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when i started writing fiction i was influenced very much by ronald chetwynd-hayes' the time machine (1895), but i studied the proper you-are-not-what-you-think literature in english in the 1980s and, especially, frankenstein. then came high school and the creation of the modern horror school to which i subscribed until i ended up writing a novel about conspiracy theories. that is a tale about the evil threat that the same publication of ed gein scared readers in the 1950s and 1960s, a book that was not published until my time, of course. in some of my early books, i developed a theory of the end of the world as the catastrophes we have been living in since the 1970s have been interpreted as a sign that the end of the world is nearing. it has given me a great deal of anxiety and i am fond of citing how many young people would ask me for "permission" to die before the end of the world, fearing that the supposed coming disaster might not be so avoidable.a lifelong member of morris & co. and a longtime fan of his work (i've owned most of his works, including a large collection of furniture that still sits in my childhood home) i told myself i would be there on sunday to see that big exhibit and i am glad i did. the retrospective exhibition explores the nature of the lisson gallery and the relationship between museum and arts in london, and pays great attention to the historical role of william morris's house the red house (in bexley heath, kent). the museu nacional had a strong representation of the historical work of h.r. millers (1848-1935), a london architect who was morris's friend and collaborator. miller's 1867-1884 work (on top) is in the permanent collection of the lisson and is truly excellent.
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