At the heart of the book is the famous Australian hoax, the Ern Malley affair, in which two young, still-forming poets, McAuley and Stewart, fabricated the raw, working-class identity Ern Malley, only to have him die tragically young, leaving behind his book of experimental poems, The Darkening Ecliptic (1944).
Equally - and this is where the detective work really kicks in - the book is also about a late- 19th-century literary hoax that produced the wonderfully foppish Adore Floupette, ''poet of the decadent school … with nothing but scorn for the public''. Floupette, whose voice ''could be heard from one end of the cafe to the other'', reciting the ''ternaries that he had composed over dinner: 'I would love to be gaga/With my heart adrift/On the syringa flower.'
'''Gaga!' came from one of the ladies who until then had kept the profoundest silence. 'But my poor dear, you are already.'''
It's Brooks's achievement to compel us into considering the (improbable, possible) links between these two hoaxes.

The purpose of our activity is to bring to the attention of the Serbian public dangerous influence of the writer Dobrica Cosic, who has been, again this year, proclaimed by some as a serious contender for the Nobel Prize in Literature.

Dobrica Cosic, author and public political figure, active for decades, always close to the highest political power and those who exercise it, from the Communist Party of former SFRY, inspirators of their manifest of Serbian nationalism, infamous Memorandum of the Serbian Academy of sciences, former president of the Milosevic's wartime SR Yugoslavia, to present alliance with reactionary and most dangerous Serbian pseudo-democratic circles in the new era.

We have registered the domain of this obviously hoax site on the 5th October 2011, as a symbolic reminder of that day eleven years ago, when Serbia missed a historic opportunity to create a different and better world. Today again, Serbia turns to war, terror and deadly kitsch of the nineties, violence towards diversity, nationalist conservatism and dishonest orthodoxy. We believe the political activity of Dobrica Cosic is still deeply intertwined with this hazardous value system, which does not cease to threaten us all.

Terrible consequences of decades of Mr. Cosic's political, literary and public activity are felt to this day, both by his own country and throughout the region.

Dobrica Cosic is not a recipient of the Nobel Prize, although the general public in Serbia, and he himself, believed he is for 15 full minutes.

We find some solace in that fact.

"We got this dead-face, 'My-god-you-guys-must-be-Nigerian-scammers' reaction," he said...

In a neat ironic twist, one of their few early adopters who was a serious contender for the prize money appeared to be a Nigerian scammer.

The contributor in question uploaded a few stories and suddenly, Petty said, "we noticed we had lots and lots of reviewers coming from Nigerian IP addresses. In the early days of the site, it was possible for an individual who created 20 accounts to influence the ratings pretty easily."

In 1980, Campbell went to the Royal Shakespeare Company's production of Nicholas Nickleby. A friend in the cast told him that Trevor Nunn, the producer of Nicholas Nickleby, had encouraged the cast at rehearsals to adopt the style of The Ken Campbell Road Show in their approach to parts of the play. Although Campbell sat in the front row, and enjoyed what he saw, the link with his own Road Show escaped him. After the performance, he went backstage where one of the cast had a bowl of fruit in his dressing room. Friends were invited to help themselves from this bowl, but there was a catch in the banana. If anyone touched it, it turned into a penis. Campbell says that it was this that in some way inspired him to create his hoax.

With the help of a couple of friends, Campbell had some headed writing paper printed, a perfect replica of the Royal Shakespeare Company notepaper, save for the replacement of 'Dickens' for 'Shakespeare', and 'RDC' for 'RSC'. He also discovered that Trevor Nunn signed his letters 'Love, Trev'. Campbell wrote dozens of individual letters to actors, writers, directors, producers, designers and composers, as well as to Sir Roy Shaw of the Arts Council. A typical letter read:

Dear X,
As you probably heard there has been a major policy change in our organization.
Nicholas Nickleby has been such a source of real joy to cast, staff and audience that we have decided to turn to Dickens as our main source of inspiration.
So that'll be it for the bard as soon as our present commitments decently permit.

There followed a suggestion for the next production: Sketches by Boz, Bleak House, or The Pickwick Papers. Each letter ended with an individually tailored invitation. For Lindsay Anderson, Campbell signed off with: 'Thinking of you brings The Old Curiosity Shop to mind. What a coup if you could bring Sir Ralph and Sir John together again in a script by David Storey. I feel your cool, intelligent approach is going to be badly needed in these new times.' Max Stafford Clark was offered Barnaby Rudge as a production: 'I find this a compelling piece which could be admirably served by your sparse, clear directorial style -- especially if the whole sweep of the book could be captured with the aid of no more than six chairs.' Norman St John Stevas, the Arts Minister, was told: 'The first production of the RDC is hoped to be Little Dorrit. Any thoughts you have on this will, as always, be treasured.' To accompany the letters and add punch to the campaign, the Aldwych Theatre was covered in RDC posters, in the style of the RSC, giving advance notice of the production of Little Dorrit.

The RSC production of Nicholas Nickleby was spread over two nights, and it was a few nights later that Campbell went to see the second half. He was told that the letter had not gone down well, and that Trevor Nunn had called in the Special Branch. There was no suspicion on Campbell, as Nunn believed it was an inside job. Newspaper reports of the hoax grandly exaggerated the affair, saying that 'thousands of sheets' of RDC notepaper had been printed, and that 'hundreds of letters' had been sent. Trevor Nunn was reported as saying: 'It is deeply embarrassing; a lot of people have written to me refusing, or, even more embarrassing, accepting the offers'.

Some months later, while Campbell was working at the Everyman Theatre, Liverpool, he was phoned by a researcher from the BBC TV programme Newsnight, who accused him of being the RDC hoaxer. Campbell denied it at first, and consulted with his accomplices, who offered him mixed advice. He decided to come clean, and was asked to appear on Newsnight. In the television studio, where he made his confession, he was horrified to see himself, on a monitor, lit like a terrorist, a sinister, dark figure in silhouette. But the affair blew over with no harm done and no recriminations.