The cure worked miraculously. There were problems, of course. The main one was that the poor chap couldn’t see where he was going without twisting his head over his shoulder, which was painful. But by attaching a small rear view mirror to his forehead with an elastic band, he overcame this difficulty. Sermons were also awkward, but the congregation very soon grew accustomed to seeing their vicar walking backwards round and round the pulpit while he was preaching. In fact, it added a nice crazy touch to what was normally a dreary proceeding. In the end, the Reverend Robert Lee got so good at walking backwards that he never walked forwards at all, and for the rest of his life he became a lovable eccentric and a pillar of the parish.

Footnote

When I first, at the invitation of Tom Maschler of Jonathan Cape, produced a set of sample drawings for Roald Dahl’s book The Enormous Crocodile it had not occurred to me – I don’t think it had occurred to any of us – that we were embarking on a collaboration that would extend over fifteen years and a dozen books. It’s a collaboration of which I am proud and of which I have a lot of memories. Memories, of course, of discussion of pictures, of the subjects for pictures, of the interpretation of characters; most often carried out in the sympathetic atmosphere of Gipsy House, in the midst of the Dahl family. But other associated memories too, such as those Christmas readings which Roald used to give at the National Theatre. His audience filled one of the great auditoria – the Lyttelton or the Olivier; but nevertheless Roald – rooting in his old leather briefcase for the pages of an as yet unpublished story – seemed perfectly at ease; perfectly able to talk as though he were talking to each person individually. And after the performance, the signing of books. No children’s author can surely have signed as many books as Roald Dahl: the queue of the National Theatre would be across the foyer and down the stairs; and though it might take two hours, everyone had a word and a signature. This concern for his readers and readiness to be available to them didn’t end there. There were, for instance, replies to thousands of letters, both to children and teachers, with specially-written poems regularly renewed; and endless visits to schools and libraries.

And as well as generosity with time there were other kinds of generosity, works and gifts for charities and other institutions. They were private, not much talked about. But Roald had asked me to assist him in one or two projects for charity – a Christmas card for Great Ormond Street Hospital, for instance – and so it wasn’t altogether a surprise to hear that familiar voice on the telephone, early last year, asking me if I’d be prepared to illustrate something that he was writing for the Dyslexia Institute. What was surprising was to hear what was being offered: the auction of all rights, worldwide, for the period of copyright. It’s a privilege to be associated, among our many collaborations, with Roald in this book; a landmark of both his concern for people and his passionate belief in the importance of reading.

About the Author

Roald Dahl was one of the greatest storytellers of all time. He was born in Llandaff in South Wales, of Norwegian parents. His writing career began with articles for magazines such as The New Yorker and he wrote successful novellas and short stories for adults, such as Tales Of The Unexpected,before concentrating on his outstanding children’s stories. Twenty-seven of his books were published and brought enjoyment to millions of children and their parents throughout the world. He wrote The Vicar of Nibbleswicke in the last months of his life for the benefit of The Dyslexia Institute. He died in November 1990.