Word about the new July festival has spread quickly, and visitors are flocking into the village. Even the rest of Hay-on-Wye has noticed the buzz in the Gwair quarter, and concerns have been expressed about this ‘upstart festival’. It is Hasib, the reclusive Poet-Philosopher, who recognises the PR value of this intended insult, and he encourages the organising committee, led by Myfanwy Detroit, to rebrand the festivities as the Upstart Gala. Malvolio Claxendell sends out invitations to his friends in Seven Dials, but sadly, they are delivered to Covent Garden instead of Hove, and they end up as part of a multi-thematic collage of paper and glass called Remote Osmosis.
After a searing attack from the Hay and Gwair News and Gazette (aka Hagnag), and fearing a copycat plot plagiarism in the Archers, the local farmers decide to end their demonstration. The slurry trailers retreat and during the day the air freshens. The village council, and the league of pub and tavern owners, vote to sponsor a Fête de Juillet (фестивал юли). In a complete volte-face, an accord is agreed between Malvolio Claxendell and Dido Doolittle so that the Gwair-on-Wye Literary Gala can be held without rancour. Overhearing the plan to commence the delayed festivities this coming weekend, Kolya decides that will provide a fitting opportunity to test his synchrotron.
A journalist from the Hay and Gwair News and Gazette (aka Hagnag) has arrived to cover the extended demonstration by local farmers. He experiences the full force of their argument when the slurry trailer passes. His subsequent report strongly favours the other side (you will recall that the demonstration is a protest against the public workers strike.) As he scribbles his copy, the shadowy figure of the infant genius (Kolya) passes behind him on his way to test his new tabletop synchrotron. None of this offers any consolation to the two rival bookshop owners, still waiting for the opening festivities delayed by the farmers’ demonstration. Perhaps Kolya has the answer.
It is the evening before the great day. At the Gwair branch of Yifitsin Print Books Malvolio Claxendell and Samuel Quinine are finalising the ‘Writers in their Landscape’ exhibition for the next day’s grand opening. In the corner, the infant-genius, Kolya, is constructing a prototype of a tabletop synchrotron, however he has encountered problems with the the ponderomotive force of intense short laser pulses. Meanwhile Dido Doolittle is working late at the rival Back Room Bookshop with a final rehearsal of the Seven Muses oratorio which opens the week-long New Age celebration. However when dawn breaks they discover that the Gwair quarter has been cut off by the tractors and trailers of local farmers protesting against the public workers strike.
Dido Doolitle's plans are brewing well. She has assembled the young women farmers chorale who are preparing to enact an oratorio by Myfanwy Detroit called ‘The Seven Muses’. (Poor Rabbi Oud Ramonides, already confused by the idea of Bara Brith, is puzzled to astigmatically read about ‘The Seven Moses’). Myfanwy herself will perform the part of Terpsicore, and Hwybren Masterson will be Calliope. Poor Sister Ada Sommos, who wanted to take the role of Erato, muse of Lyric Poetry and Porn, is persuaded to sing as Euterpe so that she can play her sackbut. With only seven ladies singing in the chorale, the composer has dispensed with Urania and Polyhymnia).
Using Raman spectroscopy, Lapricia Organdy is working on a puzzle presented to her by the New Herefordshire Gallery of Beaux Arts. As Chief Consultant Metallurgist she has been asked to see if it is possible to detect copper resinate pigment in a painting of Tintern Abbey attributed to the sixteenth century artist Uriah Claxendell. (Although as yet no-one has made the link, the artist is indeed an ancestor of Malvolio). Little could be further from the mind of the aforesaid descendant, who is currently organising the celebratory opening exhibition of the new Gwair branch of Yifitsinprint Books early next week. He is planning an exhibition of ‘Writers in their Landscape’.
Abdul Hasib ibn Burd is sitting by the serene lake composing quatrains of love poetry whilst above him swifts and sand martins trace intricate line drawings of embracing lovers in alpine leaved borders. Nearby, Samuel Quinine is taking photographs of the poet in the countryside for an exhibition of the writer’s work which is to feature in the opening celebration of the new branch of Yifitsinprint Books. When the sky clouds over, the two men head back home to Gwair-on-Wye, and discuss the gloomy headlines that have characterised recent news bulletins. ‘At the end of the day,’ says the poet, ‘I am an optimist. I have to be.’
