The author is a senior scholar of Peterhouse and graduated from Cambridge University with a first class degree in English. He went on to study law, specialising in commercial litigation, and applied his creative skills in legal practice for his many grateful clients prior to taking up fiction. His cases are in the law books and on the syllabus. He is now Senior Partner Litigation for worldwide law firm Ince.He lives in London and Cadaqués in Spanish Catalonia.
Like many other books, this book is about a journey. But unlike other books, the destination of the journey is the point where the parallel lines meet. The narrator is locked inside the book. The only way he can get out of it is by persuading one of the other characters in the book to finish off the writing process for him. But before he can do this, he has to make a journey.On his travels, there are a number of waypoints where he must stop and collect materials which are pasted into the book. When the book is completed, he can leave the book by delivering it to the individual whom he will meet at the point where the parallel lines meet.This journey, which is accomplished across his lifetime, takes him from the birth of Christ to the near future, with the author bending time by complex double time schemes, riddles and mathematical formulae. Every waypoint appears incredible at first, but we are in the world of weaving narrative into fiction but not fantasy. Every one of the waypoints is historical fact.There is no trickery. The narrator does indeed take us to the point where the parallel lines meet. It had been staring at us in the face all along.
Based on an intriguing alternative history hypothesis, this novel imagines a world where the Moors never left Southern Spain after their 800-year reign but instead expanded their empire across Europe. This fascinating premise is explored through the chaotic lens of a bumbling film crew in the Sahara desert. The director, lost in a haze of Moroccan kif, has embraced the local culture a little too enthusiastically. With the scriptwriters gone and the leading actor in a perpetual sulk inside his Airstream, the production is at a standstill.
Enter Tinctorio Indigolin, a bitcoin billionaire on the run from a Shakespeare-quoting Irish assassin. In a bid to leverage a tax loss, Indigolin acquires the film rights, injecting a new lease of life into the project. Mysteriously, a captivating screenplay begins to appear on set, page by page, night after night. Penned by an enigmatic writer, the script proposes a world where the Moors didn’t just resist expulsion in 1492 but went on to dominate Spain, France, and Italy, creating an Islamic State of Europe.
As the screenplay unfolds, it transforms the lives of everyone involved in the film.
The narrative weaves through a labyrinth of twists, assassinations, and narrow escapes, employing the most unexpected methods, only to culminate in the most uplifting conclusion you’ll encounter this year.
I recently visited Sydney’s rooms in Gisborne Court, Peterhouse, mentioned in my book. The visit reminded me of the events that happened in that courtroom narrated in the book.
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