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It was a long head. It was a wedge, a sliver, a grotesque slice in which it seemed the features had been forced to stake their claims, and it appeared that they had done so in a great hurry and with no attempt to form any kind of symmetrical pattern for their mutual advantage. The nose had evidently been first upon the scene and had spread itself down the entire length of the wedge, beginning among the grey stubble of the hair and ending among the grey stubble of the beard, and spreading on both sides with a ruthless disregard for the eyes and mouth which found precarious purchase. The mouth was forced by the lie of the terrain left to it, to slant at an angle which gave to its right-hand side an expression of grim amusement and to its left, which dipped downwards across the chin, a remorseless twist. It was forced by not only the unfriendly monopoly of the nose, but also by the tapering character of the head to be a short mouth; but it obvious by its very nature that, under normal conditions, it would have covered twice the area. The eyes in whose expression might be read the unending grudge they bore against the nose were as small as marbles and peered out between the grey grass of the hair. This head, set at a long incline upon a neck as wry as a turtle's cut across the narrow vertical black strip of the window. Steerpike watched it turn upon the neck slowly. It would not have surprised him if it had dropped off, so toylike was its angle. As he watched, fascinated, the mouth opened and a voice as strange and deep as the echo of a lugubrious ocean stole out into the morning. Never was a face so belied by its voice. The accent was of so weird a lilt that at first Steerpike could not recognize more than one sentence in three, but he had quickly attuned himself to the original cadence and as the words fell into place Steerpike realised he was staring at a poet.


Mervyn Peake


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Did you know about Mervyn Peake?

In December 1939 he was commissioned by Chatto & Windus to illustrate a children's book Ride a Cock Horse and Other Nursery Rhymes publiMervyn Peaked for the Christmas market in 1940. He completed his formal education at Croydon School of Art in the autumn of 1929 and then at the Royal Academy Schools from December 1929 to 1933 where he first painted in oils. Peake placed much hope in his play The Wit To Woo which was finally staged in London's West End in 1957 but it was a critical and commercial failure.

He is best known for what are usually referred to as the Gormenghast books. The three works were part of what Peake conceived as a lengthy cycle the completion of which was prevented by his death and consequently should not be considered a trilogy.

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