The English countryside in the mid-1920s, near Stonehenge perhaps, somewhere, ideally, with the afterglow of ancient strangeness about it: the first harbinger of the Kibbo Kift is the sound of distant music, the strumming of a lute, the singing of what White Fox, Kibbo Kift’s “Head Man,” John Hargrave, a compulsive manufacturer of hopefully evocative compound nouns, dubbed a waysong