Frood, as in “There’s a frood who really knows where his towel is” is a word created by Douglas Adams himself. He would never have referred to himself as one of course and one wonders if the term which is defined as a “really amazing together guy” by no less an authority than The Hitchhiker’s Guide To The Galaxy generally applied to Adams, a man who was, after all, notorious for missing deadlines. What’s not in dispute, thirty-five years after his first novel first appeared and thirteen years after his absurdly premature death is that Adams was a genius and among the top set of the best British comic writers of the twentieth century.
Adams was at his least “froody” only a short while before his greatest success. Six foot five inches tall and prone to taking day long baths while his housemate rising comedy producer legend John Lloyd went to work at the BBC, Adams despaired of ever being successful himself. This is odd as we are only talking 1976 here when Adams was still just 24. It is also a little odd as he had already achieved quite a bit such as working alongside his heroes Monty Python (by a strange coincidence appearing in one episode of Python, number 42).
But the next few years would see a period of frantic overwork for Adams: scripting for his dream show Doctor Who, writing a children’s cartoon Doctor Snuggles to make ends meet and, of course, scripting the radio series, TV shows and books of The Hitchhikers Guide To The Galaxy. The saga would make Adams a millionaire before he was thirty and would dominate the last twenty years of his life.
The Babel Fish. The number “42”. Marvin the paranoid android (a popular character, who, of course, was not actually especially paranoid, just depressed). Towels. Slartibartfast. Vogon poetry. The saga provided the perfect vehicle for Adam’s hugely inventive brain. Five novels were produced in total (though the fourth one So Long And Thanks For All The Fish was a bit of a dud) and Adams was behind numerous adaptations notably a memorable text based computer game and various attempts to launch Hitchhiker as a film. This was, of course, only finally realised after Adams’ death. The result by Garth Jennings in 2005 was a mixed bag as Roberts notes somewhere between a success and a failure. The closest Adams came to a film was a possible collaboration with future Ghostbusters director Ivan Reitman. This foundered over Adam’s script which left any director little creative leeway and the saga’s previous tendency to resist any sort of narrative structure.
Like Jem Roberts’ brilliantly exhaustive previous book The True History of the Black Adder, this is a superb well researched book, especially detailed on all the many side projects Adams embarked upon with varying degrees of success. It is truly as essential a guide for any fan of the saga as the actual Hitchhiker’s Guide was for Ford Prefect as he travelled across the universe.
It is a shock to realise Douglas Adams would be barely into his sixties if he were alive even now. This is a fitting tribute to a giant of comic literature, taken from us far too early.