A Green Man Review

Pretty soon we had four pipers, maybe not good but loud. … A tyro practicing can set your teeth on edge — it sounds and looks as if he had a cat under his arm, its tail in his mouth, and biting it. — Robert Heinlein’s Starship Troopers

It’s over two weeks past Candlemas and I can easily feel that Spring is coming out as there’s both longer days and shorter nights, but it more importantly feels in my bones as if Winter’s truly passing and Spring’s now actively thinking about arriving. Mind you that also means the skiing is difficult as the snow’s melting on the surface and the Mill Pond has to be checked twice daily to see if if it’s still safe for wandering onto.

Despite the turning of the season in my bones, I’ve been just a wee bit tired this week as the Council of Shadow Libraries met here for the last fortnight. Fascinating conversations, lots of whiskey imbibed and friendships renewed and made. What shadow libraries are is something I’ll discuss another time, but now let’s turn our attention to this edition…

Denise got her money’s worth from Jonathan Cowie and Tony Chester’s Essential SF: A Concise Guide. ‘Essential SF packs a lot of information into 268 pages. But it doesn’t feel swamped by excess nor is it uselessly brief. It’s a handy reference guide that can be picked up and leafed through any time you need information about the most popular aspects of science fiction fandom. It’s also useful if you’re just looking for an interesting book to read or film to watch.’

A novel full of music and myth should make great Summer reading and Grey has a recommendation: ‘Charles de Lint dedicates The Little Country to “…all those traditional musicians who, wittingly or unwittingly, but with great good skill, still seek to recapture that first music.” A traditional Celtic musician himself, de Lint has peopled The Little Country with musicians and filled it with music. All of the chapter titles are titles of (mostly) traditional tunes, and there is an appendix of tunes written by Janey Little, the book’s main character — tunes actually written by de Lint himself. (‘Tinker’s Own’ on their Old Enough to Know Better CD recorded de Lint’s “The Tinker’s Black Kettle,” one of the tunes in this novel.) Any readers who are at all musically inclined may find themselves itching to reach for their instruments and try out the tunes.‘

She also says of Medicine Road that ‘I suppose it’s fitting, for a story about twos, that the creators are two Charleses. Charles Vess’s illustrations make this not-so-simple fable deeper and richer. Vess combines line drawing and painting in a way that makes his pictures simultaneously vividly life-like and fairy tale-remote.’

Jack dove head first into a couple of books, Kenny Mathiesen’s Celtic Music: Third Ear: The Essential Listening Companion, and June Skinner Sawyers’s Celtic Music: A Complete Guide. ‘So what I have is two books purporting to tell you, the person with a strong interest in Celtic music, what you should be listening to. I’m assuming that you already know a lot more than the average punter about Celtic, so I won’t bore you with stating what Celtic music is, or why it’s so hot right now. Methinks that what you want to know is how good these two guides are at suggesting what there is out there for Celtic music that you wouldn’t know existed.’

Jo’s first review is of Hugh Shields’ Tunes of the Munster Pipers: Irish Traditional Music from the James Goodman Manuscripts: ‘It isn’t often that a new book of tunes comes along that could successfully change the whole way we look at Irish music, but this book has that potential. Over 500 tunes are compiled in it, as recorded by James Goodman beginning back in the 1840s and spanning two decades. The collection has long been regarded as a holding ground of Irish traditional music but was never published due to the onerous task of editing the manuscripts into a format recognizable today.’

She also says ‘One Northumbrian musician, Billy Pigg, deserves further study. Billy Pigg played the pipes for the love of it, not for fame or fortune, and that seems to be what made him such a great success. His fiery speed and innovative style has greatly shaped the nature of Northumbrian piping today. The recent publication of A.D. Schofield and J. Say’s Billy Pigg: The Border Minstrel, gives us an excellent opportunity to learn about the personality behind the greatest influence on Northumbrian piping.’

Michael looks at Holly Black and Ellen Kushner’s Welcome To Bordertown collection: ‘A generation ago, Terri Windling and Mark Alan Arnold introduced us to Bordertown, an abandoned American city sitting on the Border between the “real world” (The World) and Faerie (The Realm). A place where science and magic both worked, if equally unpredictably, it became a haven and a destination for runaways and outcasts of both worlds, a place where humans and the Fae (aka Truebloods) could mingle, do business, eke out a living, and find themselves. It was a place where anything could happen.’ Need I say that a goodly number of women writers are present throughout the course of these books?

A while back Will was so unimpressed with a movie that he just had to tell us about it. Well, he tried to, but … he kept getting in his own way. The movie? A live action film adaptation of Alice in Wonderland. ‘This would make an excellent movie for a home-editing kit. You get 129 minutes, and you could cut it down to a fun 90. Hint: Start by cutting the voice-over. I don’t always think voice-overs are a mistake, and it’s true there are a few clever bits in these voice-overs, but there aren’t enough to justify them.’

As cooler temps become the rule of the day, Denise takes a look at Trader Joe’s Organic Hot Cocoa Mix. She found it a lovely way to start the day, and perhaps even enjoy the evening; “…if you’ve a mind, a splash of Kahlua and/or Bailey’s wouldn’t be amiss.” Now go see what she thinks cocoa lovers should give this one a try.
Elizabeth reviewed three graphic adaptations of classic novels published by Puffin Graphics – Red Badge of Courage, Black Beauty, and Frankenstein – with mixed results. ‘Of the three graphic novels reviewed in this omnibus, Gary Reed and Frazer Irving’s vision of Frankenstein is the best. Far from simply putting Mary Shelley’s words to images, the excellently adapted narrative by Gary Reed and cover art for Frankenstein the graphic novelgorgeously creative illustrations by Frazer Irving turn it into high art.’

Gary reviewed a new release by Arar, a duo from Spain. ‘Marina Tomás Amado and Maria Cruz Millet are two very busy and creative young artists. But somehow they’ve found the time and inspiration to record this album of music that joyously celebrates youth, love, connections, and the act of creation itself. They make music under the name of Arar, which in Catalán means plowing – turning over the earth to sow. Fans of intimate acoustic music can reap the benefits of their sowing in their self-titled debut album.’

Gary also reviewed a new box set of a cult favorite indie rock band from the ’90s, The Collected Works of Neutral Milk Hotel. ‘Neutral Milk Hotel was sometimes basically a solo project and sometimes a full band. [Frontman Jeff] Mangum only released two full-length album as NMH, 1996’s On Avery Island and 1998’s In the Aeroplane Over the Sea. If you were into indie rock in the mid to late 1990s, chances are you had and loved those albums. The latter one is sometimes touted as the best indie rock album ever. Listen to indie rock of the 2000s – The Decemberists, Beirut, Typhoon, and A Hawk and a Hacksaw come to mind – and you’ll undoubtedly hear Neutral Milk Hotel’s influence.

Jack Merry covered a large handful of bagpipe CDs from traditions other than Scottish, including Latvia, Spain, Bulgaria and France. ‘Not surprisingly, my CD collection holds much more than just Irish, Scottish, and English music! In preparation for the next Wild Hunt festival, I’ve been looking at piles of CDs from bagpipe-based groups from ’round the world. ‘Tis amazing how much good piping music there is even when one avoids the standard Irish and Scottish schools of music!’

Our reviewer John O’Regan wrote up an omnibus review (as was his wont) of three Celtic related CDs: Chris Stout’s First o’ the Darkenin’, Freeland Barbour’s The Black Water, and James Thurgood’s Handy Little Rig. ‘Solo instrumental efforts by band members or ex-band members sometimes start out as a one-person venture, but the end result is often a conglomeration of ideas and influences suggested by fellow musicians that have come on board. In this review we look at three essentially solo albums by noted instrumentalists who play very distinctive instruments – fiddle, accordion and harmonica. All are well known in their chosen circles, but only one of these records is truly a solo album in every sense of the word.’

John also reviewed a couple of contemporary pipe band releases, The Scottish Power Pipe Band’s Cathcart, and Manawatu Scottish Pipe Band’s The Calling. ‘These are good examples of the winds of change blowing through the piping world and how bands are adapting to them. Some go into the realms of experimentation with a full knowledge of the possibilities therein, while others tread carefully in their initial moves towards incorporating a wider sphere of influences to their music.’

Another of John’s reviews covered a very large selection of Celtic music, ranging from harpists to singer songwriters to Christmas albums and some Nordic-Irish contradance music. Do check out his overview of music from the likes of Wendy Stewart, Gordon Duncan, Ben Sands, Mary Coogan, Dirty Linen, Patricia Brady and more.

Did you say piping? Another of John’s reviews was this massive omnibus review of Scottish piping CDs. It features three discs from the Glenfiddich Piping Championships, several years’ worth of programs from the Dr Dan Reid Memorial Solo Piping Competition, The Pipes and Drums of British Caledonian Airway, and lots more.

‘I was a little intimidated when a package of seven bagpipe CDs arrived at my house,’ Tim said. ‘Now, I love bagpipes in all forms as much as anyone who doesn’t actually play them can, but a stack that size is a powerful amount of droning. I took the plunge, turning my house into Drone Central for a while.’ What CDs is he droning on about? Willie Clancy’s The Pipering Of Willie Clancy Volumes 1 & 2, Tommy Martin’s Uilleann Piper, Brian McNamara’s A Piper’s Dream, Kevin Rowsome’s The Rowsome Tradition, and various artists’s World Pipe Band Championships 2000, Volumes 1 & 2

Our What is one I found in the Archives. It is a this piece of writing by writer Kage Baker who was asked what her favourite folk tale was…

‘Hmmm… When I was a child, it was ‘The Tinderbox’. To analyze why: Starts out with an adventurer wandering the world free– I liked that. Meeting with a supernatural person who sends him off on a treasure hunt– good. Heaps of money encountered, in a way a child can readily appreciate: a heap of pennies! A heap of silver coins (maybe dimes? Or even quarters!) A heap of GOLD (so cool as to be mythical).

And a Tinderbox? What was a Tinderbox? I wondered for years. Three immense magical dogs with successively bigger eyes, all of whom can be rendered tame by use of a magic apron. I was scared to death of big dogs, so I liked the idea they could be tamed this way. Plus the recitation of their eye size (‘big as saucers.. big as cartwheels… big as millstones’) in its repetition appealed. Hero uses his money to buy fine clothes, a nice house, and the best food– seemed sensible to me, just what I’d do. Falls in love with a princess who can only be got at through magical means– yay! A love interest! Magic dog outwits spy by running all over town chalking Xs on all the doors– funny image, that. Hero gets caught eventually anyway– oh no! suspense! But sensibly gets a child to fetch his tinderbox. And then the giant dogs, each with their particular eyes, save the day.

On growing up, I have discovered that this was a Hans Christian Andersen story originally– and in the original version the soldier doesn’t get doublecrossed and left in the cave by the witch, as I was told. In the original, she keeps her part of the bargain and pulls him out of the cave, but he gets greedy and kills her to keep the tinderbox for himself. I would have disliked that immensely, had I heard that version. Heroes should play fair. It would have undercut the entire premise of the story if he were actually a bad man. Children love justice.

I also liked Beauty and the Beast, especially once I’d figured out it was the same story as Eros and Psyche, and it’s a bit more profound in terms of life lessons. So that one followed me into adulthood. But when I have to tell a story to a child, I’ll usually start with the Tinderbox.’

Now for your listening pleasure, the 2015 Førde Traditional and World Music Festival 25th Anniversary Sampler edition offers us up  the String Sisters playing ‘The Champagne Jig Goes To Columbia and Pat & Al’s Jig’ which they performed at that festival. Isn’t it simply amazing?

Ravens bring things to people. We’re like that. It’s our nature. We don’t like it.― Peter S. Beagle’s A Fine and Private Place

Breakfast was waiting for me as I came down the stairs. Canadian bacon sizzlimg in its pan, cheddar buttermilk biscuits warm in their basket, eggs ready to be cooked however I want them, bread sliced and ready to be toasted, and coffee standing ready to poured. Mind you it was noon when I sort of graced the Kitchen staff with my presence but it’d been a long night, as we’re hosting a curling tournament and they do love to drink so I assisted Reynard and Finch, his associate Pub manager, and we all worked late into the night.

I accepted the offer of a shot of Pappy Van Winkle straight up with my breakfast. The Coyotes, an American band that played here a few months back, had sent the Estate Steward several bottles of this superb bourbon in appreciation for the time they were here, along with a note that both I and Reynard should have one of the bottles. Though a whiskey drinker by choice, that particular bourbon is damn fine!

Emily St. John Mandel’s Sea of Tranquility eventually overcame Gary’s doubts, he says. ‘I love a good time travel book. I wasn’t sure this was going to be one of those, but it eventually won me over. Emily St. John Mandel has followed up two best sellers – the 2014 post-apocalyptic dystopian sf novel Station Eleven and 2020’s crime thriller The Glass Hotel – with a best selling speculative fiction novel that explores two currently popular sf tropes, time travel anomalies and the simulation theory.’

Lis reviewed Jodi Taylor’s Doing Time (The Time Police #1): ‘Three new recruits have joined the Time Police, at what turns out to be a critical, and dangerous, moment in its own history. Jane Lockland finally had enough of being her grandmother’s unpaid servant. Matthew Farrell is the son of two leading historians at St. Mary’s, the Time Police’s nemesis organization. He wants to work on the Time Map. Luke Parrish is the son of a billionaire, who has tried his father’s patience too far, and been coerced into the Time Police. They are definitely Team Weird. They can’t even do their first “gruntwork” assignments in the approved way, and the fact that they do them anyway really ticks people off. This puts them in the line of fire of the traditionalists in the Time Police, who want to throw out not just them, but the reformers who are bringing in all this change, like being more conservative about use of shoot to kill orders against Time Police officers they disagree with…’

She continued with Alastair Reynolds’ Eversion: ‘Doctor Silas Coade is the Assistant Surgeon, i.e., the ship’s doctor, on a sailing ship in the 1800s, on an exploratory expedition to a previously inaccessible inlet in Norway, where there is believed to be an Edifice of remarkable character. Or is he on a steamship in the late 1800s, searching for a similar inlet, much farther south. Or an airship in Antarctica… Or is it something else? He’s writing a novel, a fantastic adventure, which is starting to track far too closely with the expedition(s), and every time, the voyage ends in terrible disaster. What’s really happening? And why are some of his companions also starting to remember alternate versions of events?’

She finished up with Anthony Weir’s Project Hail Mary: ‘It’s hard sf, a scientific mystery. It’s one man alone, on a one-way mission he never really agreed to. And it’s a first contact story. It’s the hard sf adventure I loved in the sixties and seventies, without the latent and sometimes blatant sexism. Ryland Grace is a scientist who found happiness as a middle school science teacher, and finds himself hijacked back into research to save our species from extinction, and into a one-way journey to Tau Ceti.’

A while back Will Shetterly was so unimpressed with a movie that he just had to tell us about it. Well, he tried to, but … he kept getting in his own way. The movie? A live action film adaptation of Alice in Wonderland. ‘This would make an excellent movie for a home-editing kit. You get 129 minutes, and you could cut it down to a fun 90. Hint: Start by cutting the voice-over. I don’t always think voice-overs are a mistake, and it’s true there are a few clever bits in these voice-overs, but there aren’t enough to justify them.’

Peanut butter chocolate cups are I think the best nibbles out there are and April has two great ones for us: ‘Founded by Paul Newman’s daughter Nell in 1993, and once a division of Newman’s Own, Newman’s Own Organics has been a separate company since 2001. Its focus is, unsurprisingly, on certified organic foods. The company provides a limited range of organic snacks, beverages, olive oil, vinegar and pet foods. Up for review are three of the five varieties of chocolate cup candy available: dark chocolate with peanut butter, milk chocolate with peanut butter and dark chocolate with peppermint.’

Reese’s Dark Chocolate Peanut Butter Cups is next up for her: ‘I have a confession to make. Yes, I have a problem. And that problem’s name is Reese’s Peanut Butter cups. I’m the person at Hallowe’en who looks at the bowl of candy designated for trick or treaters and asks, plaintively, “Could we hold the Reese’s in reserve? Or at least hide them on the bottom of the bowl?” and who will blatantly pilfer from the bowl throughout the evening. And if there’s any left over? Bliss!’

Denise does something she never thought she’d do; review a confection made with – GASP! – milk chocolate.  The dark-chocolate-or-bust member of GMR dug into Justin’s Milk Chocolate Peanut Butter Cups, and didn’t mind them in the least. ‘The combination of smooth milk chocolate and that gritty, chewy, substantial peanut butter makes me reconsider my ennui over milk chocolate in general.’

She also digs into Lily’s Dark Chocolate Peanut Butter Cups – 70% Cocoa, and seems to like what she’s found. ‘…this is about as guilt-free as you can get when you’re digging into a cheat day treat. Or an “I deserve this” treat. Or a “screw it I’m doing this” treat. You get the idea.’

Elizabeth reviewed three graphic adaptations of classic novels published by Puffin Graphics – Red Badge of Courage, Black Beauty, and Frankenstein – with mixed results. ‘Of the three graphic novels reviewed in this omnibus, Gary Reed and Frazer Irving’s vision of Frankenstein is the best. Far from simply putting Mary Shelley’s words to images, the excellently adapted narrative by Gary Reed and cover art for Frankenstein the graphic novelgorgeously creative illustrations by Frazer Irving turn it into high art.’

We all know the phrase “desert island disc,” right? Gary reviews an album by two Barcelona musicians on accordion and violin by that very title, more or less: Clavellina d’Aire’s Músiques Per Emportar-Se A Illes Desertes (Music to take away to deserted islands). ‘For just two players and two instruments, Clavellina d’Aire packs quite a bit of entertaining variety into this well played, produced, and sequenced album. A strong set of folk-based music from Catalán.’

I tripped through the Archives looking for any Fairport Convention (and related) foundlings, and as you might expect turned up quite a trove.

Debbie conducted an email interview of our staffer in Australia, Michael Hunter, who was founder and editor of an antipodean Fairport Convention fanzine called Fiddlestix. It eventually grew into quite an enterprise, which included promoting Fairport shows in that country, and more. ‘It still amazes me to think that, over time, a fanzine which started life a little unsure of itself and its purpose has managed to achieve more than just the issue of a quarterly magazine. It has engendered the release of rare Fairport-related material with the Attic Tracks series, and indeed the Fairport compilation album Fiddlestix which was compiled by John Penhallow is effectively the CD of the magazine! More recently (with the Adelaide leg of Fairport’s 1999 Australian tour) the impressively titled “Fiddlestix Promotions” came into being.’

Lars gave mixed reviews to a couple of albums by the Derbyshire band Cross o’th Hands. The first, Handmade, was by a band still finding its way, he says. ‘The second album Maidens Prayer shows a band that has matured and grown. They have found their direction and have put more work into the arrangements and recording. There are only four instrumentals among the eleven tracks. “Danby Wiske/Drops Of Brandy” starts off in a traditional manner and makes you expect one of those Irish-inspired albums with stompy instrumentals mixed with slow ballads. But this is only a trick.’

Lars was favorably impressed by an album called Secret Orders by a couple of English folk musicians. ‘Claire Mann and Aaron Jones are both English by birth, Mann from Newcastle-upon-Tyne and Jones from Poole on the south coast. Both have been playing for many years with various groups and musicians, and have gained a reputation for their musicianship. Mann plays flute and fiddle, Jones guitar and bouzouki, and both sing, though Jones takes all the lead vocals here, with Mann providing harmonies. … Throughout, the musicianship and singing are impeccable, and Mann and Jones have a gift for picking good songs and tunes. A quite remarkable debut album by any standard.’

And Lars was very pleased with a solo album from English folk singer Bob Fox called Borrowed Moments. ‘I like this album very much. It may not be as instantly appealing as Dreams Never Leave You, and there is no “Big River” or “Guard Your Man Well” here, but what you get is 11 good songs treated by an expert. Let the album take its time to grow on you and you will not be disappointed.’

Michael reviewed an unusual album. Percy Grainger’s Pleasant & Delightful is a collection of folk songs played on piano in classical arrangements. ‘Following the path of Cecil Sharp, Maud Karpeles et al, he travelled widely, collecting tunes from the older singers in various communities. Where Grainger differed from other collectors was in his rearrangements of the songs for orchestra rather than more “humble” arrangements. “English Country Garden” is probably his best known piece and the one most associated with his name.’

Michael thought there should be more live albums from Dave Swarbrick and Simon Nicol, so he was very pleased to review Another Fine Mess. ‘Throughout, Swarbrick plays with the expected fire and gusto when necessary, and with obvious sensitivity on the airs and ballads. His only lead vocal work is on “Rosie” though his backing vocals blend well with Nicol’s performance on the other songs. On the instrumentals, it is apparent Swarb is often improvising around a tune and enjoying doing so, but the intrinsic understanding between his fiddle and Nicol’s guitar ensures it all stays well and truly on track.’

And he gave a splendid overview of three solo-ish Swarbrick releases, Lift The Lid And Listen, The Ceilidh Album, and In The Club with Simon Nicol, the latter previously available only on cassette! ‘These three very worthy albums fill in a noticeable gap in the issue of Dave Swarbrick’s work on CD. Recent years have seen the reissue of albums from most aspects of his long and hugely influential career in English folk, from his early ’60s work with the Ian Campbell Folk Group and his duo recordings with Martin Carthy, through his many years as mainstay with Fairport Convention to his albums with Whippersnapper and plentiful session work.’

Peter gave a rave review to Martin Simpson’s The Bramble Briar, and he wasn’t wrong – it’s gone on to be one of Simpson’s most beloved releases. ‘This album will go down in history. You won’t believe how good it is! If ever there was an album that makes me, and probably loads of others, want to go out and burn my guitar, this is it.’

Richard was quite fond of an album of songs Alan Lomax collected from the Norfolk singer Harry Cox titled What Will Become of England? But he says it’s not for everyone. ‘To ears more accustomed to studio recordings, to sophisticated musical arrangements, to the packaged words and music of Tin Pan Alley or even to the relatively polished work of today’s folk and folk rock singers and musicians, this is rough-hewn, down-to-earth stuff. It is not for the faint-hearted. And it could never be played as “background music” but requires close and unflagging attention.’

Graphic fiction from Europe often gets overlooked in the states. With the wide variety of material published across multiple cultures that is quite a shame. New York Review of Books Press has been helping to close that gap a little, and Warner’s first entry of the day illustrates that. Nicole Claveoux’s The Green Hand and Other Stories brings a number of fascinating, originally French language, pieces to readers , most of them seeing the material for the first time. While not always the most comfortable work, the quality of the material is hard to deny.

The Johansenss, Roy and Iris, have been working in the crime and thriller genre for some time. On their own each has produced a respectable amount of work, and together they have released a number of entertaining volumes as well. The latest of these is More Than Meets the Eye, a sequel in their long-running Kendra Michaels series. Beginning with a serial killer leading the authorities to victims, a bomb going off quickly triggers a new direction in this plot. 

Cy _Borg is a new compact role-playing game, but also an excellent example of using rules and their written expression as both art and narrative. With artistic design that is somehow both meticulous and often eye-straining, it fits the classic bill of cyberpunk to a T. While some manuals for games feel like they are strictly there to facilitate playing, works like this remind readers that occasionally a book comes up which is arguably better seen and read.

One new release comes at an unusual time, with the late January 2023 published All Hallows. The latest novel by experienced strange fiction hand Christopher Golden, it features a local street dealing with personal problems and more in the 1980s. This is a popular decade in horror at the moment, meaning it relies even more than normal on the author to give the book a specific feel and identity.

Another International piece of old school literature comes from the New York Review of Books press as well. That is Ernst Jünger’s On Marble Cliffs. This book, and its author, represent a fascinating conundrum for those examining literary topics during the second world war, particularly those focusing on figures from within the german sphere. With not only a fresh translation of the text, but a fairly detailed biographical sketch of the author included, readers will walk away understanding the difficulty in examining these topics all the better.

Finally, something more sequential. The Cradle of Ice is a sequel to last year’s The Starless Crown moves forward. With that volume leaving a number of very careful cliffhangers, this book had a lot of promises to live up to. How well it succeeds at these  and how it expands the world, are testaments to Rollins’ skills.

What Not

All songs are stories and Steve Goodman’s ‘City of New Orleans’ is certainly one of the better told ones. As recorded by Arlo Guthrie at a Stanhope, NJ performance on the eighth of August, twenty nine years ago, it tells the melancholy story of a train as it’s headed to New Orleans one night. Arlo, son of Woody as you most likely know, is in particularly fine voice here.

Happiness, in the land of Deals, is measured on a sliding scale. What makes you happy? A long white silent car with smoked-glass windows, with a chauffeur and a stocked bar and two beautiful objects of desire in the back seat? An apartment in a nice part of town? A kinder lover? A place to stand that’s out of the wind? A brief cessation of pain? It depends on what you have at the moment I ask that question, and what you don’t have. Wait a little, just a little. The scale will slide again. — Sparrow in Emma Bull’s Bone Dance: A Fantasy for Techonophiles

We’re really in the harshest part of Winter on this Scottish Estate, so the residents of Kinrowan Hall, save the staff of Gus, our Head Gardener, who have livestock and buildings to tend, are quite content to stay inside. There’s always something to stave off boredom, be it reading or needed Estate chores, at which everyone on this communitarian Estate lends a hand.

So it comes to pass that we’ve been cleaning out the under the eaves spaces and no, unlike at Evenmere Hall, we didn’t precisely find a dragon there – though we did find the plans for a stonking big stone one. There was a lot of stuff to be moved or discarded as The Steward has an intent to create more staff housing in part of it. The spaces are heated already to keep ice from building up on the slate roof, so extending plumbing and power will be no big deal.

What kind of stuff? A crate of botantical books that Gus claimed for his workshop; a model of Kinrowan Hall wonderfully detailed with real glass windows and tiny roof slates, that will be displayed in the Library for everyone to see; maps of the Estate dating back centuries, which went to our Steward; dark green glass pickling jars more than big enough for whole cabbages and which had something odd in them; hand written copies of The Sleeping Hedgehog from the mid-eighteenth century; a crate of whisky laid down centuries ago for later consumption and didn’t Reynard, our Pub Manager, claim that fast; and some seelie impression balls of Elven performances of Elizabethan music which the Winter Court left here very long ago; and so forth.

Now let’s see what I found for you this time …

Lis first looks at Ben Aaronovitch‘s Foxglove Summer, a Rivers of London mystery: ‘Peter was just taking a quick trip  to Herefordshire to interview a retired wizard who’s a fellow veteran of Nightingale’s unit in WWII, in regards to a case he most likely has no involvement with anyway — two missing 11-year-old girls. He’s quickly satisfied that the elderly, frail man has no connection to the case, but he can’t walk away from two missing children. He asks to be assigned to the case in any capacity in which he can be useful. Which is how he winds up confronting carnivorous unicorns, ghost trees, bees, and faeries who aren’t at all nice or friendly. Oh, and inseminating a river with Beverly Brook. Yes, their relationship has progressed a bit!’

She next looks at Anna Elliott and Charles Veley’s The Crown Jewel Mystery: ‘An American actress has come to London, seeking her unknown father who funded her education. She knows the money is sent from a particular bank, but she only has the account number, not the name of the account holder. Sherlock Holmes, Dr. Watson, and Inspector Gregson are on the trail of a major bank robbery that will happen today. It’s the same bank, and what goes down will be dangerous, even deadly. If the actress and her friend survive, it will be due to her intense, careful attention to detail, and her ability to reason out what those details mean.’

She finishes up with two books by Kristine Kathryn Rusch, the first short story collection, the  second a novel about mysteries set on science fiction fandom.

The first she reviews is The Early Conundrums: A Spade/Paladin Collection:  ‘Spade is a SMoF, a “Secret Master of Fandom.” He travels the country helping fan-run conventions run successfully. Mostly that’s in his area of expertise, staying out of financial and tax trouble. Sometimes, something more obviously dangerous comes up. For instance, an unexpected dead body. In the first of these five adventures, Spade is on his own in solving the case while preventing a PR disaster for the convention. In the second, he meets Paladin. She’s somewhat of a rogue detective, also very much a part of fandom. They do not mesh easily at first. Or ever, really, but they do tackle cases together, pooling their skills.’

Next up she says in Ten Little Fen that ‘Spade has agreed to step in as program director of SierraCon, held at a fairly isolated hotel in the Sierra Nevada mountains, on the California/Nevada border. Soon he finds himself and the whole convention snowed in, while one by one, prominent attendees are having terrible “accidents.” Fortunately, Spade, Paladin, and their joint ward, Casper, are also there. They’ve dealt with dangerous crises at cons before. But can they solve this one before one of them falls victim?’

Warner has a few treats for us. In The Girls Who Disappeared Claire Douglas deals with a cold case set in today’s world. And Tove Alsterdal’s You Will Never Be Found by contrast stays in relative modern days, dealing with bizzare incidents of violence and death from a police point of view.

Anthony Horowitz’s A Line to Kill is another entry in the series where a fictionalized version of him solves crimes. Whereas Ella King’s Bad Fruit deals with the disturbing mysteries and crimes that can come from damaged childhoods.

S.C. Lalli’s Are You Sara? is a story featuring the great concern of mistaken identity that can add an extra twist to a thriller. And he finishes off with Martin Edwards’ Guilty Creatures deals with classic crime stories that feature an animal in a leading position.

David (and SPike) were left feeling unsatisfied with Anthony Minghella’s adaptation of Cold Mountain. ‘I looked forward to this film. I wasn’t thrilled with the casting of a Londoner as a Blue Ridge Mountaineer; or an Aussie as a Georgia Peach, but I looked forward to the film. The opening sequence was thrilling, but as the odyssey came closer to its end, and the inexorable tragedy of the reunion neared, I found myself becoming more uncomfortable, shifting in my seat, finding holes in the story.’

We have down the years out of sheer curiosity asked a goodly number of folks we encounter here this question: ”Is it a bowl of your mother’s fish chowder? Or a warm doughnut dusted with powdered sugar? Comfort food is as individual as each of us. We here at Sleeping Hedgehog (the in-house newsletter of our Estate) are interested in your story!’ Jennifer, a Winter Queen who’s responsible for the best Winter Solstice story ever, gives her answer here.


April was pleased with Neil Gaiman’s Odd and the Frost Giants. ‘This slim, whimsical YA novel is Neil Gaiman’s contribution to World Book Day 2008, one of nine £1.00 children’s books made available for this event. Though written for a younger audience, Odd and the Frost Giants is an entertaining read for adults as well, as it’s intelligent and clever.’

Gary says this new release grew on him. ‘The New York psychedelic ambient trio numün’s sophomore release is, for me, a grower. I like it more each time I listen to it. Their debut Voyage au Soleil was one of my favorite albums of 2020, and on the first couple of listens I didn’t think I’d like Book of Beyond nearly as much. The more I listen to it, though, the better it gets!

‘I was unfamiliar with American reed player Buddy Tate until this recording crossed my path, and now I know what I’ve been missing,’ Gary says in his review of Buddy Tate & White Label’s Tate’s Delight. ‘This archival release from Storyville presents a superb live set recorded in Denmark in September 1982.’

Norwegian Americana band Buster Sledge’s EP Dreamer intrigued Gary. ‘This band is kind of hard to pigeon-hole. They’re a trio of fiddle (Michael Barrett Donovan, who also does the songwriting and lead vocals), guitar (Jakob Folke Ossum) and banjo (Mikael Jonassen), and both Ossum and Jonassen sing as well. The way they describe what they do is that bluegrass is their “hardware” and many other kinds of music are the “software.” Musically they play a blend of old-time, bluegrass, and country, with lyrics and harmonies from everywhere else including pop, rock and jazz.’

Gary was quite enthusiastic about a new jazz record, JohnBailey’s Time Bandits. ‘New York trumpeter John Bailey’s third outing fronting a quartet is such a stellar outing in every way, I might run out of superlatives in this review. Time Bandits sees Bailey ranging over a wide range of jazz styles from numerous eras, from early bop to modern post-bop jazz, with sashays along the way into Latin, New Orleans second line, and more. He’s assembled yet another superb quartet for this set including master pianist George Cables, in-demand bassist Scott Colley and drummer Victor Lewis …’

Jo Morrison turned in an omnibus review of several early recordings of the American folk instrumental duo Linn Barnes and Allison Hampton. ‘Beginning as a pair of lutenists specializing in Renaissance court music, Barnes and Hampton’s interests have expanded instrumentally and musically over the years. In the meantime, their musicianship and cohesiveness as a duo has blossomed into something well worth the time for listening.’

Lars wrote up an omnibus review of the first three albums by English folk rock group Shave the Monkey. ‘Shave the Monkey is a six-member English group. They started out in 1988 as a five-piece, but added a drummer after their first CD. Shave the Monkey has a broad repertoire with traditional music from the 11th century and forward as well as their own songs, mixing instrumental music with songs.’

He also reviewed their next release, just as cryptically titled as their previous albums – Good Luck, Mr Gorsky. ‘As a whole, the instrumental pieces are wonderful. Shave the Monkey are masters in that field. The songs are not bad at all, but most of them pale when compared to the tunes. Maybe that reflects the band. To me they are all very good instrumentalists, but there is no real vocal front man or front woman. They are musicians who sing as well, not singers with instruments.’

Michael Hunter, our man in the Antipodes, did a thoughtful interview with then rising Aussie country singer Kasey Chambers, in which she talked about personal songwriting among other topics. ‘You know, it’s funny because when I write the songs I never think about the fact I have to play it to strangers after that. I just write it and it comes out and I’m really kind of honest with myself when I’m writing songs which is a scary thing for anyone to do (laughs), ’cause it’s not always good things I’m saying about myself! Later on then, to play them to my family and then go in and play them in the studio and then at the end, having to play them to people, like five hundred strangers in a room, it is a hard thing to start with certain songs.’

What Not is of a musical nature this time. The late Josepha Sherman, a dear friend of ours, was once asked what her favourite tune to play was: ‘OK, my dear: I play the folk harp a wee bit (I’m sadly out of practice) and of the older songs, I like ‘Sumer is icumen in,’ ca. 1260 or so, by our old friend, Anonymous. I like it both for the melody and the words, which are cheerful and alive with the image of animals jumping about for the joy of it. It also makes for a cheerful round for several voices. For the earliest songs, though we don’t have the melodies, alas, I love some of the Ancient Egyptian love songs, which are downright modern — such as the one about the girl who sees her boyfriend and rushes out to meet him with half her hair still undone!. She went on to note The Ancient Egyptians had our concept of romantic love, btw, clear in their songs. There’s even a sadly fragmentary one of a wife undressing her husband, who’s passed out after what was clearly too much drinking at a party, and how she loves him even so.’

I’ve got a real treat for you in the form of ‘Mojas Katrin’,  which is from an FM broadcast of Mari Boine Persen performing in Schauburg, Bremen, Germany, May 23, 1992. She’s yoiking, which originally referred to only one of several Sami singing styles, but in English the word is often used to refer to all types of traditional Sami singing. And she has a charming explanation in English of what the song’s about.

She hadn’t meant to fall asleep, but she was a bit like a cat herself, forever wandering in the woods, chasing after squirrels and rabbits as fast as her skinny legs could take her when the fancy struck, climbing trees like a possum, able to doze in the sun at a moment’s notice. And sometimes with no notice at all.  — Lillian Kindred in  Charles de Lint’s The Cats of Tanglewood Forest

Oh that coffee that you’re smelling? It’s a bean from Java. We roast all our coffee here. It’s an extremely dark coffee blend with notes of bittersweet chocolate. Care for some? It just brewed up. I take mine with a dollop of cream we get from Oak Haven Estate, our neighbours just over the north ridge ten kilometres or so away.

And yes, those are are pumpkin cream cheese tarts and they have none of that obnoxious Halloween style spicing in them. They’re still just warm from our kitchen. So so have coffee and a tart while I finish off this edition.

First up is Clinton Heylin’s No More Sad Refrains: The Life and Times of Sandy Denny in which I had forgotten that our reviewer Chris does reference that zombie biography: ‘In some ways it’s apposite that a book written about an artist as emotionally charged and mercurial as Sandy Denny should itself have had a difficult and rocky genesis. Some people, myself included, were expecting a biography of Sandy written by Pam Winters to be issued by Helter Skelter last year. It’s not my place as a reviewer to pass judgment on the disagreements which caused that project to flounder, and led to Clinton Heylin writing this book. Nevertheless, I include these comments to clarify the situation for those readers who do not know the background, why a biography did not appear last year, and why the author of this book, Clinton Heylin, is perhaps not the same author that they may have expected. It also helps explain the rather unusual comments in Clinton Heylin’s acknowledgments. Maybe one day that full story will unfold, but I shall keep my thoughts and comments on the book in hand. ‘

Fairport Unconventional was one of those astounding box sets Free Reed did. And Chris just also looking at this tasty treat: ‘As amazing as the music lovingly collected in this box set is, the one hundred and seventy page book is in its own way even better. Shaped to fit the box set as you can see by the photo of the box set, it’s a full history of the band as written by Schofeld who’s very obviously a diehard fan as he amusingly with an introduction entitled ‘Fairport Convention: A recipe for success’ which includes this choice tidbit: ’11 lead guitarists, 11 lead vocalists, 6 fiddle players, 7 drummers, 5 keyboard players, 2 bass players’ which makes the band not all that different than any band that’s lasted thirty-five years such as the Breton fest noz bands.’

Last Night’s Fub: In and Out of Time with Irish Music pleased Chuck who tells us what’s about: ‘Ciaran Carson is an Irish poet and musician, who has, in Last Night’s Fun, put together a series of writings, each inspired by a traditional tune. In most cases, these are short essays. For others, he has written poetry or put together sets of quotations. Occasionally the subjects in consecutive chapters are directly related, but that is most likely happenstance.’

Tommy James’s rise to fame was engineered by a New York Mobster who was the inspiration for a character on HBO’s The Sopranos, according to a book Gary reviewed: Me, The Mob And The Music. James co-wrote this autobiography, the story of how James rose from his beginnings in garage bands in Niles, Michigan, to a series of Top 20 hits from 1966 through 1969. ‘The book chronicles the way James cranked out hit after hit for Roulette and never saw a cent,’ Gary says.

Larry Kane’s Ticket to Ride is about a slightly better known (and paid) group, but who’s Larry Kane? ‘He was the only American journalist in The Beatles’ official press group on their groundbreaking 1964 U.S. tour,’ Gary says. ‘The tour changed the way rock ‘n’ roll concerts were played, it changed a lot of people’s minds about The Beatles, and it changed Larry Kane’s life.’

Scott Allen Nollen’s Jethro Tull: A History of the Band, 1968-2001 gets a superb look see by Kate: ‘Scott Allen Nollen has proven his devotion as a Tull fan in the countless miles travelled and the hours passed collecting details and interviewing band members and other associates. He has included nostalgic pictures of the band, some of which were borrowed from Ian Anderson, the often frenzied flautist who, despite some controversy, became the Fagin-like front man for the band. After ten long years of research, here is a comprehensive and entertaining story of the much misunderstood Jethro Tull. The authenticity is underlined by the thoughtful and honest foreword written by Ian Anderson himself.’

Berlioz’s Evenings with the Orchestra came about as a result of him being neither a widely recognized composer in his lifetime, or being generally accepted at all during his lifetime, as Kelly notes in his splendid review: ‘In order to remain solvent, Berlioz often had to turn to penning articles of criticism and commentary on music and cultural matters for the Paris publications of the day. By all accounts, Berlioz hated this work and the necessity of it, which is ironic given the quality of his writing, as evidenced in Evenings with the Orchestra.’

Fairport Convention and Steeleye Span are two of my fave British folk rock(ish) bands, so it’s apt that Lars has a review of Brian Hinton and Geoff Wall’s biography of Ashley Hutchings: The Guv’nor & the Rise of Folk Rock as he helped birth both of those groups: ‘To some of us the subject of this book is, if not God, at least the musical equivalent to the pope. Name a group you like and have followed over the years, and there is a fair chance that Mr. Hutchings was there to start it, or at least influence the starting of it. He is in one way or another responsible for a very large number of the records in my collection, and yes, we are certainly talking three figures, here.’

I reviewed Mark Cunningham’s Horslips: Tall Tales, The Official Biography: ‘Horslips were, and in many ways still are, the Irish equivalent of Steeleye Span and, to a lesser extent, Fairport Convention, as they blend English and Irish traditional material and a rock and roll sensibility into what was the first Irish folk rock group.’ Did they get what they deserved? Oh yes.

Richard ends our English folk rock biographies by looking at Patrick Humphries’ Richard Thompson: The Biography: ‘Biographies of musicians are always dangerous propositions. Too many are tell-alls that insist on concentrating on lurid details and scandal, to the point where the reader forgets that the book is about a musician. Others go the other way, and are so slavishly and obviously creations of the PR machine that they’re essentially worthless as sources of fact. Books of both these sorts tend to cluster around hugely successful acts, and to clutter bookshelves right around holiday time.’ And let’s just say this this is decidedly not the biography this artist deserves.

Robert takes us in a different direction altogether, with a review of Allan Marett’s Songs, Dreamings, and Ghosts — The Wangga of North Australia: ‘First, a brief demurrer: “Ethnomusicology” can be a really scary idea, drawing together, as it does, the formal study of music and its forms, history, anthropology, sociology, psychology, and possibly a couple of “ologies” that I’ve overlooked, all discrete disciplines in Western thought and each by itself incapable of leading to any real understanding of cultures.’

David has the story of the Festival Express: ‘It opens with a faded map of north Ontario, Kapuskasing dead centre. Then the camera pulls back and from the middle of the screen comes a train — an old Canadian National engine — and tracks, lots of tracks. This is a movie about that train and the people who rode on it, and the places it stopped, and what happened one week in 1970 when this train went from Toronto to Calgary . . . with a cargo of rock’n’rollers and all their paraphernalia. What a summer.’

Our food review this time is actually a CD as Judith explains in her look at The Water of Life: ‘You would think that one album about booze would be enough for even a Scotsman, but not for singer-traditional songwriter Robin Laing. The Water of Life is Laing’s second, after The Angel’s Share, with songs on both CDs from his one-man show on whiskey. Laing, originally from Edinborough but now living in rural Lanarkshire, seems to have settled into a distillery groove. Great idea!’

Brendan reviewed a couple of Nordic discs, starting with one by Ale Möller. ‘Ale Möller’s The Horse and the Crane is a thoroughly entertaining, thoroughly entrancing set of music made for a theatre concert based upon a set of novels by Sara Lidman about the extension of the railway into Northern Sweden. Filled with the stark instrumentation and ethereal sounds that seem to pervade the best Swedish music, this suite really does feel like the perfect soundtrack to a railway tour through glaciers.’ For contrast, he reviews a disc from Myllärit. ‘…this Finnish seven-person ensembles offers danceability and joy on In the Light of the White Night, a fine selection of Finnish and Karelian folk tunes.’

Donna reviewed a CD by one of her favorite groups, Frifot’s Flyt. ‘On the continuum between folk and jazz that this group occupies, I would put this closer to the folk end. It’s actually quite mellow — and please don’t take that to mean it’s boring, because it’s definitely not. Lead vocalist Lena Willemark seems less inclined than usual to explore the higher registers of her always astounding vocal range. [Ale] Möller and the group’s third member, fiddle player Per Gudmundson, sing very harmonious backup vocals on a number of tracks, giving the songs a richer sound than I usually associate with this group.’

Gary was very pleased with an album by his favorite Norwegian Hardanger fiddle player. ‘Glødetrådar is exactly the kind of album that I look for from Nils Økland. It’s brimming with creativity and musical ideas, and it expertly combines ancient sounding folk melodies and dance rhythms with modern jazz and improvisation techniques. Add to that a team of players who listen deeply to each other and care only about contributing to the work at hand, and you have a moving and lasting work of art.’

The Finnish group Okra Playground’s new disc Itku was reviewed by Gary. ‘The three powerful singing women of Okra Playground draw largely on Finland’s centuries-old runo singing tradition, embellishing it with elements of electro dance music, pop, and rock to great effect. Not every track on this nine-track album is fully to my taste, but there’s plenty here for fans who enjoy various aspects of  Finnish contemporary folk music.’

Gary has enjoyed the music of Finnish accordionist Maria Kalaniemi, including the album Ambra. ‘On this album she duets with pianist Timo Alakotila, with whom she has worked and played for more than a decade, particularly in a contemporary music group called Aldargaz. It’s a delightful match, as the two take turns as soloist and accompanist. The tunes range from traditional polskas and marches, to minuets and polkas, some tango-influenced excursions, and some unadulterated bal musette.’

He also reviewed Ilmajousi / Luftstråk, by Maria Kalaniemi and Swedish fiddler Sven Ahlbäck. ‘It’s a remarkable synthesis of sounds, styles and genres. The duo plays nine traditional pieces, most of them arranged by Ahlbäck, and eight contemporary works, six by Ahlbäck, two by Kalaniemi.’

Another Finnish group Gary has reviewed is Aallotar, including their CD Ameriikan Laulu. ‘Finnish accordionist Teija Niku and Finnish-American fiddler Sara Pajunen, performing as Aallotar, continue to explore their shared musical and cultural histories on Ameriikan Laulu, their second collaboration following their 2014 debut In Transit. I’ve been hoping these two would renew their musical partnership, and this album satisfies my appetite for more from them.’

Jack Merry is the author of several omnibus reviews of Nordic music in the Green Man archives, including this one that covers groups known as Færd, Harv, Spælimenninir, and Bukkene Bruse. Of the album Tost by Harv, he says, ‘Is there a Norwegian influence here? Oh, yes! Christain Svensson joins them as a percussionist, as does guitarist Peter Stahlgren. Now, the key to figuring out Harv is to remember that they are very, very upbeat — no mournful dirges here! I like Garmarna and Gjallarhorn, but I’ll bet my last penny that these lads are more entertaining in concert. Certainly less depressing. The musicianship is simply outstanding and the recording is a delight to hear — I repeated it a half dozen times in the first week I had it.’

Judith had fun with a sampler of Finnish music called Arctic Paradise: Contemporary Finnish Folk Music 2001. ‘The CD has culled the best of “contemporary” Finnish folk music. Some artists, like Varttina and Wimme, are fairly well known, but others will be familiar only to Nordophiles. Interestingly, only five of the tracks are traditional music, the rest for the most part are composed in a traditional style and many are transposed and fused freely.’

Kim had high praise for the music emanating from a disc called Ahma, by Maria Kalaniemi and Aldargaz. ‘The album’s great arrangements are not surprising, as most of the musicians, like Kalaniemi, also hail from the Sibelius Academy Folk Music department. Aldergaz are Timo Alakotila on piano, Olli Varis on guitars, Tarpani Varis on double bass, Petri Hakala on mandolins and Arto Järveläla on violin. These folks have a flair for the dramatic and a great sense of the potential of a tune.’

Our What Not comes courtesy of Chuck who looks at an Irish song commonly known as ‘Johnny Cock’ or ‘Johnny O’Braidslea’: ‘One of the fascinating things about folk music is the variety that one song or tune can produce. Niggling purism aside, there has never been one folk style. That’s even more true these days with musicians fusing traditional folk to jazz, rock, Latin, and whatever other style they happen to like. So what I’m going to do in And Reels is to take a song or a tune and see how different performers, as well as different sources, treat it.’

As I’ve noted before, I’m fond of the not quite trad music out of the Nordic cultures that arose starting in the early Nineties. Garmarna was one such band. With the stellar Emma Härdelin as their vocalist, they were active for about a decade and then took a break until now, as they’re working on a new album. This cut is called “Vedergällningen” which is from a Chicago performance in 2002. Skoal!

We keep our cats as happy as we can. — Anna Nimmhaus

I woke well before dawn as I wanted to watch the Northern Lights, which have been particularly outstanding lately. Though none of the humans save Tamsin, our Hedgewitch, on the Estate joined me, but several of the Irish wolfhounds that guard our livestock accompanied me as well and even some of Tamsin’s owl companions flew low overhead. We, well at least we humans, found them fascinating as the wolfhounds and owls seemed to be playing a rather complicated chase game that even Tamsin admitted she hadn’t even a clue to what it meant.

We later had breakfast back in the rather cozy Kitchen nook created originally for a few members of the Neverending Session to play in the Kitchen – thick cut thrice smoked applewood bacon, blueberry waffles with butter and maple syrup, tea for me and Tamsin as well, and Border strawberries, the ones that start red as blood and turn white as bleached bone, as well. We both felt like in need of  a very long walk to work it off, or a long nap … I however needed to put this together so both choices were put off for later consideration!

Let’s start off the book reviews this time with a look at Charles de Lint’s Newford Stories: The Crow Girls. Of all the immortal shapeshifting being that inhabit the Newford stories, the most charming at least for me are Maida and Zia, the two crow girls, who look like pinkish teenagers all in black naturally. After you read Cat’s review, you can experience them first hand in A Crow Girls Christmas written by (obviously) Charles de Lint and charmingly illustrated by his wife, MaryAnn Harris.

He next offers us a review of one of his yearly readings: ‘Jane Yolen has set The Wild Hunt in the dead of winter, a winter where the weather is very, very bad — as bad as it will be at Ragnarok itself. The story told here is that Herne the Hunter, He Who is The Lord of Winter, is battling… a cat… a rather small cat at that. Ahhh, but not just any cat.’

Eric has a cozy of sorts for us: ‘Adding a new dimension to a real figure adds a kick to historical fiction. The key is to cast the person plausibly, if the historical feel of the fiction is to be kept. The role doesn’t have to be something that the person actually would have done, just something that the character can fall naturally into as the book progresses. In The Queene’s Christmas, Karen Harper strives to graft the role of detective onto the Queen. Somewhat difficult to swallow at times, but the overall effort is a good one.’

Grey says ‘When I was a teenager I often repeated these lines to myself as a kind of charm. It wasn’t that I expected them to make something happen; the words were a “happening” in and of themselves, and just saying them put me into the middle of it. They were a door into Susan Cooper’s The Dark is Rising cycle, one of the most compelling stories I had ever read. The story compels me to this day, and I continue to re-read it every few years.’

Henry Glassie’s All Silver and No Brass: An Irish Christmas Mumming is a wonderful book says Jack: ‘ What Glassie did in studying the Irish Mummers is the neat trick that any ethnographer wishes he or she could do: he gained access without going native, so he could ask questions only an outsider could ask. And ask he did! He asked and received tales about the mummers, their performances, the way mumming used to be in the old days, and the meanings of mumming. Mumming comes to life in a way that will reward both the general reader interested in a fascinating story and any serious student of Celtic folklore.

Jack also has a rather unlikely book with a winter holiday tie-in, Firecrackers: The Art & History. ‘Did you know that American newspapers were collected during community paper drives and shipped to China, where they were used as the paper wrappings for firecrackers? Or that Christmas, not the Fourth of July, was until the 1930s when firecrackers were set off in the American South?’

Lis has a special treat for us and tells about Pool Anderson’s The Complete Psychotechnic League, Volume 1 in detail: ‘In the aftermath of World War III, with restoration of peace and order, and the efforts to cope with the nuclear fallout, a new science of the human mind is secretly invented. Its inventors and those who study and work with it aim to create a stable, new, human civilization, that will ultimately prevent war wrecking civilization. They also want a civilization that protects the maximum freedom of individuals while preventing the nationalism and fanaticism and power hunger that ultimately crushes that freedom. Achieving this requires a certain amount of ruthlessness, and absolute secrecy, and the dangers in that are fairly obvious. Poul Anderson largely abandoned the series after the 1950s, both because the nuclear third world war hadn’t happened, and because he was losing his naivety. These are good stories despite that, and the characters are complex and realistic, as Anderson characters remained throughout his career.’

Her second review is of a novel just out, The Red Scholar’s Wake by Aliette de Bodard: ‘Xich Si is a tech scavenger, working out of a not very prosperous port of the An O empire. She just wants to support herself and her daughter in relative safety and comfort. On one ofher scavenging expeditions, she is captured by pirates and expects that the best she can expect is to be sold as a bondsperson. When the avatar of the mindshp that captured her comes to her cell, she expects worse, but gets a surprise she couldn’t anticipate. Rice Fish, whose wife, Huan, the Red Scholar, was killed in the fighting, wants Xich Si’s tech skills, to help find evidence of who really killed Huan. And to protect Xich Si while she’s doing that, they need to marry. Just a business arrangement, Rice Fish assures her. Xich Si agrees because the only alternatives are worse. Soon she finds that Rice Fish is an idealist trying to salvage what she and Huan were building, and that she needs to navigate her way through pirate culture, pirate politics, an increasingly complicated relationship with Rice Fish, and negotiating with officials of the An O and Ðai Viêt empires’

Cat loves this not so traditional Christmas film: ‘Once upon a Christmas season, there was a television show called How The Grinch Stole Christmas. A television show that explicitly had a message that Christmas was neither a celebration of the birth of Christ, nor was it something that comes in a box, but rather is a matter of remembering that we hold each other in our hearts. Warm, fuzzy, and aggressively secular. In 1966 no less!.’

I’ve been looking for an article I remember being in The Sleeping Hedgehog on eggnog on how it came to be a tradition here maybe forty years back but I can’t find it. What I do have is Jennifer Stevenson’s recipe for eggnog for Stay Home Egg Nog Fluff as she calls it so you can try it out in your drink making.

Christopher has, though it’s no surprise, a glowing review of a beloved holiday favorite. ‘Perhaps it’s the season, or the utter magic of Van Allsburg’s talents, whatever the reasons, the Twentieth Anniversary Edition of The Polar Express appears luxurious and incandescent.’

Gary was a bit surprised that he enjoyed a Christmas-themed album, Joyeux Noël, Bon Chrismeusse, by various artists. ‘This six-track EP puts a Cajun and Creole spin on some Christmas classics and tosses in some South Louisiana originals with a holiday theme, all done up in Acadian French with mostly traditional instruments.

Jack reviewed an album of traditional Welsh music, Cass Meurig’s Crwth, that has but a tangential connection to the winter holidays, but we couldn’t resist including it here. ‘If you like traditional instrumental medieval Welsh music played with skill, grace, and a lot of energy, you’ll love this CD. If you like traditional instrumental Celtic music of most any sort that has fiddles in it, give it a try too. I’ve played it a half dozen or so times in the past few months – it’s that good!’

Jayme gave a mixed review to Donal Hinely’s Midwinter Carols, an album played on the glass harmonica. ‘This is, I would say, the perfect CD to have playing in the background during a Christmas party or holiday gathering. It’s unpretentious and familiar on some deep level, but the look of fascinated confusion on listeners’ faces once they realize they’re listening to something unworldly may turn out to be the real treat for the host.’

Lars found Johnny Coppins’ Keep the Flame suitable for the season, if a bit abbreviated. ‘If you are looking for something soft and soothing to listen to while preparing for Christmas, Keep the Flame may well be what you are looking for. Clocking in at just over 28 minutes, it is a bit on the short side, but of course you can always put your CD player on repeat.’

Naomi was transported by the music on Caroline Peyton’s Celtic Christmas Spirit, considered by some to be one of the best holiday music recordings ever. ‘Featured on this CD are 11 tracks containing traditional Irish carols, combined with vocals so ethereal that you’d swear their origin was not human. Further blended and offset by haunting instrumentation, this disc will transport your soul to the true meaning of Christmas.’

She was less pleased by John Harbison’s Six String Christmas, which she found bland. ‘All the tracks are played to perfection; and, if all you wish to hear is the guitar, then this is for you. I prefer to hear other instruments and the occasional vocal, as well, though. But as I said, mixed in with the rest of our holiday favourites, all tracks played randomly, it ought to blend in quite well.’

No’am was less than thrilled by Tommy Sands’ disc To Shorten the Winter. ‘This disc presents 55 minutes of attractively presented songs, led by Sands’ warm tenor, and accompanied by a sympathetic backing of guitars, organ, pipes and percussion. It’s a competent noise that is relaxing to listen to, but doesn’t force itself upon the listener – faint but damning praise. This disc can function as more than adequate background music, but there’s no one song which makes the listener sit up and say “Wow, that was a great song!” ‘

I know that theThe Winter Solstice just passed, but let’s still have our annual story about that sacred event, Jennifer Stevenson’s ‘Solstice’ about a small-time rocker — well, listen to it as told by the author to find out what happens to her on that night, or if you prefer to read it, you can do so here.

Ysbaddaden and his stumped tail black coated yellow eyed brood are telling me that ’tis time for their eventide feeding, so I’ll take your leave now. Now where did the kitchen staff put that leftover smoked duck from last night? Ahhh, there it is! Let me feed them and I’ll see about some music to leave with you after their feeding, so one moment please…

I’m thinking that I mentioned here a few months back that I had been playing a concert recording by Skara Brae, The short-lived Irish trad group which the sorely missed Mícheál Ó’Domhnaill wa a member as he was of a number of bands including  Nightnoise, so I’ll finish off with a set of tunes, ‘Ar A Dhul Chun’ and ‘Chuain Dom’, from that performance. And I’ve no idea why they didn’t get a commercial release of this performance as both the music and the production are quite fine indeed.