In the beginning there was The Author. The History of Dom Manuel of Poitesme is an aesthetic journey defined in this evening spent with One Such and his Editor. Astonishing, the irony, the clarity, the polish of the language and the subtlety of reasoning. Any questions why Heinlein emulated Cabell for the last half of his career?

The story takes place at Willoughby Hall in Fairhaven, the home of John Charteris, a successful USA writer of the early 20th century. A young writer, 22 years JC's junior, pays JC a visit. The time is shortly before the USA entered World War I on April 5, 1917. JC gave his visitor a tour of his library, then seated himself in a swivel chair and delivered an extemporaneous lecture on literary creativity. The visitor took notes of what JC had said and turned them into a book entitled BEYOND LIFE.

"Many a man lives a burden to the earth: but a good book is the precious life-blood of a master-spirit, enbalmed and treasured up on purpose to a life beyond life." That quotation provided the justification for his theory of literary creativity. The young writer summarized JC lecture: "And sometimes he talked concerning men who have made great literature, and spoke sensibly enough although with a pervasive air of knowing more than anyone else ever did. And sometimes he discoursed enigmas, concerning the power of romance, which he pretentiously called "the demiurge," as being a world-shaping and world-controlling principle . . ." "His notion, as I followed him, was that romance controlled the minds of men; and by creating force-producing illusions, furthered the world's betterment with the forces thus brought into being: so that each generation of naturally inert mortals was propelled to a higher sphere and manner of living, by the might of each generation's ignorance and prejudices and follies and stupidities, beneficently directed." JC continually harped on the unfairness inherent in existence and finally admitted that for him the great unsolved question of the universe was: "What is it all up to?"

The work provides a critical commentary on many of the popular USA writers of the early 20th century, many of whom have faded from view or survive as relict faunas nurtured by scholars and antiquarians. Harold Bell Wright (1872-1944) was one of those early writers discussed. Wright was the first USA novelist to earn a mllion dollars from his writings and his "The Winning of Barbara Worth" (1911) was the first USA novel to sell one million copies.

This is where it starts (maybe); the epic History of Dom Manuel of Poictesme (pronounced pwa-tem), progenitor of a clan that stretches from pre-revolutionary France to the American South and includes Kings of England and Shakespeare. Cabell was witty, erudite and scandalous,,,by far the finest, widely unknown fantasist ever produced in America. Only for those who relish dense language and wisdom that is inevitable.

Manuel, a swineherd for his brother-in-law the miller, was a resident in the area ruled by Count Demetrios d'Arnaye. His girlfriend was the lovely Suskind. On her deathbed, Dorothy, his mother, told him that she wanted him to make himself a figure in the world that was a splendid and admirable young man in all respects. After her death, he spent much time at the Pool of Haranton using its marsh clay to make a figure of earth of himself. After he had an adventure with Miramon Lluagor, the wizard, which netted him a lover named Niafer who was then taken by death to the pagan paradise, he decided to seek his fortune elsewhere. He did the following: provided wisdom for King Helmas, turned the wicked King Ferdinand into a saint and ended up engaged to Alianora the Unattainable Princess, the daughter of King Berenger of Arles. The princess taught him her magic and he saved the life of a stork that became indebted to him. He relinquished Alianora to the King of England and found a way to turn Queen Freydis of Audela into a woman permanently. That queen gave life to one of his figures that ran away fom them and became Sesphra, the god of the Philistines. After Queen Freydis taught him how to invoke Misery to free Niafer from the pagan paradise, he invoked Misery and served him for 30 of Misery's days which turned out to be 30 years for Manuel. Misery returned Niafer to him and they were married. For a time, they lived with Queen Freydis on her enchanted island where the stork delivered Melicent, their first child. With the aid of Queen Freydis and Miramon Lluagor, Manuel became the Count of Poictesme which had been granted to him by King Ferdinand, but had been occupied by the Northmen. As count, he founded The Fellowship of the Silver Stallion and turned Poictesme into a prosperous place. He gave one of his stork invoices to Queen Alianora so that she could have a son. The stork added Emmerick and Dorothy to his family. After succeeding at everything, Manuel vanished and legends about him began to form.

This work is a treasure-trove of subtle parodies, satires and social criticism that are unique for their fluency and urbanity.

Robert Etheridge Townsend, a young writer, recounts his twelve amatory encounters on his path to a conventional life style. Within his tales, he left an account of the behaviors of members of a relict leisure class in which ancestry, snobbery and pride of place were kept alive by infusions of wealth acquired through marriages of convenience.

The pragmatic Richard Fentnor Harrowby, wealthy manufacturer of Harrowby's Creme Cleopatre and No. 7 Dental Delight, discussed the life and work of the author Felix Kennason who rose to fame with the publication of "Men Who Loved Alison." Harrowby's evaluation of Kennason: "At all events, I never quite liked Felix Kennason--not even after I came to understand that the man I knew in the flesh was a very ill-drawn likeness of Felix Kennason. After all, that is the whole sardonic point of his story--and, indeed, of every human story--that the person you or I find in the mirror is condemned eternally to misrepresent us in the eyes of our fellows. but even with comprehension, I never cordially liked the man; and so, it may well be that his story is set down not all in sympathy." The book begins in Storisende. Count Emmerick had planned a wedding feast for La Beale Ettarre, his youngest sister, engaged to marry Guiron des Rocques. Horvendile, a servant of Ettarre, also loved her, and attempted to sabotage the wedding. He failed, and had to leave Storisende. Before he departed, Ettarre took the Sigil of Scoteia which hung around her neck, broke it in half and gave him one of its halves to him and said, "You will not always abide in your own country, Horvendile. Some day you will return to us at Storisende. The sign of the dark Goddess will prove your safe-conduct then if Guiron and I be yet alive." After he had completed writing his book, Kennason took a twilight walk in the garden of Alcluid, his estate. He spied a shining bit of metal along the pathway and picked it up and put it in his pocket. The metal was a half of a disk which was three inches in diameter with tiny characters inscribed upon its surface. That disk enabled Kennason, in his dreams, to be transformed into Horvendile and transported to many different times and places in which he met Ettarre, but every time he tried to touch her "the universe seemed to fold about him, just as a hand closes." Kennason sought Harrowby's expertise in explaining the occult aspects of his dreams with ironic results.

A first rule of thumb when approaching Cabell's 18-volume opus, the Biography of Manuel; every book will be about Cabell's relationship with his wife. Cabell is obsessed with marriage, and objectifies all of his female characters to fit one of his imagined female roles; nag, whore, or unapproachable beauty. Cabell's characters always return to their nagging wives, for familiarity's sake if nothing else, with never a suggestion that it might be possible to have a long-term relationship between a man and a woman in which both are creators and in which both learn from each other.

The book Jurgen is from the same mold. Jurgen the pawnbroker moves from one of Cabell's stereotypical women to another. The book became well-known because of the godawful sex sequences, in which Cabell archly refers to Jurgen's sword, staff, or stick -- the resulting call for censorship made the book famous, but that doesn't mean it was Cabell's best. I thought The Silver Stallion and, in some respects, even The Cream of the Jest or The High Place to be better examples of Cabell's writing.

I would recommend that anyone who likes fantasy read at least one of Cabell's books, because he writes like no one else. This book had the usual Cabell wittiness and sardonic feel, so if it's the only one you can find, certainly try it.

Early in his journey, Cabell's Jurgen comes to a place known as 'The Garden Between Dawn and Sunrise.' In the garden live all the imaginary creatures that humankind has ever created: centaurs and sphinxes, fairies, valkyries, and baba-yagas. Jurgen is surprised when he sees his first-love wandering around the garden, but his guide replies "Why, all the women that man has ever loved live here...for very obvious reasons."

Moments like this, simultaneously jaded and genuine, sentimental and cynical, are the most delightful parts of 'Jurgen: A Comedy of Justice.' Nominally the story of a medieval pawnbroker's quest to find his lost wife, 'Jurgen' becomes a bildungsroman in reverse as, on the way, its hero regains his youth and visits the lands of European myth, from Camelot to Cocaigne (the land of pleasure) -- each land shows Jurgen a way of life, and he rejects each in favor of his own sardonic stoicism, for he is, after all, a "monstrously clever fellow."

That phrase describes Cabell as much as it does Jurgen: the author is remarkably erudite, and, like a doting parent hiding easter eggs, drops in-jokes through the book on subjects as far-ranging as troubadour poetry and tantric sex. Cabell corresponded with Aleister Crowley in his day, and, in ours, is an influence on Neil Gaiman ('The Sandman,' 'Neverwhere,' etc.). The book itself caused quite a splash when it became the centerpiece of one of the biggest censorship trials of the early 20th century: something to do with Jurgen's very large *ahem* sword.

Social satire and an idiosyncratic cynicism in the guise of a scholarly romance-fantasy, 'Jurgen' is what would have happened if J.R.R. Tolkien and Dorothy Parker had gotten together to write a book.

In the 1920s, James Branch Cabell (rhymes with "rabble") was considered by many to be one of the greatest American writers, based on this novel. Tastes changed with the coming of the Great Depression; worse, Cabell never again came close to writing a book of this quality, despite his many attempts. Whether or not Cabell is a great writer (and I incline to the view that writers should be judged by their best rather than their mediocre works), Jurgen is a great book, full of insight and a joy to read. The eponymous protagonist is a middle-aged pawnbroker who is given an opportunity to relive his youth. In his travels he encounters, among others, Guenevere, the Master Philologist, the Philistines, his father's Hell, and his grandmother's Heaven. In the end he has an opportunity to question Koshchei who made all things as they are. I heartily recommend this novel. Although it is in an older fantasy tradition, it is at least as readable and enjoyable as the best contemporary fantasy, and its literary quality is far greater. I have re-read it many times.