1.“This book is a work of fiction – but what does that mean anyway? Who can say where the boundary between the real and the invented exactly lies? All novels have chunks of real life in them, some more than others. Well this one will have rather a lot more than others! Any resemblance between the characters depicted here and real people is not coincidental. And since everything is preordained anyway, there is no such thing as coincidence!”I hope the author won’t mind me quoting the whole of the first paragraph as it seems seminal in my philosophical and literary thought patterns of gestalt real-time reviewing books over the years. Yet he MIGHT mind, I suppose. He may see ME as literary stalking, and part of what I DO do is just that, scrying literary and horror/SF genre texts for the inner or preternatural meanings in the book that the authors did not intend in accordance with the Intentional Fallacy — as well as to root out secrets about them that even they did not know about!This story is about Nicholas as narrator writing about, well, shall I yet tell you? I do not want to be crucified for issuing plot spoilers.I may indeed eke out this reading and parallel review of it, and leave any of my comments till I finish it. Or I may not.It starts, though, with a very entertaining depiction of his own feisty relationship with his partner, their fallings-in and fallings-out in their Clifton home, a relationship that is convincingly empathisable.“Robin is an ostentatiously camp hairdresser, almost a cliché really, and as if to hammer that point home, his body language sometimes borders on…”Borders on what? Well, you shall see. But I do pity Robin’s profession in recent times. But love that passage’s link to Hammer Films, to which the title of this chapter refers.