Folio Society Published Works Number 3341
Hoban, Russell - Riddley Walker Limited Edition
We buy and sell items like these, so please contact us if you have similar items for sale, and we will make you an offer if we are interested.
To check if we have this item, or similar items, in stock, please click the Check Stock link below. Alternatively, use the links on the left to search our large online database of items for sale, or to visit the rest of the site.
Check Stock
Hoban, Russell - Riddley Walker Limited Edition (Published in by The Folio Society in 2017. Limited to 1,000 numbered copies, of which this is number xxx, each signed and numbered by Quentin Blake on a tipped-in limitation page, printed letterpress on Hahnemühle Bugra Bütten laid paper 288 pages set in Poliphilus and Blado type, with hand-drawn titling. Printed in full colour on Woodstock Betulla paper, with 39 illustrations by Quentin Blake. Bound in full cloth, printed with a design by the artist. Featuring printed page edges. Spine blocked in foil printed with a design by the artist. Presented in a cloth-covered slipcase. 14? × 10?. Riddley Walker is Russell Hoban's genre-defying masterpiece set in post-apocalyptic Kent, in an England in the grip of a second Iron Age, and written in 'Riddleyspeak' a fractured phonetic version of English. This limited edition combines the extraordinary text with large-scale illustrations by Quentin Blake. Also included are an essay by Blake and a specially-commissioned postscript by Dr Rowan Williams, former Archbishop of Canterbury. Russell Hoban (1925-2011) was an American novelist who lived in England for much of his working life, producing a series of strikingly individual novels. Riddley Walker is his genre-defying masterpiece, a free-wheeling road-novel set in post-apocalyptic Kent, 2,500 years after a nuclear catastrophe has plunged England back into a second Iron Age. The survivors huddle in fenced settlements, packs of killer dogs roam the countryside and the rudimentary government communicates its policies through travelling puppet shows that fuse Punch and Judy, the medieval myth of St Eustace, elements of the New Testament and garbled memories of the technology that brought about the nuclear holocaust. This is a world where the ruins of Canterbury Cathedral are misinterpreted as the remains of a power station, and a postnuclear mutant incarnation of the Archbishop might just know the secret of nuclear fission. )
