In Paradise Mislaid, Anne Whitehead captivated readers with a nicely judged blend of elements. Here was a documentary that interwove two travellers’ tales, each with the resonance of quest narratives. Those ‘peculiar people’ who went off to Paraguay as part of William Lane’s experimental Utopian settlement were seeking a just community where the labourer would not only be worthy of his hire, but actually receive it; while Whitehead was pursuing the historian’s endless quest to bring back into present memory the always receding reality of the past. But Whitehead’s journey was not made only in the mind or in the archives: it had a literal dimension, involving following physically ‘in the steps of’ her subject. This led to an interesting relationship between past and present in her work, a layered intercutting, sometimes positing connection, sometimes disjunction. The effect was analogous to the intercutting techniques of documentaries, and it’s not surprising to find that Whitehead has worked extensively as television producer, film director and scriptwriter. It also offered, in a way, a gentle rebuff to any undeconstructed readerly yearning for the complete and logically sequential narrative that we might once have thought history could give us.