Alan Richardson is back with a ground-breaking esoteric satire, The Fat Git, with a rip-roaring cast of characters including Abrose Hart, the Merlin of Strathnaddair; his reluctant nephew, Arthur; the mythical seductress, Vivienne, and the dastardly evil Vortig. Richardson takes no prisoners with his take on psychic pretentiousness, taking mythical simulacra and Arthurian archetypes to levels of absurdity, yet always displaying trenchant psychological insights and a sound background in the deeper aspects of occultism. This mix of mundane and fantastic, at wild odds with each other, is reminiscent of the work of Charles Williams, and perhaps one or two of his fellow Inklings. Richardson does not hold back from lambasting certain quarters with his iconoclastic wit but seems to be saying something that needs to be said. With great humour and panache, he provides a riveting burlesque of modern magic and the Arthurian Mysteries.

Alan Richardson is back with a ground-breaking esoteric satire, The Fat Git, with a rip-roaring cast of characters including Abrose Hart, the Merlin of Strathnaddair; his reluctant nephew, Arthur; the mythical seductress, Vivienne, and the dastardly evil Vortig. Richardson takes no prisoners with his take on psychic pretentiousness, taking mythical simulacra and Arthurian archetypes to levels of absurdity, yet always displaying trenchant psychological insights and a sound background in the deeper aspects of occultism. This mix of mundane and fantastic, at wild odds with each other, is reminiscent of the work of Charles Williams, and perhaps one or two of his fellow Inklings. Richardson does not hold back from lambasting certain quarters with his iconoclastic wit but seems to be saying something that needs to be said. With great humour and panache, he provides a riveting burlesque of modern magic and the Arthurian Mysteries.

Alan Richardson is back with a ground-breaking esoteric satire, The Fat Git, with a rip-roaring cast of characters including Abrose Hart, the Merlin of Strathnaddair; his reluctant nephew, Arthur; the mythical seductress, Vivienne, and the dastardly evil Vortig. Richardson takes no prisoners with his take on psychic pretentiousness, taking mythical simulacra and Arthurian archetypes to levels of absurdity, yet always displaying trenchant psychological insights and a sound background in the deeper aspects of occultism. This mix of mundane and fantastic, at wild odds with each other, is reminiscent of the work of Charles Williams, and perhaps one or two of his fellow Inklings. Richardson does not hold back from lambasting certain quarters with his iconoclastic wit but seems to be saying something that needs to be said. With great humour and panache, he provides a riveting burlesque of modern magic and the Arthurian Mysteries.