Publisher's Synopsis
Pleasingly mental... like The Archers meets The League of Gentlemen. VIV GROSKOP
For all fans of Magnus Mills and Tom Sharpe, Orange Carrot Orange is the first instalment of Figg's Progress.
Mr and Mrs Figg are farmers. As their marriage collapses, Lloyd tells Daphne that he can definitely grow better vegetables than she can. She disagrees and, with the prestigious county fair approaching, the bet is on.
While Mrs Figg's strawberries and newfound love life flourish, Mr Figg has a breakdown. On show day, he presents the world a briefcase containing an orange that looks and tastes like a carrot. Things get well and truly out of hand, and the world will never be quite the same again. Is Mr Figg the saviour of mankind? Is he the Second Coming? Or is it all a great big fib?
This is a story about humans. It is a story about faith, credulity and apocalypse. It is a story about carrots.
A ridiculously silly satire told with a straightforwardness and wit that recalls Dahl at his driest. JOHN DOUGHERTY
Part Tales of the unexpected, part Alan partridge with a spoonful of The Thick of It. OLIVER HURST
Orange Carrot Orange walks the straight line that no one has noticed before; the one that leads from Ambridge directly into nuclear apocalypse. You might think that a story about an orange that looks and tastes like a carrot would be silly. In fact, it's profound, satirical and silly. With a story that sweeps from the The Little Wighorn and Finchstead Agricultural Spectacular up to the summit of Mount Corcorvado, via the White House lawn, Orange Carrot Orange is an allegory for our times, a deceptively simple tale of what happens when people really really want to believe something is true. It is fair to say that you have definitely not read a book like this one before. EMILY BARR
Strangely charming with a nice Roald Dahl vibe running throughout JAMES HENRY
A modern, multi-layered comic masterpiece, offering a satirical twist on the traditional morality tale. Thematically complex and ambitious, it is at one and the same time a surreal comedy, a Faustian-like tragedy and allegorical rite of passage. Think Dahl meets Dali. ANDREW MCGUINNESS