Outwardly appropriative texts tend to frontload the notional hypotext with which they are engaged in their opening stages, as in Fielding's reworking of Richardson's Pamela over the first ten chapters of Joseph Andrews or Robert Bloch's almost verbatim relocation of some lines from Poe's 'The Fall of the House of Usher' in the opening paragraph or so of his gothic mimicry, 'The Man Who Collected Poe'. In an audaciously allusive and endlessly inventive short story, 'The Bloody