Anna and the Black Knight: Incorporating Anna’s Book - Fynn

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      Anna and the Black Knight

      Incorporating Anna’s Book

      Fynn

      Illustrated by Papas

      HarperCollinsPublishers

      1 London Bridge Street

      London SE1 9GF

       www.harpercollins.co.uk

      First published by William Collins & Co. Ltd 1986

      This revised edition published by HarperCollinsPublishers 2005

      Text © Fynn 1986, 1990

      Illustrations for Anna’s Book © Papas 1974

      Illustrations for Anna and the Black Knight © HarperCollinsPublishers

      A catalogue record of this book is available from the British Library

      While every effort has been made to trace the owners of copyright material reproduced herein and secure permissions, the publishers would like to apologise for any omissions and will be pleased to incorporate missing acknowledgements in any future edition of this book.

      Fynn and Papas asserts the moral right to be identified as the author of this work

      All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the nonexclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse engineered, or stored in or introduced into any information storage retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins e-books.

      Find out about HarperCollins and the environment at www.harpercollins.co.uk/green

      Source ISBN: 9780007203000

       Ebook Edition © AUGUST 2013 ISBN ISBN: 9780007542901

       Version: 2018-05-15

      Contents

       Cover

       Title Page

       Q.E.I

       Keep Reading

       Also by the Author

       About the Publisher

      In Mister God, This is Anna Fynn told the story of his friendship with this extraordinary child, and of her relationship with ‘Mister God’ and the world around her.

      Anna’s story, with its timeless truths, lives on in the minds and hearts of countless readers. But after her death, little was left of Anna herself – except the abiding memory of her presence, and a few treasured fragments of her writing. In Anna’s Book Fynn shares these with us.

      Anna’s spelling and punctuation were, like herself, uniquely original and exuberant. In a few places we have altered these slightly, for the sake of clarity, but in no way do these alterations detract from the flavour of Anna’s language.

      The Publishers

      I told the story of Anna in Mister God, This is Anna. This is how it was. Anna and I found each other in one of these pea soup, foggy nights in November. I can’t remember the precise date, it was probably in 1935. I used to wander around the docklands of East London night after night. It was a nice quiet thinking place, and often I needed to think.

      It wasn’t at all unusual to find a child roaming the streets at that hour – in the 1930s it was just like that. When I had taken her home, and after she had washed the dirt from her face and hands, I really saw her – a very pretty little red-haired child, but as she later told me, ‘that’s on the outside’. It took me a very long time to know her on the inside, as she demanded to be known.

      The relentless pursuit of beauty engaged the few short years of Anna’s life. It was at first a little strange to be told that a picture smelt good, but I soon got used to that. Anything that delighted all your senses at once was, for Anna, God! And the microscope was a special way of seeing him.

      So it was that Anna found God in the strangest of places – tram tickets, grass, mathematics and even the dirt on her hands, and then somebody told you to wash it off!

      Whatever satisfied Anna’s idea of beauty had to be preserved, written down by anyone who was prepared to do so, and saved in one of her numerous shoe boxes. Every so often these boxes were placed on the kitchen table and the contents sorted out.

      Where she got the idea of beauty I do not know. In those years the East End of London was, for most people, a grimy, dirty place, but for Anna it was just beautiful. Anna spent most of her efforts in turning the ugly into the beautiful. This often meant inventing a whole new situation into which the ugly facts could be transformed.

      It

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