In the city of
Strasbourg in 1436, a woman sued the father of printing,
Johann Gutenberg, for breach of promise. Her name was Ennelin zu der
Iserin Tur, in English, Anne of the Iron Door. The outcome of the court
case is not known, but it is known that Gutenberg never married, and he
did pay taxes for ‘another person’ in Strasbourg sometime before 1440.
Not much is known of Gutenberg the man, although a number of official
documents still exist that mention him.
Of
Anne we know practically nothing beyond her remarkable name. In Alan
Loney’s extraordinary fable he uses the historical records to weave a
fictional life for Anne, almost purely for the purpose of keeping her
name alive. In Anne of the Iron Door Loney creates a world of deceit
and betrayal, disease, unicorns, playing cards, the birth of printing,
and a strange tale of mutually unrequited love.
ISBN 9781876044695
Published 2011
$26.95
130 pgs
Anne of the Iron Door
book sample
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Reviews
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BooksMegan Blackberry
The Launceston Examiner, Saturday 1 October 2011
“There was a man who changed the world and a woman who changed him, but hardly anything is known about her.”
In 1436 the father of printing, Johann Gutenberg, was sued for breach of promise.
The woman who sued him was named Ennelin zu der Iserin Tur, in English, Anne of the Iron Door.
Nobody knows the true outcome of the court case.
Loney’s fable weaves the story of Ennelin and Johann elegantly,
creating a world of unicorns, playing cards, disease and unrequited
love.
Even though hardly anything is known about
Johann as a man, or about Ennelin at all, Loney manages to make them
real, all for the purpose of keeping Anne of the Iron Door’s remarkable
name alive.
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Launch
Speech
Alex Skovron (poet and editor)
5 September
2011, Readings Bookshop, Carlton
Alex Skovron launching Anne of the Iron Door
Titles can be telling.
If, going by the title Anne
of the Iron Door, you are inclined to suspect that this
might be an unusual or a curious book, you will not be mistaken. It is
both curious and unusual. I’m almost tempted to call it a curiosity, and the
title is only the beginning. It’s fiction, but not exactly; faction
perhaps, but not quite. Maybe we should call it non-faction! Indeed,
this is a strange
little book - which is part of the reason I took to it at once.
‘There was a man who changed the world, and a woman who changed him.’
It’s hard to resist reading on from an opening sentence like that! And
before we’ve caught our bearings, we find ourselves riding an
irresistible carousel of a read. In essence, it revolves around
Johannes Gutenberg and the invention of printing. And, as the author
declares at the outset, it reveals ‘one of the most closely guarded
secrets of our civilisation.’ He continues: ‘No one has ever remarked
on it as far as I know. Yet without it, Johann would not have invented
anything.’ Moreover, at the heart of the story - and,
we are promised, the very key to it - is ‘a book, and a
woman’.
From there, as the carousel rotates, we visit and revisit a colourful
assortment of people, predicaments and obsessions. A helpless
infatuation at first sight, playing-cards with exotic suits, a failed
pilgrimage for profit, implacable longing, a deathless love, a cynical
lawsuit, looming tragedy, the mystique of unicorns, sex both bad and
good, the intricate mechanics of chastity belts - all with copious wine
(or so it seems) flowing at every turn. Meanwhile, we are progressively
initiated into the physics and chemistries of early movable-type
printing: from wood to metal, from paper to ink, from individual
letters to whole character-sets.
Speaking of character-sets, this book offers a set of characters that
impress themselves onto the page like, well, hot type! It’s the story
of two Johanns, a woman called Enne, another called Elle, and a curious
supporting cast. The story of a world-changing inventor, an enigmatic
girl, her devious ambitious mother, a lascivious card-shark and
shyster, a besotted chastity-belt-fashioner, a lecherous treacherous
shoemaker; plus - the shadowy Master of the Playing Cards, who among
his other accomplishments was the possible inventor of copper
engraving. All this set against a background of the frictions between
merchants and patricians in fifteenth-century Mainz and Strasbourg.
The author is of course an interesting character in his own right. Poet
and printer, publisher, author and critic, Alan Loney is an interesting
man - perhaps even a curious one. We first met, as I recall it, in June
2007 at a poetry-book launch just round the corner at La Mama. A year
or more later I read his extraordinary memoir on the art and craft of
making a book, The
Printing of a Masterpiece (2008), of which Chris
Wallace-Crabbe wrote: ‘I have never seen paper, ink or type described
in such a sexy way, let alone the character of pen nibs.’ More recently
I was swept along by an earlier work, The Falling (2001),
a haunted, poetic delving into memory and childhood, through the medium
of a New Zealand train disaster of the 1950s. Reading those two earlier
publications revealed not only a probing, original imagination, but a
taste and talent for the oblique angle.
In Anne of the Iron Door,
Alan Loney, being an interesting and perhaps curious man, marshals that
obliqueness of angle to tease deftly at our curiosity - so deftly that,
too curious to resist, we succumb. Because he plays with us - or more
correctly, plays us. Right at the start, assertions are negated by
qualified denials. Periodically thereafter he reshuffles our
preconceptions like the slippery decks of cards that occupy one of the
cardinal points of this twirling compass of a tale. I say one of the points
because, like a medieval mechanized celestial globe (also known, as
Alan will no doubt confirm, as a spherical astrolabe or an armillary
sphere) - like such a construction, this book turns about a number of centres,
axes, meridians, tropics, ecliptics; what have you.
The story unfolds in parallel narratives - orbits, if you wish - that
ultimately, the reader supposes, must intersect. To deepen our sense of
adventure, the first line of each of the 61 narrative portions (some of
them just a sentence or two in length) opens with a graphic little
silhouette of one of the four traditional playing-card suits, in
alternation and always in the same sequence. I found myself leafing
back and forth, trying to decipher the pattern and its significance, to
match each suit to the characters and evolving themes and shifting
situations. A curious, obsessive touch, like the unicorn that keeps
wandering in from the front cover at regular intervals.
The tale proceeds, from its several directions, with relentless
purpose. The narrative voice is controlled and omniscient – yet at the
same time remarkably elastic: from objective to warmly familiar, from
matter-of-fact to ironic to flowingly lyrical – with frequent echoes,
rhetorical coils and involutions that accentuate the fabulistic
atmosphere. All dialogue is without quotation-marks, a clever
distancing touch that adds to the timelessness of the tableaux. The
back cover mentions ‘playful prose’. For one example, listen to this
passage:
When Enne and Johann met they
were introduced to each other or not, they were in a house or building
or not, they spoke to each other or not, but both were aware of the
elemental power of the exchange, brief or not, that occurred between
them.
That kind of hedging, or
(if you prefer) uncompromising honesty, is a large measure of the
book’s charm, and of its curiousness. At the same time, it’s a token
also of its pedigree as a species of speculative fiction (oops, I mean
speculative non-faction), with its historical juggling-acts and
biographical sleight-of-hand - and, at its centre, a fanciful,
revolutionary technology which, to the average fifteenth-century
indentured scribe, could well have approached the medieval equivalent
of sci-fi.
You will enjoy this book. The prose is lucid and well-paced; it travels
lightly but surely, engaging the reader from the start. There are
plenty of adventurous twists, audacious thrusts, strange and memorable
moments - all plotted into a page-turning procession of finely-tuned
chapterettes. I’ve deliberately kept my quoting to a minimum, and I
mustn’t give too much away - at just 115 pages of generously-leaded
text, this is already a shortish novella. I would suggest that you
journey through the experience in one sitting.
Anne of the Iron Door
could be described as a small classic - or even as a miniature gem. The
book is also an object of some beauty to handle and to leaf through.
The design and layout are attractive, with ample white space to sharpen
the momentum and set off the crisp typography; occasional
strategically-placed illustrations complete the effect. If, up to now,
the name ‘Johann Gutenberg’ has conjured up only ‘invention of
printing, circa
1450’, then I hazard to promise that after you close this conjuror’s
invention, that name will never be quite the same again.
Congratulations to Alan, and to Black Pepper. I commend Anne of the Iron Door
to you for your curious delectation, and have much pleasure in
proclaiming her officially launched.
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