The Thackery T. Lambshead Cabinet of Curiosities

An invention commissioned from Jake von Slatt demonstrating the doctor’s commitment to the future as well as the past. Some have speculated this device supports Amal El-Mohtar’s “space Ark” theory. As described by Annalee Newitz, this image “illustrates an ideal system, where the knobs on the lower right demodulate cultural transmissions, and the amplifier beneath the bell transmits a psionic signal that can reach any analog neurological entity within 7,000 kilometers.” (See Newitz’s extended description in the Catalog section.)

More evidence of the disarray of the cabinet space, in a photograph taken during a 2009 appraisal. (Found in the display case at the back, a half-finished letter penned by Lambshead: “As Lichtenberg said of angels, so I say of dust. If they, or it, ever could speak to us, why in God’s name should we understand? And even if so, how then should we reply?”)

Therefore, the man’s house was in a catastrophic state of disarray, with letters from heads of state mixed in with grocery lists, major medical awards propping up tables or sticking enigmatically out of the many cat litter boxes, and several hundred volumes of his personal journals shoved into random spaces in a library as shambolic as it was complete. The only clean, uncluttered space was Helen’s study, which remained as it had been upon her death.

No doubt because of this disarray, and the introduction of an administrative red herring—Moorcock has suggested that Lambshead left instructions for someone to “plant the herring, no matter how badly it might begin to smell”—indicating that the collection had long ago been sent into storage in Berlin, it took caretakers until last year to unearth perhaps “the most stirring find,” as Le Monde put it. In the basement space, lost under a collapsed floor, were found the remains of a “remarkable and extensive cabinet of curiosities” that “appeared to have been damaged by a fire that occurred sometime during the past decade.” (Le Monde, “Une merveille médicale: Le curieux cabinet d’un médecin renommé enflamme l’imagination,” April 14, 2010) Strangely, there is no report of any fire from the many years Lambshead owned the house, and we have only a brief anecdotal (and probably false) statement from the doctor’s estranged housekeeper to guide us to any sort of conclusion.

The cabinet of curiosities took more than eighteen months to unearth, reconstruct, document, and catalog. Many of the pieces related to anecdotes and stories in the doctor’s personal diaries. Others, when shown to his friends, elicited further stories. In many cases, we had only descriptions of the items. Still, we were determined to build a book that would honor at least the spirit and lingering ghost of Lambshead’s collection. Thus, in keeping with the bold spirit exemplified by Lambshead and his accomplishments, we are now proud to present highlights from the doctor’s cabinet. These have been reconstructed not just through visual representations but also through text associated with their history and (sometimes) their acquisition by Lambshead. (As with any cabinet, real or housed within pages, it is, as Oscar Wilde once said about an exhaustive collection of poetry, a “browsing experience, to dip into and to savor, rather than take a wild carriage ride through.”)

We also have Lambshead’s own wistful words from his diary, written on a long-ago day in 1964: “It is never possible to completely reconstruct a person’s life from what they leave behind—the absurdity of it all, the pain, the triumphs. What’s lost is lost forever, and the silences are telling. But why mourn what we’ll lose anyway? Laughter truly is the best medicine, and I find whisky tends to numb and burn what’s left behind.”

Holy Devices and Infernal Duds: The Broadmore Exhibits

The Broadmore Exhibits

Greg Broadmore came by his interest in Lambshead’s cabinet of curiosities honestly: through a familial connection. “Lambshead’s family and mine were connected by an uncle, so even after my grandparents moved to New Zealand, they kept in touch.”

On a trip to England at the age of twelve, Broadmore and his parents visited Lambshead. The artist remembers “a man in his eighties who looked more like fifty, but was as big a curmudgeon as you could possibly imagine. But he seemed to have a soft spot for me. At the very point where I was getting bored listening to them talk in the study, Lambshead suggested he step out to take me to the kitchen for some dessert . . . and instead he brought me down some steep steps into an underground space filled with wonders. The place was hewn out of solid stone and had that nice damp cool mossy smell you find in caves sometimes.”