and Fine Art, Oxford and is a fellow of Linacre College. He has been exhibiting his work internationally since the 1970s. Some of his most notable works and performances include: Quill Two at Matt's Gallery, Dilston Grove in 2011, Antix at Matt's Gallery in 2006, a commissoned memorial to the Site of Execution, Tower of London in 2007, Vanished! A Video Seance made with screenwriter Tony Grisoni in 1999 and Cyclops at South London Gallery 1996.
In 2001 he co founded the international performance collective WiTW.
As a writer he has published poetic works, including one compendium A Court of Miracles in 2009. His first prose book Bobby Awl was published in 2007.
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- Publication date:
22 Mar 2018
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Brian Catling's The Vorrh blew me away (along with my ideas of what fantasy novels should do) when it came out in 2012. I've just finished the second of the trilogy - The Erstwhile - and it's even better. Set in London, Germany and Africa, the book features William Blake alongside its cast of monsters and adventurers. These are luminous and visionary novels - Gormenghast reimagined by Alan Moore on opium. — Alex Preston, The Observer
The Erstwhile almost revels in its status as the hiatus between Genesis and Apocalypse. It applies the sleight of hand that many of the best middle-books do, for a shift of focus...Even in the most extreme moments Catling has an eye to the wry, to the momentous absurdity of just being a thing made of flesh in a world that is not. In something as fluorescently psychedelic as this novel and its predecessor, the reader still requires an affective hook; and in Schumann's explorations of why the past seems clearer to the elderly than the future, we get just that. — The Guardian
A fascinating world to get lost in. — SciFiNow