Oceane, successful computer graphics designer and former erotic dancer, likes to travel, but doesn't like to go out; in fact, she never leaves home. She satisfies her wanderlust by bringing the world to her South London flat, using courier, satellite, radio, the Internet, and accommodating globetrotters making virtual visits to Panama, Istanbul, and Tokyo. Her meticulously constructed lifestyle suits her until she receives a letter from an ex–an ex who died ten years ago. She is forced into action and seeks out the help of Audley–failed mercenary, former personal trainer, and proprietor of the Dun Waitin Debt Collection Agency. When the first letter is followed by a string of missives, Oceane has to start searching the world to understand her past.Tibor Fischer's new novel is Robinson Crusoe and Treasure Island updated for the 21st century, weaving from the sex clubs of Barcelona, to the battlefields of Yugoslavia, to the deadly diving of Chuuk Lagoon. Combining his trademark sardonic wit and offbeat imaginative flair, Voyage to the End of the Room is Tibor Fischer in top form: a compelling page–turner that is at once a brilliant and darkly hilarious meditation on a random world; on what you can know, what evil looks like, why ketchup may be among a soldier's most important equipment, and how bubble gum can be used to collect on old debts.Tibor Fischer was born in Stockport, England in 1959 to Hungarian parents, both professional basketball players who had left Hungary in 1956. He grew up in south London before going to Cambridge University to study Latin and French. His first novel, Under the Frog, was shortlisted for the Booker Prize for Fiction. It tells the story of a Hungarian basketball player, Gyuri Fischer, dreaming of escape to the West while on a tour in 1950s Hungary.
His recent fiction includes The Thought Gang, the adventures of a middle-aged philosopher turned bank robber; The Collector Collector, the bizarre story of a pottery bowl; and Don't Read This Book If You're Stupid, seven tales of alienated and marginalised characters.
