"I don't see what all this is about," said Hogg. He frowned still, turning over the page to find a photograph of four common louts who leered up at him, one bearing a guitar from which electrical flex sprouted, the others poising sticks over gaudy side-drums.

"Ah," growled the man, "don't bother me with it. You stick to your world and I'll stick to mine." And then he cried, very loud: "Mother, you've forsaken your son." Hogg nodded without fear. Had he not spent an entire summer among men given to sudden despairing ejaculations or, worse, quiet confident assertions about the nature of ultimate reality, often delivered, Hogg and other patients shaken awake for the intimation, in the middle of the night? He read on:

Jack Cade and the Revolters established the fruitful device of a heavy ictus on the fourth beat in their disc Like He Done That Time, pressed in April, 1964. In May of the same year this was further developed by Nap and the Bonies, who, in their Knee Trembler, transferred it to the quaver between the third beat and the fourth. Needless to say, this was achieved instinctually, these youthful performers being unburdened by traditional technical knowledge. In June both groups were superseded by the Turners who, intuitively aware of a new shift in the Zeitgeist, perhaps wisely reverted to a greater simplicity of rhythmical texture and…

"Ah, Hogg!" cried a voice both fierce and plummy. Hogg looked up to see a different Dr Wapenshaw from the one he remembered-an urban Dr Wapenshaw in a natty suit of charcoal grey with discreet stripes, more formidable than the one who, in that country retreat, had dressed for his consultations as if for outdoor games.