Christmas Links #7
Christmas Links #6
Christmas Links #5
Christmas Links #4
Christmas Links #3
Christmas Links #2
Christmas Links #1
Deadly Strangers.
Audio Hello. We'll get to the one(ish) line reviews in a moment but your writer has been trying to get to grips with what we're supposed to consider series or lines at Big Finish in recent years. Here follows a rant about numbers. The Eighth Doctor Adventures are now covering three distinct eras: the gap between Seasons One and Two of the original Monthly releases, the continuation of the story thread which began with the Lucie Miller adventures, continued through Dark Eyes and the Time War. Except the spine labels on the boxes flow between the first and second eras and even then without really making much sense.
Here's a rundown (which could be a list but I don't want to mess up the blog's formatting). They begin with the stand-alone Liv and Helen stories apparently set in the final moments of Stranded (between the TARDIS leaving and returning), What Lies Inside? (1) and Connections (2). But then there isn't a new sequence for the new strand of Audacity and Charley stories. Audacity and In the Bleak Midwinter are given (3) & (4) presumably because they share the same release months as the previous boxes. But then Echoes (more Liv and Helen) which came out the following May is (5) and finally Deadly Strangers and Causeway are (6) and (7).
All of which means if you want to keep the boxsets in continuity on your shelf, you're left with a number sequence which is all over the place and equally, if you stick to this number, the Doctor's portrait on the top shifts between TV Movie and Dark Eyes faces. Us Doctor Who fans (and U.S. Doctor Who fans) are quite used to spines on media releases not matching (apart from the BD releases so far which still sport the Whittaker logo despite us enjoying a whole new era in between) but this feels like a very weird choice, especially since they're being created by fans for fans.
Unless both strands are going to dovetail at some point. Despite the pictures on the box, I'm still not unconvinced that these stories aren't going to be revealed to be set after The Charlotte Pollard Adventures with Eighth and Charley reunited somehow. As I've said before, she sounds more mature and there's a moment in one of these stories where they talk about Ramsay the Vortisaur as though he's a distant memory which doesn't make sense given the context in which he's mentioned in the second original series. Something very strange is going on here.
Puccini and the Doctor
Which could just as easily have been called Unfinished Business since it's exactly that for both the Doctor and his writer for this adventure, Matthew Jacobs, who wrote the TV Movie with the Pertwee logo, oh so long ago. It's a celebrity historical in which the Time Lord meets the composer again before he's written some of his greatest operas and comes face to face with a creature who wants to steal and destroy humanity's creativity. Just astonishingly good. Jacobs had apparently only heard Chimes at Midnight before taking the gig, but caught himself up and then wrote this which despite using a similar method, AI never could.
Women's Day Off
Whilst highlighting a moment in women's history I shamefully wasn't previously aware of in which all of Iceland's women went on strike for a day in October 1975, McMullin's script plays not unlike something from The Sarah Jane Adventures as a young girl finds herself infused with magical powers which she can't control and the TARDIS team can only see disparate elements of the mystery in their own parts of the story until everything neatly dovetails at the end. Thoroughly entertaining, especially hearing the time ship's translation circuits giving Icelandics various UK regional accents rather than the actors affecting Nordic vowels.
The Gloaming
Almost as Route One Who as it gets, The Gloaming features an indomitable group of human survivors in suspended animation being threatened by an alien intelligence which is trying to spread itself across the galaxy. But in choosing the Mara, the writers have found the perfect monster for audio, especially the dream world which becomes two voices, one threatening, the other scared, voiced by the same actor demonstrating their range. Because the victim can't awaken without outside help, they're simply trapped there, the evil presence using their own anxieties against them. Chilling.
Placement: Between In The Bleak Midwinter and Invaders from Mars. For now.
Little Miss Can't Be Wrong.
Film The Guardian has a piece today about Kathryn Bigelow's A House of Dynamite in which Mike McCahill says various things about the film, but like a lot of critics he doesn't seem to have found the virtues I found in how the story is structured and particularly the climax, which I won't spoil for those of you who haven't had a chance to watch it amongst the firehouse of stuff released every day.
The number of film writers who've missed the point of A House of Dynamite are worryingly large. It's not a thriller, it's a character study. The repetition is the point. We're seeing the calamity through the lenses of much smaller and less knowledgeable groups as the decision on whether to retaliate ends up on the shoulders of someone who even less qualified than they are. At a basic level, don't give human beings world-ending weaponry. It's bad.
On each iteration we hear exposition and dialogue and then discover their significance as the narrative elements repeat. In the first couple of rounds, the President sounds Trumpian and incompetent. But when we finally meet him, he's an affable, smart person who is then handed the worst decision in the world at a moment's notice and has a series of near or total strangers advising him.
Which is utterly disturbing and in sharp relief to something like Fail Safe (both versions) and most of these kinds of films, in which almost all Presidents are portrayed as some kind of academic and diplomatic paragon in a fantasy world in which someone is elected based on how smart they are, which has *rarely* been the case. Unlike those films, the heads of state wouldn't immediately be on the phone with one another. The contact takes place way below the chain.
There's a terrific article in Slate by Fred Kaplan (ht, Allyn), a Pulitzer Prize nominated author of a book about just this subject which offers much greater depth on how realistic the film is and if anything it's even less terrifying than the situation we're in now when all of the key positions shown in the film are filled with people whose only qualification is they're willing to tell the President what he wants to hear all of the time.
But my overall point is that a lot of critics have missed that it isn't a traditional Clancyesque thriller. They've gone in expecting The Sum of All Fears or By Dawn's Early Light (which shares a similar story) and been disappointed. It's an "art house" film wearing the trappings of a mid-budget Summer blockbuster which asks the viewer to make a psychological leap beyond what they expect it to be into what it is.
Hall of the Ten Thousand (Big Finish Audio Short Trip)
Audio A neat bit of pure blood Eighth and Charley with the original theme, which at the time was pretty rare (2019), with India Fisher reading all the parts. Running just under forty minutes, it's a relatively complex story about the horrors of war and those who continue to live with the consequences. The TARDIS team visit a gallery to see one of the Doctor's favourite artists, who is pretty quickly revealed to be a megalomaniac who has destroyed thousands of lives because the righteousness of her ideology has become drowned out by her methods. This is Hidden Empire writer Jaine Fenn's only contribution to Doctor Who, yet she captures the two main characters perfectly, especially Charley, who has a fine moment when she uses some true/false logic straight out of Jim Henson's film Labyrinth.
Placement: Probably between seasons with the cluster of Short Trips.
7 Durham University Library
Books Durham University's First Folio is reputed to have almost the longest single ownership of all extant volumes. It was originally owned by the churchman John Cosin, who is thought to have bought it shortly after its publication around 1630. Exiled to France in 1644 for his loyalty to the monarchy, notably Charles I, Cosin's Folio was housed with his extensive book collection at Peterhouse, Cambridge. After the monarchy was restored in 1660, Cosin was made Bishop of Durham and built one of the country's earliest public libraries on the green near Durham Cathedral. In 1672, he bequeathed his collection, including the Folio, to the clergy of the diocese. It remained in the library—now called Cosin's Library—for centuries, until the collection was passed to Durham University in 1963.
Then, in 1998, the Folio was famously stolen. In 2010, the BBC made Stealing Shakespeare, a documentary about the affair narrated by David Tennant. In summary, an eccentric book dealer named Raymond Scott brought a First Folio to the Folger Shakespeare Library in Washington, D.C., for authentication, claiming he had acquired it in Cuba during a holiday with his girlfriend. Experts quickly identified it as the Durham Folio. When Scott returned to the UK, he was arrested and convicted of handling stolen goods, although authorities were unable to prove he was the original burglar. Scott unalived himself in prison two years later, maintaining his innocence to the end. However, an interview with a local newspaper, later quoted by The Guardian, suggested there was more to the story.
The Folio is currently on display at an exhibition in Cosin's Library that runs until the end of October. It's housed in a glass cabinet, allowing for a 360-degree view of the book, including its spine and back. Surrounding it are double-sided glass cases displaying pages that are still loose: the list of principal actors, the contents page, John Heminges and Henry Condell's introduction ("To the great Variety of Readers"), and odd pages from Cymbeline. Usually on these visits, the most I can see is whichever pages are on display and perhaps the binding, so this is a welcome change, even if the circumstances that led to it are grim. The university has also released a video offering an excellent view of the gorgeous Cosin's Library:
That video was almost the closest I was going to get to seeing the Folio. After hearing about the display, I booked an overnight trip to Durham from Sunday to Monday, planning to visit the cathedral on my arrival day (it had its own exhibition on the Magna Carta)(she did not die in vain) and see the Folio the next morning. Durham Cathedral is as gorgeous as its reputation suggests, and I especially recommend its museum. Apparently, it doesn't have the same footfall as the rest of the building, but it houses numerous important relics. These include the extraordinary wooden coffin of St Cuthbert; the saint himself, along with the Venerable Bede, is buried elsewhere in the cathedral in his own tomb. As a bonus, you can also see the spots where the Asgard scenes were filmed for Avengers: Endgame.
After finishing at the Cathedral on my first day, I realised the First Folio exhibition was nearby, so I decided to pop in to check the opening hours for Monday and see if I needed to book a space. The very helpful person at reception informed me that the library, and therefore the exhibition, were closed on Mondays, but that I had arrived just in time for the final entry of the day. In other words, if I hadn't happened to drop in, I would have travelled all the way to Durham for no reason—much like a recent, trip to London with its lack of various fruits. Fortunately, just this once, Rose, I was in the right place at the right time and was able to see the Durham University First Folio. It's one of the documents listed in my guide on this journey, The Shakespeare First Folios: A Descriptive Catalogue, and one that I thought was going to be among the most difficult to see.
Navigating Glastonbury 2025
Music Hope you're all enjoying Glastonbury this weekend, even from your armchair. After a similar posts proved popular in the last couple of years, I've decided to repeat the exercise for 2025. As I explained last year, the navigation of the various stages and sets on the BBC website isn't particularly ideal. Unlike the previous decade when the line-up was structured around stages, this year, everything is mostly just bunged in all together under different "genres".
This year, after shutting down the music pages, they haven't even bothered with a line-up and instead you're directed straight to the iPlayer, which doesn't matter exactly, but it's still a lot of effort to navigate especially because as usual it's sometimes difficult to see the difference between a broadcast highlights show and a full set. The list below will only have the full set unless there's no other choice.
So I've created a breakdown of Glastonbury by stage with links to these full sets - most of Friday is already there and I'll keep updating this over the next week checking in now and then. Most stages have every act apart from the first few. The links below should be valid for a month so you have until near the end of July to catch up. Obviously this is only helpful if you're watching things on a tablet or PC. You could always try casting them I suppose. Anyway, on with the show.
Pyramid Stage
Friday 27 June
Reflections.
Audio There's an old video from the A Bit of Everything Youtube channel which the algo surfaced this morning. The maker's raison d'etre is investigating the timeline placement for new content in the Marvel, Star Wars and DC cinema universes through close readings of props, dialogue and captions. As you might imagine this is catnip to me and through the spreadsheets on his Google Drive, I'm at least able to work out in which order to store the Marvel blurays.
This particular video talks about the approaches taken by the MCU and Star Wars in relation to their own timeline or mythological histories. The whole thing is worth watching but essentially he notices that while almost every new piece of MCU content is set after the previous and is telling a story which rarely looks backwards, everything Star Wars releases (including the EU now) is set earlier in its timeline than the sequel trilogy with nothing set after The Rise of Skywalker. He proposes that at some point Star Wars is going to run out of space to tell stories.
Somehow, Doctor Who has always managed to combine the two. While each new television series offers the next chunk of the Doctor's story, spin-off media fills in the gaps. Even when the franchise was off-air, the instinct of most publishers was to produce new tales of the "current" incumbent whilst also providing extra adventures for his past incarnations. If the show falls off air again, who can bet BBC Books will be right there with the new adventures of the Sixteenth Doctor with Billie's face making a welcome return.
Meanwhile Big Finish will be creating boxsets set in the past lives of the character. Like Andor, we know the fate of most of the main characters but somehow there is still an interesting story to tell, in this example how Cass ends up on the ship crashing into Karn and why she doesn't know who the Eighth Doctor is and why she's so scared of the Time Lords. Yet it also feels like we're listening to the ongoing story even though it's set at least a dozen incarnations earlier than whoever's due to be in control of the TARDIS on TV.
Nowhere, Never
How would I have approached television's Wish World if I'd listened to Cass's domestication in this story first? Unlike Belinda, her personality doesn't fundamentally change even if, as is the way with the Eighth Doctor and his friends in general and specifically in this series, she has amnesia. Shades too of Wandavision as her overfriendly neighbour reveals her sinister side, the casting of Hattie Morahan a glorious red herring. Night of the Doctor didn't offer much information about Cass, but the writing in this series, particularly from Katherine Armitage here is turning her into a very rich, memorable character.
The Road Untravelled
Even with her memories back (as far as she knows), Cass then finds herself in the situation of having a ship's crew of people recognising her and she not having the faintest idea who they are. But the real draw in Tim Foley's script are the scenes in which Alex has his origin story forced on him, with glimpses of stories never told and a hint of the climax of the Lucie Bleeding Miller adventures. This would have been an excellent moment for a Sheridan Smith cameo but unlike Lucasfilm, Big Finish doesn't have infinite money. This is the kind of story which repays the loyalty of listeners.
Cass-cade
The set piece stand alone episode in the boxset, writer James Moran's return to the Eighth Doctor's life sees Cass dealing with the amnesia of others, in this case the Doctor and Alex, who keep appearing with only a hazy recollection of who they are. It's a jigsaw narrative, with Cass attempting to draw together the chronology of events just enough for her to meet herself and her friends backwards. Her pleas to be remembered by the Doctor have extra gravity given that its the two of them forgetting each other which leads to her demise. Expect to see this in the nominations for audio drama awards.
Borrow or Rob
Now it's the Doctor's memory which causes a rift with his great grandson, as his macro approach to problems at the dying embers of this incarnation lead him to forget to check on the health of individuals. Although Alex's mind is effected by the juicy fruits, much of what he says about the Doctor is true (although I did like how Cass attempted to distance herself from his other remarks. Then there's the shocking cliff hanger in which Dan Starkey turns out to playing the enemy we actually think he must be playing and is just the kind of random bollocks which makes Doctor Who so special.
Placement: Directly after Cass.
The Final End.
TV You will have seen reports in the past few days in which people who know they've signed NDAs but are a bit loose in their understanding of what one of those is, have "revealed" some details of when Ncuti Gatwa's time might otherwise have ended. The usual places have created text to fill in the gaps between advertising but we've no way of knowing what really occurred. As far as Unleashed and DWM are concerned, Ncuti only originally signed on for a couple of seasons (which is pretty usual when it comes to contracts) with presumably the potential for an extension. Even the classic series had a similar situation (see David Brunt's The Doctor Who Production Diary: The Hartnell Years for extensive examples of the paperwork).
Most of the outlets in the broken telephone exchange have decided that there were massive reshoots whilst noting that Disney+ accidentally leaked the above photo of a May Day celebration which was originally going to cap off the series and had an outrageous, Face of Boe-like reveal which probably left RTD chuckling into his ashtray at 3am in the morning, hopefully between emails with Ben Cook in preparation for The Writer's Tale: Redemption. Except we don't know if something has been lost in translation and that scene wasn't simply dropped because tonally it wasn't working and didn't fit within the context of everything around it. Cue a clip from the Hearts of Darkness documentary of Francis Ford Coppola freaking out about cutting the French plantation sequence in Apocalypse Now.
But just for a moment, let's just speculate on the process of having to shoot new material for the end of that story. On the socials in the week of broadcast, I received several likes for saying that the story as a whole was a bit like one of those old six parters, your Seeds of Doom or Invasions of Time, in which the germ of one story become the catalyst for another. The main narrative pretty much wraps up with the Doctor helps Ruby leave the wish baby with her Mum and Grand Mum and you can see version which would indeed cut to the party scene with the episode ending on the revelation of Poppy being Susan's parent leading into the following year's shenanigans, a thematic connection about mothers and daughters.
That would leave the episode with a duration of about forty-five ish minutes, comparable to the rest of the series. In which case the new material kicks in when we return to the TARDIS and the Doctor relishes being domestic until he doesn't thereby creating the inciting incident which leads to his regeneration. Let's disengage from suggestions about a third series foregrounding the search for Poppy. That feels overly complicated and not RTDs sort of thing at all. Plus the idea of crashing into the party scene with Ruby sobbing while everyone around her is celebrating doesn't feel logical. This version of Doctor Who, Lindy Pepper-Bean not withstanding, is more celebratory than that, more Disney.
In which case, let's celebrate how, with limited time and presumably resources, RTD and rest of the production team were able to bring everything together for this new material. In writing this coda Russell knows the budget won't extend to a massive new locale, so in a virtuoso piece of writing he utilises what he has - the TARDIS console room, which is a standing set and UNIT Headquarters which has just recently been utilised for the spin-off series. Perhaps the interior of Belinda's house is a redress of another domestic property from The War Between the Land and the Sea. Davies also might have repurposed dialogue from the original version, perhaps even the party scene, but to be reshot so that it blends which this new conclusion.
The fact that all of the actors were able to return and produce the performances they do in these circumstances is a mindwalk, especially Millie Gibson, who carries the emotional weight of this new story as Ruby gives that speech about Poppy's disappearance brimming with "If there's nothing wrong with me, maybe there's something wrong with the universe!" energy. Jodie wandering in and being her Doctor again as though no time has passed (perhaps helped by recently recording at Big Finish) in what's probably one her best scenes ever. And of course there's Ncuti, having decided to move on from the role because the entire world is his oyster now giving his incarnation the full belt send-off (Jodie has the braces).
The way this has been talked about as some kind of conspiracy theory and incredibly negatively and what especially pisses me off is how Billie's emergence at the end is somehow a "lazy" or "illogical" choice. A lot of work will have gone into those few seconds of screen time, from finding out if she's interested, signing contracts, setting aside a studio day, costume, make-up, special effects, even deciding what her first words is going to be. Plus it's gutsy. It's the RTD of old having an unexpected appearance of Catherine Tate in the console room seemingly from nowhere or the Tenth Doctor regenerating in a gleeful creative moment after being shot by a Dalek at close range. What the fuck happens next?!?
Not to mention, as Chris Williams said on Mr BlueSky:...RTD knows what he's doing... Everyone is talking about the regeneration and wants to know what happens next. Rather than leave it hanging with half a regeneration and a vague end to it all. Plus if it is the end then the last face we see is the first face we saw in 2005....
— Chris Williams (dink) (@chriswilliams-dink.bsky.social) 31 May 2025 at 23:50
But we don't know if this is the final end (until the next one). Even if Disney have pulled their funding, as these extra scenes and the yesteryear of the franchise demonstrates, Doctor Who is arguably at its best when its on life support and fighting for its existence. There's six months until Christmas. Who wouldn't want to tune in to see a Billie Piper incarnation of the Doctor saving themselves or the universe for an hour with whatever caves, sets and props can be found in the store alongside the TARDIS set. More Keys of Marinus? Another Mind Robber? The Revenge of Koquillion? After Midnight? Actually no, they've already done that one. Either way, I'm all in. As usual.
The Final Poblom (The Paternoster Gang: Last Stand)
Audio Having skipped the middle two boxed sets in this series for financial reasons (Eighth Doctor completists of the world unite!), I entered this with little idea as to who this great antagonist, the Zygon Brottac actually is. Curiously the character doesn't have his own page on the TARDIS Wiki, a place where even a random shopkeeper in a Torchwood audio is gifted a mention. He's supposed to be Vastra's Moriarty figure with this her The Final Problem (the title of the final play in the box an obvious play on words). The whole thing is an excellent romp with some killer one liners from Strax one of which made me laugh so much I had to pause the drama until I'd finish. I'm still grinning about it.
The Final Poblom
McGann plays duel roles, the vocally acceptable face of Brottac, a rare occasion on Big Finish when he goes full Zaroff and the Eighth Doctor himself for a couple of brief scenes. My understanding from listen to this is that it was revealed in one of the plays I skipped that the Eighth from the first play may have been at least partly Brottac in disguise. The Time Lord himself appears in just a couple of scenes, both of which continue the notion of him appearing in their lives in a non-chronological order. He's still a pretty shadowing figure and there's not much more to say. The ending seems to suggest that this isn't his last appearance in The Paternoster Gang (hopefully with more to do next time).
Placement: Straight after Till Death Do Us Part
The Absence of the Folios.
"... a funny thing happened when I rang Sotheby’s and started asking questions on behalf of The Observer. The auction, I was suddenly told, had been cancelled. The listing was scrubbed from the website; the “set” had been privately sold.
"This may be cockup rather than conspiracy: two antiquarian sources suggested to me that the private sale had been in the works for some time, and that “the sale should never have been announced” publicly. At last week’s London’s Rare Books Fair, where Stephen Fry and Graham Brady were among the men in suits queuing outside the Saatchi Gallery, the gossip was of furious collectors outmanoeuvred by a megabid."
So there we have it. This Folio remains inaccessible even to academics as whoever bought them at Christies in 2016 has sold them to another private buyer. If Sothebys hadn't made the sale public, us normals would never have known about them.
But I do hold Sothebys somewhat responsible for my predicament. Rather than simply yanking the press release from the website leading to the generic 404 and some intimidating telephone numbers, a more helpful option would have been a note saying that the item had been removed from sale and that viewings had been cancelled. Even Tesco tells its shoppers when a product has sold out. Anyway, I've emailed Sothebys with that suggestion and this Tesco gag. Let's see what happens.
"Put on your suit and tie, put on that killer smile."
Welcome to the Jungle.
26 National Art Library
Books In Eric Rasmussen's catalogue of Shakespeare's First Folios, the 'manuscript annotations' section typically covers about half to three-quarters of a page. However, this copy features two full pages of dense text and a separate paragraph of general notes. That’s because a previous owner took it upon themselves to correct the text in red pen, going through four history plays, changing every comma to a semicolon, underlining any artillery terms in King John, and sporadically ‘correcting’ modern English spellings to more contemporary versions (‘marlemas’ written above ‘Michaelmas’).
Rasmussen suggests these annotations were the work of John Forster, the biographer and literary critic who was the final private owner before bequeathing his library to the National Art Library (now part of the Victoria and Albert Museum). However, the man who gifted it to him, Joseph C. King, a schoolmaster best known for educating two of Charles Dickens's sons, was the only other known owner. Purely fantasy, probably, but it’s easy to imagine him poring over the text with the same zeal he applied to his students’ scripts, tutting and shaking his head as he proofread Henry VIII, writing ‘confessions’ above ‘commissions’. That’s probably why these pages were chosen for display—they’re the least scarred.
Ticking this folio off the list was a happy accident. For the past six months or so, I've been travelling down to London again thanks to Avanti Superfare, with mixed experiences. The cheapness of the tickets has the caveat that because they're seat filling you don't know what time that will be. Almost every month it's been the 11:45 am from Lime Street which means not arriving at Euston until 2:00 pm, with a return ticket at about 7:45 p.m., not so much a day trip as an afternoon 'rager' (if you can compare being overwhelmed by the intellectual brilliance of others in ancient buildings to drinking five Jägerbombs and chundering in a strangers garden which in my post-alcohol world you certainly can).
What with that chronological uncertainty, this was my last trip down to London for a while (or at least until the price become low enough for me to be able to afford an earlier journey) so I decided to return to the Theatre & Performance galleries, which were the site of my first visit. The space has changed considerably in the past nine years. Originally it was somewhat chronological with models of the original playhouses in the first section and sense of beginning at the beginning. Now its much more thematic and based in crafts, with costume, set design, props and the rest given their own sections. Fortunately Kylie's dressing room is still present and correct with its good luck lipstick greeting from Dannii on the mirror.
But still, right at the beginning, is Shakespeare's First Folio, and I surprised and delighted to find it wasn't the same edition displayed in 2016 and featured on television but the aforementioned volume last owned by Forster. As you can see from the photo, it's displayed against a black background, mounted with a fair gap from the protective glass and for some reason parallel to a join so that it's impossible to look at it straight on, let alone get a picture of it. You can just about make out that it's the second two pages of A Midsummer Night's Dream (146 & 147), the kids deep into the initial explanations of who loves who at that point. If I'd known about the red "corrections" at the time I would have looked for them but they're not obvious from the photograph.
In terms of physical differences from other copies, Rasmussen notes in the First Folio catalogue that the authorship of a couple of plays is also questioned. The title page of Cymbeline has "Not Shakespears, any part of it" written across it (don't tell Michael Blanding) and Titus Andronicus says "Not Shakespeare; scarce a word" even though Henry VI is right there. Recent research from Brian Vickers (well, from 2002) suggests it could have been co-authored with George Peele so perhaps the statement might be partially correct. Once it came into the National Art Library's possession they stamped it with 'Department of Science and Art 1876' in block capitals, along with 'Forester Bequest'. It's also incomplete. The preliminary pages (introduction and so forth) are 'poor-quality printed facsimiles'. Every copy is different. Next.