John Fraser's latest work of fiction consists of three thematically-linked trajectories. In the first, two Palestinians escape to humble, even humiliating work in Belgium. They manage to set themselves up as a think-tank above a public dance-hall, and their lives divide between the search for a lofty principle and the drinking and music in the floor below. The link between the levels is provided by a fussy, garrulous first-person narrator, whose own adventures turn out to signify little. There is a party, where the upper and lower worlds mingle, the protagonist dressed as moths and butterflies. The Palestinians move on - one to a ruined Syria, the other to frustration in Europe. The second tale involves a bright country girl, seduced by her teacher with aspirations to a powerful career. She seeks speed, which does not end well for her. In the final tale, the hero aims higher still - a project for the human species. This involves journeying through Eastern Europe, and its underground. Its climax is the burning of a stranger's house, and a long long wait for a slow train... John Fraser has previously published the following works of fiction, all published by AESOP Modern, an imprint of AESOP Publications: Animal Tales; The Answer; Black Masks; Blue Light / Starting Over; The Case; Down from the Stars; Enterprising Women; Happy Always; Hard Places; An Illusion of Sun; The Magnificent Wurlitzer; Medusa; Military Roads; The Observatory; The Other Shore; The Red Bird; The Red Tank; Runners; 'S'; Short Lives; Sisters; Soft Landing; The Storm; Thirty Years; Three Beauties; Tomorrow the Victory; WayfaringThe distinguished poet, novelist, Whitbread Award winner and Booker Prize nominee John Fuller has written of Fraser's fiction: 'One of the most extraordinary publishing events of the past few years has been the rapid, indeed insistent, appearance of the novels of John Fraser. There are few parallels in literary history to this almost simultaneous and largely belated appearance of a mature oeuvre, sprung like Athena from Zeus's forehead; and the novels in themselves are extraordinary. I can think of nothing much like them in fiction. Fraser maintains a masterfully ironic distance from the extreme conditions in which his characters find themselves. There are strikingly beautiful descriptions, veiled allusions to rooted traditions, unlikely events half-glimpsed, abrupted narratives, surreal but somehow apposite social customs. Fraser's work is conceived on a heroic scale in terms both of its ideas and its situational metaphors. If he were to be filmed, it would need the combined talents of a Bunuel, a Gilliam, a Cameron. Like Thomas Pynchon, whom in some ways he resembles, Fraser is a deep and serious fantasist, wildly inventive. The reader rides as on a switchback or luge of impetuous attention, with effects flashing by at virtuoso speeds. The characters seem to be unwitting agents of chaos, however much wise reflection the author bestows upon them. They move with shrugging self-assurance through circumstances as richly-detailed and as without reliable compass-points as a Chinese scroll. 'Of Fraser's Animal Tales, Fuller wrote: 'It convinces me that he is the most original novelist of our time. His work has become an internal dialogue of intuitions and counter-intuitions that just happens to take the form of conversations between his inscrutable characters. But really it is a rich texture of poetic perceptions, frequently reaching for the aphoristic, but rooted in sidelong debate and weird analogies. When I return to his books it is like finding the rare fruit spirit in the drinks cupboard and realising that it wasn't just for special occasions, but is at all times superior to Pilsener or Merlot. I now class him as a latter-day surrealist. 'The full text of John Fuller's article on Fraser is at www. johnfuller-poet. com/johnfraser. htm.