A Kinrowan Estate story: The Coyotes

Raspberry dividerThe Coyotes was what they called themselves. They’d sent me a packet with the usual glowing look at themselves, a live CD, and, still fairly unusual, a DVD of the band performing. That’s when I noticed that they were an all-woman band. That in and of itself didn’t mean they were good, bad or just average, but we do try to book as many such bands as we can.

Like Big Bad Wolf, The Cadejos and Trickster’s Choice, who we’ve all booked over the years, it turned out that they were from the Southwestern USA, an area that’s had more than a few great bands that mixed music from the Celtic tradition with the accordion-centered music of the Tex-Mex tradition. It’s not quite the first sort of music, nor is it truly the second musical tradition either. Instead it’s a wild combination that merges the traditions together in some of the best music you’ll hear ever.

(I always meant to book The Mollys, another great band playing this music. They broke up messily when the two women in the band fought over matters I’ll leave to your imagination. It’s a matter that, like the unpublished Sandy Denny biography, that the less said of it, the safer for all involved!)

So I watched the DVD, enjoyed their music and their stage presence. They’d cut three recordings, two in the studio and recorded live in their home venue, a bar called charmingly Mojo Rising. So I emailed them, suggested some dates and offered a suggested fee for their being here a full week doing a concert and workshops as well. It was generous enough that I heard back from them within hours.

They arrived here with bags and instrument cases in hand, settled into the yurts they were staying in, and, since they had three days before their concert, joined in helping out the kitchen, working with Gus in the gardens, and being part of the Neverending Session. They were obviously having a great time.

Their concert was a resounding success but their workshops on various subjects ranging from playing the accordion in the Tex-Mex style to cooking New Mexican breakfast food (which won the heart and stomach of Reynard and many others) were well-attended and was what really got everyone excited. Need I note that they brought a large bag of chilies, dried and some smoked, with them? And other culinary goodies as well.

They were very happy with their time here as were we. We sent them off on their next leg on their European tour which I helped book using my contacts and said that they were welcome back again.

Now I’m headed off to the Kitchen as I can smell smoked chilies and peppers and garlic all the way up here in my office which means something Tex-Mex is being cooked!

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What’s New for the 23rd of June: Canadian children’s literature, Spanish-born accordionist Victor Prieto live, mythologist John Campbell considered, Horslips perform ‘Drive The Cold Winter Away’, Trad Arranged, Robert Johnson and other matters…

Toss the pot, toss the pot: let us be merry, And drink till our cheeks be as red as a cherry. We take no thought, we have no care, Still we spend and never spare ’til all of money our purse is bare. We ever toss the pot. —  start of a drinking song by Thomas Ravenscroft

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Do you remember that composer? If you’re not a follower of post-Commonwealth English popular music, probably no more than you know John Playford, another English composer who lived just a bit later than some playwright from Stafford on Avon that you do know. But I’ll bet that many of you know the ‘Drive the Cold Winter Away’ tune that has been covered by the Baltimore Consort, Loreena McKennit, Les Witches, Ensemble Galilei. And here is  ‘Drive the Cold Winter Away’ by the Horslips at the Spectrum in Philadelphia, thirty-seven years ago. Yes Playford composed it. Or possibly  just collected it.

I’ve had the Several Annies, my Library Apprentices, asking members of the Neverending Session, if they know who wrote a tune when they play it for them. (All of them play or sing — it’s a required skill.)  The answers are illuminating as it’s rare that even something as recent as ‘The Philadelphia Reel’ written by Phillipe Varlet have a true history know to them.  Fascinating to say the least.

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David once wrote a short story, entitled ‘Me & the Devil Blues’, inspired by blues legend Robert Johnson. So it’s not surprising that he was eager to review Robert Johnson: Lost and Found, written by Barry Lee Pearson, a professor at the University of Maryland, and Bill McCulloch, a career journalist and one-time blues musician. ‘Together they have set out to debunk the myths which have surrounded Johnson like a thick vine, to trim off the suckers, and to look directly at Johnson’s accomplishments as a blues musician.’

When Lory says ‘Most people’s knowledge of Canadian children’s literature runs the gamut from Anne of Green Gables to . . . well, Anne of Green Gables,’  I think many of us can concur. But don’t let that deter you from checking out Windows and Words: A Look at Canadian Children’s Literature in English. While the book does focus predominantly on Montgomery’s Anne and Emily of Full Moon, there’s other authors to discover, like Tim Wynne-Jones and Patricia Galloway, Lory assures us.

Richard looks at the first of three METAtropolis anthologies, with this one called, errrr, METAtropolis being edited by John Scalzi, which is, he says ‘the latest attempt at a shared-universe anthology, and it’s one of the most ambitious to date. Rather than being based off a particular setting, it’s predicated on the notion of the future of the city itself. The concept drives the evolution of the continuity between stories, rather than the world bible dictating what concepts make sense at play here. It’s an interesting approach and a daunting one. The bar is set high, and the five authors fling themselves at it with varying degrees of success.’

Robert brings us a look at a couple of books by Joseph W. Campbell, starting with The Hero With A Thousand Faces: ‘Where to start a discussion of a book on mythology that is itself nearly a legend? Joseph W. Campbell’s The Hero With a Thousand Faces is one of those landmark works of twentieth-century thought that have opened up new territory for exploration. I’m not sure I’ll go so far as to claim, as does one of the jacket comments, that it could be the most influential book of the century, but I wouldn’t rule it out.’

He then continues with Campbell’s Myths of Light: ‘In Myths of Light . . . he turns his attention to what he calls the “Orient” — those civilizations and mythic traditions east of a line through Persia that, as Campbell notes, separates the East — India, China and Japan — from the West — the Levant and Europe. He not only notes the essential differences in world view between these civilizations, but also their areas of similarity — once again finding the commonality that underlies all of our various religious traditions.’

And for a look at the “man behind the myth,” so to speak, see Robert’s take on The Hero’s Journey.

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Robert has some thoughts on a rather unusual superhero collection: ‘The Authority: Rule Britannia is the second part of Wildstorm’s World’s End series. By this time, the world is pretty much of a mess: the Carrier is grounded in the city of London — now “Unlondon” — to which its lower sections have fused. Jenny Quantum and the Doctor are missing, leaving Angela Spica, the Engineer; Jack Hawksmoor, the spirit of cities; Swift, a winged woman; Apollo, a bio-engineered “Superman”; and Midnighter, Apollo’s husband and a mean fighter who can see his opponents’ next moves, to try to make some order out of the chaos.’

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As long as we’re looking at dystopian futures, Robert has another one for us: ‘There is something to be said for walking into things without foreknowledge. I readily admit that a background in any area will help you to enjoy something more fully, but when it comes to specifics, it’s often better to have no expectations. I had heard a little bit of buzz, most of it favorable, about Alfonso Cuarón’s Children of Men; I don’t know if I would have been better off without it or not.’

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Whirligig’s Spin gets a look-see from Ed: ‘While it would be fair to categorize Whirligig as primarily Celtic, that’s really too narrow a label for this multi-faceted and talented septet. They clearly shine as a “rad-trad” band, playing tight, punchy high-octane versions of traditional Celtic tunes mixed with their own compositions in the same genre. But there are bits of tasty improvisation here along with carefully crafted songs, both traditional and new, a touch of the Balkans, a 12th century Gregorian Chant — rendered surprisingly effectively on solo soprano saxophone — and a cover of the B-52’s “Revolution Earth.” For those looking for comparisons, John Whelan, Dervish, Moving Hearts and Paul Winter come to mind.’

The trio from Prince Edward Island called Ten Strings and a Goat Skin (think guitar, fiddle and bodhràn) has a new recording, with a lively mix of traditional and contemporary tunes and songs from the Quebecois, Cape Breton, Scottish and Irish traditions. Gary says of the CD Auprès du Poêle, ‘this bunch of Canadians is the best kind of traditional ensemble, one that takes the music very seriously but has a heck of a lot of fun playing it.’

Although the Eivind Austad Trio hails from Norway, Gary says they hew pretty closely to straight-ahead American-style jazz on their debut disc Moving. Their American influences are explicit on tracks such as a cover of Cole Porter’s “All Of You,” as well as on Austad’s tune ‘Homeland,’ which Gary thinks reveals a touch of Vince Guaraldi’s style. Read his review here.

Gary says the Seattle-based group Western Centuries makes classic honky-tonk country music. The music on their debut recording Weight of the World is also, he says, ‘quite a bit like the music made in the early years of country rock, the late ’60s and early ’70s, (New Riders of the Purple Sage, Poco, Pure Prairie League and their ilk) with a rock sensibility and lyrics that, once you give a close listen, verge on the psychedelic and hallucinatory.’

Mikko Joensuu is a Finn who makes, of all things, Americana-tinged folk rock, Gary says. His solo debut album Amen 1, he says, is ‘not at all overtly Scandinavian, except perhaps in its sense of sardonic pessimism, but its dark minor keys and chordal structures are  more American than Finnish.’

Patrick says of the Solas concert he saw that ‘I went to bed with their music in my head, and when I woke up the next morning, it was still there. That’s just how good Solas’ March 21 show at Rosebud in Pittsburgh was. Strains of “Black Annis,” “Darkness Darkness” and “Dignity” ran through my dreams all night, haunting me with melodies I could clearly hear but not quite grasp in the darkness of sleep.’

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Our What Not this time is again a theatre piece. Kestrell had some worries about a stage production before she saw it: ‘when I sat down to view Lifeline Theatre’s live stage production of Neverwhere, I had my doubts. Works of fantasy offer a particular challenge for live theatre in that the fantastic often translates poorly to the limitations of the flesh and the material world, resulting in bad fur suits and the omission of many favorite passages.’

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Gary here. I’m working on a review of a new album by Spanish-born accordionist Victor Prieto. His new release The Three Voices puts a jazz ensemble to work reimagining Galician folk tunes, plus a samba, a Piazzolla tango, some Tuvan-style overtone singing, and more. The album is due on June 21, and Prieto will perform at Symphony Space in New York on June 21 as well. Here’s Muiñeira for Cristina‘ from the album, featuring the great Cristina Pato on the gaita or Galician pipes.

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A Kinrowan Estate story: A Green Man

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The Neverending Session was off elsewhere one quiet night in the Pub recently and Finch was tending the bar, so I stepped outside to play a few tunes to clear my head after several hours of doing the Pub accounts. I like being the Publican but doing the business side of it can be bloody boring. Though I do look forward to busman’s holidays with my wife Ingrid, the Estate Purchasing Agent who’s also our Steward, when we go off looking for interesting spirits for the Pub!

So as I started to play ‘The Changeling Reel,’ someone moving in the shadows caught my eye. And he was, even at first look, not human, as his skin was all very small overlapping leaves, so dark that they looked almost black, and his hair was made of dark green moss. I’d have been surprised if I hadn’t encountered him, or a kin of his, in our incarnation of the Wild Wood sometime back.

I watched as he stepped into the light cast by a nearby window in the Pub and pulled a fiddle from, well, nowhere, as he or one of his kin had done decades back when we first met. A fiddle made of living wood, it seemed, with strings of ivy stirring of their own accord, as there was no wind ‘tall.

With a gleam in his golden eyes, he matched me note for note as we played that tune and several more before we nodded to each other and he faded back into the dark. I finished off by playing ‘Banish Misfortune’ and went back to the Pub.

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What’s New for the 9th of June: Byrds live, C.S. Lewis and J.R.R. Tolkien, Conan the Barbarian, Indonesian Pop, Elizabeth Bear reads us a story, a history of ice cream and other tasty matters…

Some stories are literally true; some of them are figuratively true; some of them are wrong. That’s the nature of stories, isn’t it? They show us all the highlights of the world, but they never leave us certain we can trust the things we know. We listen because they delight us, and mind them as much as they illuminate our hearts; but no one with a lick of sense ever trusts a tale he can’t verify himself. — Alan Rodgers in his Bone Music novel.

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It’s deep into summer here, which means everyone pitches in to assist Gus, our Estate Head Gardener, with needed work around the Estate. Weeding, harvesting, deadheading flowers in the formal gardens — the list is almost literally endless. And it’s conference season here, which means extra work for the Kitchen and a need to check the  Guest Yurts to make sure they’re in good repair.

So I’ll be busy with helping the Several Annies, my Library Apprentices, on the updated map they’re doing of the pathways, both the commonplace and magical, on this Estate of somewhat indeterminate borders, and that means that I’m putting this together some days ahead of time.

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Jeannine says that ‘Any seasoned teacher knows better than to answer the question, “Who is your favourite?” in a class of children, and, so, too, does any seasoned reader feel about a good collection of fantasy short stories. Each one is a gem with its own colour, sound, and emotion. To pick a favourite or two is to do mortal insult to the others, I know, but due to space I’ll have to risk it. Intertwining the powers of Music and Story makes for some magical experiences, and it is on this basis that the editors have collected these fifteen tales from Elfland.’ Read her review of The Horns of Elfland anthology to see what tickled her fancy!

Kestrell looks at a novel of decided Shakespearean tones: ‘Elizabeth Hand’s new novel Illyria follows in a long tradition of science fiction and fantasy stories which reference the works of Shakespeare, particularly the romances, and Hand’s lyrical writing style is a wonderful fit for the dark romance she sets out to tell. The romance tells of the relationship between two cousins, Maddy and Rogan, but like that of the twins Viola and Sebastian in “Twelfth Night” to which the title Illyria alludes, the relationship between Maddy and Rogan proves to be a powerful touchstone for drawing together all the “big ideas” of love, ambition, and conformity to family and social expectations.’

Kestrell also has this memorable lead-in for her review of Theodora Goss’ In The Forest of Forgetting: ‘Every book is a grimoire, a witch’s recipe book for summoning thoughts and feelings, travels and transformations. Books of different genres can be used to invoke different seasons: horror for the haunted harvest time of late autumn, mysteries for the long nights of winter, and ghost stories to accompany the thunderstorms of spring. But fantasy — with its bewitching call to be out and away — is for summer.’

Diana Glyer’s The Company They Keep: C.S. Lewis and J.R.R. Tolkien as Writers in Community gets a look-see from Kim: ‘Anyone who has ever read of the legendary group of writers called the Inklings, about their friendship and lives as Oxford academics, has likely wondered about the nature of this long standing group. Its two most commercially successful authors, Tolkien and Lewis, at times seemed to play down the idea that the group, which existed for some three decades, had influenced them in their writing, as did other members of the group. Yet something was clearly going on in these weekly  meetings.’

Stories come from a deep need for people to explain things, preferably while being entertained. This thought crossed Robert’s mind while he was reading through Daithi Ó hÓgáin’s The Lore of Ireland: An Encyclopedia of Myth, Legend and Romance: ‘The Lore of Ireland is a magical phrase, calling up images of heroic deeds and fey enchantments, bloody treachery and shining honor, great warriors, cold queens of the Sidhe, leprechauns, cattle raids, enchanted groves, bards, prophecies — it’s sobering to think how much of our collective folklore, our everyday vernacular imagery, comes from Ireland.’

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Robert has a cheerful film offering for us today: ‘Gakuen Heaven started off as a computer game called Gakuen Heaven Boy’s Love Scramble. The franchise also includes three PlayStation 2 games, drama CDs, a manga series, and this anime. It’s a delightful bit of BL fluff, and everyone I know who’s seen it adores it.’

Not quite so cheerful is another DVD anime series, The World of Mirage of Blaze: ‘Mirage of Blaze began as a series of boys’ love novels by Mizuna Kuwabara, later adapted to manga with art by Shoko Hamada, finally becoming an anime television series. Rebels of the River’s Edge, also included in this set, came from the same series of novels and was released as an OVA (original video animation). It’s a dark and twisted tale of ancient feuds, possession, obsession, and love gone bad.’

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It’s summer here which means lots of fresh hand churned ice cream with various fruits, principally the Border strawberries that start out blood red and turn as white as bleached bone as they ripen. So it’s apt that Richard has this book for us: ‘Ask anyone waving around a Drumstick cone or Klondike Bar where ice cream comes from, and you’re lucky if you get a smart-aleck response like “the freezer”. Ice cream may be near-universally loved (there’s an ice cream truck going down my block as we speak, and it’s not being shy about it), ice cream has an oddly shrouded history. Admittedly, most consumers of ice cream wouldn’t care if the first ice cream cone sprang, fully formed, from the forehead of Zeus, but for those who are actually curious about where their double-dip hot fudge sundaes originated – and who don’t want to read a tome the size of a cinderblock – there’s Ivan Day’s slender Ice Cream.’

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Robert has a graphic novel twofer for us, involving none other than Conan the Barbarian — but first, a story: ‘Once upon a time there was a young English illustrator who wanted to draw comics. He wanted to draw comics badly enough that he came to America with little more than the clothes on his back and a sheaf of drawings, and went to the offices of Marvel Comics. They thought the drawings were OK, and managed to find a few jobs for him here and there, but. . . .’ Click through to see how it ends.

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Irish musician Jennifer really, really likes this album: ‘Fierce Traditional is the long anticipated new solo album from Frankie Gavin, and it sees him paring the sound right down, getting back to the essence of the music. With the usual stalwart suspects in the studio, long term partner Alec Finn, piano/banjo extraordinaire Brian McGrath and brother Sean Gavin, this album is all about the tunes, pure and simple.’

Gary takes a look at Music of Weather Report in which bassist Miroslav Vitous revisits and updates the music of that groundbreaking ensemble. The Czech-born Vitous was co-founder of the progrgressive jazz-rock fusion group, along with Austrian-born keyboardist Joe Zawinul and African-American saxophonist Wayne Shorter. Among the pieces reworked on this release is the group’s one hit single, Zawinul’s ‘Birdland’. Gary says, ‘Rather than trafficking in nostalgia, Miroslav Vitous and this group pay homage to Weather Report by displaying the same forward-looking spirit the original band stood for some 40 years ago.’

Gary also reviews the newly reissued The Traveling Wilburys’ Collection, a box set originally released in 2007 that includes the entire recorded output of this supergroup plus a DVD with a mini-documentary and several music videos. ‘The Wilburys were a complete surprise and delight when their first album was released in 1988,’ Gary says. ‘Most of these songs hold up surprisingly well, and the best of them would probably be pop/Americana hits if released today.’

Shouting at Magpies found favor with Harpist Jo: ‘It is really refreshing to see top-caliber pipers taking the bagpipe to new horizons. In the past, many Great Highland bagpipers that have pursued the bagpipe beyond the strictly traditional have tended to be the pipers that didn’t have enough talent to cut it in the highly competitive, strictly traditional bagpipe world. Recent years have seen a new trend of interest in music outside of the Highland pipe’s traditional milieu. One such piper to break new ground is Ann Gray.’

Robert (as happens fairly often) has something that stretches our idea of “traditional” a bit: ‘I’ve often maintained that tradition is a living thing — it grows and changes, or it dies. Another example of the truth of that idea crossed my desk in the form of the CD Endah Laris & Dedek Gamelan Orchestra. Laris and her collaborator, Dedek Wahydi, have both been building reputations as innovative creators, and this disc offers a good showcase for their talents.’

And since we’re in Indonesia right now, Robert has another selection for us, Uun Budiman and the Jugala Gamelan Orchestra’s Banondari: New Directions in Jaipongan. Now, if that sounds mystifying, all will be made clear. As Robert notes: ‘One realizes, after a while, that popular music, while it may appear in many guises, has certain things in common. Sometimes it is subject matter, sometimes it is more elusive. But, more on that later.” Read the review — he does explain it, I promise.

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Sometime ago a writer by the name of Elizabeth did a great favour for us and narrated a story of hers, ‘The Chains That You Refuse.’ When doing some cleaning up of our media server, the Infinite Jukebox,  I found it again, so here it is for you to enjoy! Please do not repost it without the express permission of the author.

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And now for something rather different, I’ve got ‘Blue Suede Shoes’ which isn’t performed by Elvis as you might well expect, but rather by The Byrds! It’s from their concert at the Avalon Ballroom in San Francisco, California on the 2nd of November 1968. Recorded directly off the soundboard, it’s a nigh unto perfect recording.

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A Kinrowan Estate Story: Our Cats

IMG_0272While our Kinrowan Hall is justly famous for the music that keeps the old place resonating nicely, we’re also home to a fair number of our feline friends. While some of the cats just come and go (not unlike the notoriously peripatetic musicians of The Neverending Session), there are a select few who’ve taken up permanent residence, albeit sometimes in the cellar while the music’s going on, especially if there’s whistles.

Collectively they’re generally known simply as ‘the cats’ (original, huh?), but we figured that it was time to introduce them to you; it’s usually polite — and politic — to greet a cat by name (using his or her sensible, everyday name, or at the very least using ‘Sir’ or ‘Madam’), and one often comes across one of our feline inhabitants in one nook or other around the Building.

So, Ladies and Gentlemen, meet the moggies . . .

First up is Ysbaddaden (‘King of all Giants’ from the story of Culhwch & Olwen), who’s sometimes affectionately known as ‘Bad Daddy’ by the human staff. He’s the alpha tom of the place, and you mainly find him guarding the gardens, or stalking the great hall. He’s probably tortoiseshell, but it’s difficult to be entirely sure given the amount of ‘markings’ that he’s picked up over his long life of battles. Fiercely loyal and protective towards the other cats, he still packs a hell of a wallop and a frightening turn of speed for an old ‘un!

Didjan is a smaller-than-average tabby female, probably the runt of her litter. Something of an outsider, ‘Didjie’ somehow manages to thrive on any food scraps left unattended for more than a second by the others — and occasionally the inattentive human as well. She can generally be found in the windows of the kitchen passageways. Both feline and human rumours of her forming an unholy alliance with Maggie Pye are probably completely accurate. . . . (A ‘didjan’ is a morsel of food — the bit of pasty crust that the dirty fingers hold, left by Cornish tin miners to appease the ‘buccas’ in the ‘bal’ (mine).

Phynnoderee is a very sleek, black Manx tom cat. ‘Finn’ is of the ‘rumpy’ (no tail) rather than the ‘stumpy’ variety of Manx, and seems rather proud of the fact. He’s hugely popular with the she-cats (which may explain the high percentage of oddly-tailed kittens mewling around underfoot.) He can often be spotted in the Reading Room, on some high spot overlooking his domain.

Wattie mysteriously arrived as a kitten in the Green Man cellars, shortly after a touring Scots band (friends of Our Jack) stored their flight cases down there . . . Growing up to be quite burly, his indescribably long and shaggy ginger fur means that he’s sometimes known as ‘that orange brute.’ Wattie has claws like claymores, and pursues his favourite sport of ‘moosing’ in the storerooms with an intensity that borders on the psychopathic.

Maddy and June (aka The Silly Sisters), are two tabby females, very alike, and usually seen together. June is the slightly larger of the two and is distinguishable by the white patch below her neck. Maddy is probably the wilder-natured cat (and has been known to bear a few ginger kittens). One stumbles across them gamboling together wherever their fancy takes them.

Blodeuwedd is the youngest of the females. Denise found her by the Green Man entrance, hiding among the flowers (in a hanging basket, strangely), and invited her in for a saucer of milk. While ‘Blod’ co-exists quite happily with the other cats, she frequently seeks the company of humans in the offices of the building, and has the unnerving ability to magically appear on desks like a very sudden Cheshire Cat.

Maeve is a splendid and stately black and white female of indeterminate age; she’s at least as old as Ysbaddaden, who she’s clearly known from kittenhood. Largely sedate and inactive these days, and usually to be found on the velvet cushions of the second floor landing window seat where proper homage may be paid to her when one goes past, when Maeve does go for a stroll, she does so as queen of all that she surveys. Though well past breeding age, Maeve will still (when no ‘prying eyes’ of the younger cats are about) invite Ysbaddaden to assist her with her grooming.

Cats, underfoot and in unexpected places, skulking in the cellars, haunting the hems of the drapes, purring to themselves on sunny windowsills, licking each other’s ears before the fires, and, while you’re reading this edition of the Review, probably draping themselves over your reading material. It’s in their nature.

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A Kinrowan Estate story: Gutmansdottir and The Wild Wood

ivy

Gutmansdottir was her family name and the only name she went by. She said she was a botanist and was interested in studying our Wild Wood, the area of the Estate that’s  virtually unchanged for over a thousand-years, if not a lot longer. I was intrigued enough by the idea that I asked our Steward at the time, Jean-Pierre, if she could use one of the staff yurts and get her meals gratis for as long as she was here.

That was seven years ago. I don’t think either party realised how bloody big her endeavour was going to be. It’s gotten so long-term that she works for me part-time for what she needs for cash and spends much of the better weather when she wasn’t working for me out there, usually several days at a time. She said that it indeed looked like nothing had been touched there except for a few standing stones, possibly what could be barrow-mounds and one bloody big stone dragon which she’d like to know the story about.

She spent the first summer just cataloguing fungi and lichen, dozens that were thought gone in Scotland. That was followed by a winter of collecting scat as that she said told her a lot about the botany of an area as reflected in the diet of hares, owls and so forth. I assisted her in setting up precipitation meters which sent their data back to a central computer by radio. The Several Annies, Iain’s Library Apprentices, spent a winter skiing out there to map the terrain and look for any signs of habitation no matter how long ago. They didn’t find any. Or at least none that was of this world…

So her work continues. We built a new, much bigger yurt with enough shelving and storage for her notes, books, tools and of course botanical samples. Not to mention her scat collection. Will she ever be done? I doubt it. I’ve got a great worker and the Estate has a superb community member.

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What’s New for the 5th of May: family friendly rootsy music, a look at queer comics, offbeat Columbian music, Peanut butter cups, Folkmanis’ Narwhal puppet, ‘City Of New Orleans’ and other stories

If I told you the whole story, your head would burst. There is no one story, there are branches, rooms… corridors, dead ends. — John Hurt as The Storyteller in Jim Henson’s The Storyteller

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All stories including our reviews are never the whole story as every story is made neat, made more understandable, or sometimes deliberately less,  in its telling. And everything has a story behind it including that novel you’re reading out on this stone paved patio at Kinrowan Hall on this nicely warm Summer afternoon enjoying our Special Reserve pear cider. Most times neither you nor I know the whole story of a story but if we’re lucky the author tells us in a preface about how the story came to be. And if she doesn’t, rest assumered that an academic will be glad to do so.

Our book reviews this outing have a few of the latter books including some academic looks at the works of Robert Holdstock and Diane Wynne Jones, and, well, you’ll just have to see. And I’m sure that the new reviews this Edition will be be interesting to you as well. If not, please do remember that everything’s just a story…

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Kelly looks at a classic work of SF: ‘Poul Anderson, who died in 2001, was one of the grand old voices of science fiction right up until his death, winning the Hugo Award seven times, the Nebula Award three times, and being named in 1997 as a Grand Master of the Science Fiction Writers of America. His was a long and prolific career. In the middle of that career, he created a character named Dominic Flandry, whose adventures had eluded me as a reader until my review copy of Ensign Flandry arrived on my desk. Now I’m wondering why.’

Farah Mendlesohn’s Diana Wynne Jones: The Fantastic Tradition and Children’s Literature gets a review by Kestrell: ‘Diana Wynne Jones (DWJ to her fans) is one of those writers who, despite the fact that she is frequently referred to as a “children’s author,” has a significant following of adult readers. Although there are an increasing number of literary critics addressing the subject of children’s and young adult fantasy, there is still a lack of literary criticism addressing why those books often shelved in the children’s sections of bookstores and libraries hold such a strong appeal for so many adult readers. Despite the title of this book (a title chosen by the publisher, not the author), its subject is a sophisticated exploration of Diana Wynne Jones’s complex approach to writing and storytelling.’

Richard looks at Donald E. Morese and Kalman Matolcsy’s The Mythic Fantasy of Robert Holdstock: Critical Essays on the Fiction: ‘The myth-infested landscape of Robert Holdstock’s Ryhope Wood would seem to be fertile ground, not only for walking legends and “mythagos”, but also for literary criticism. After all, in the sequence Holdstock tackles not the structures of mythic fiction – dark lords, questing heroes, magical macguffins and so forth – but rather the concept of myth itself, and how the same core stories have echoed down through the millennia, amplified and distorted and reflected by centuries of human experience.‘

Robert has a somewhat unusual book for us this week — a werewolf story, in verse: ‘I’ve had one previous experience with fantasy in verse (well, unless one counts the Iliad, the Odyssey, and the like), and it wasn’t a happy one. Nevertheless, when Toby Barlow’s Sharp Teeth crossed my desk, I screwed my courage to the sticking point, as they say, and I’m happy to report that my valor was justly rewarded.’

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Robert brings us a film developed from a game. Don’t groan — it’s not bad. It’s not bad at all. It’s Battleship, and it takes place in Hawai’i: ‘There’s a lot in this film that’s thoroughly predictable, but it’s a lot of fun, the effects are effective, and the action sequences are real edge-of-the-seat sorts of things. It’s tight and focused and the pacing is excellent. Perfect if you want to spend a couple of hours cheering on the good guys.’

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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.’ Read her review for more!

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Robert has a look at a very special book of and about graphic literature, Justin Hall’s No Straight Lines: ‘It’s tempting to say that comics underwent a radical transformation in the 1960s and ’70s. They didn’t. What did happen was that comics as a medium, with the rise of underground comics through the agency of R. Crumb and his peers, underwent a radical expansion of style, genre, and subject matter as an addition to the “mainstream.” Part of that was the advent of what Justin Hall, in No Straight Lines, has termed “queer” comics.’

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Cat R. tells us about a couple of rootsy albums that she calls ‘family friendly’. She says both Why Why Why and Old Barn qualify as ‘… music I can share with my godkids, ages 6 and 8, on roadtrips without anyone’s sanity or boredom being threatened.’

Epilogue, a tribute to mandolinist and singer John Duffey, got Gary’s toes tapping. ‘Duffey was a founding member of both The Country Gentlemen and The Seldom Scene, two of the most important groups in the history of modern bluegrass.’

He found something new in Bienaventuranza, the latest release by the Argentinian musician who goes by Chancha via Circuito. It’s called digital cumbia. ‘This musical style combines Colombia’s highly popular folkloric music, cumbia, one of the most popular in Latin America, with electronic beats and other modern touches.’

We finish off our music reviews with Aly Bain and Phil Cunningham’s Spring The Summer Long which solicits this lead-in by Jack: ‘Yawn, another bloody brilliant album from a duo, Aly Bain and Phil Cunningham, who can do no wrong. So why should you get excited? Are you completely daft, man? This is Aly Bain on fiddles and Phil Cunningham on damn near everything else (accordion, whistles, cittern, piano, keyboards, mandolin) with more than capable assistance from Malcolm Stitton acoustic guitar, and bouzouki and Stuart Nisbet on acoustic guitar, dobro and pedal steel. How can you not like it? Do you ‘ave not a touch of magic in your soul?’

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Puppetry is our What Not theme this time.  In his review of Figures of Speech Theatre’s Anerca, Chris writes of a puppet theater that owes as much to Japanese drama and American-Indian Mythology as it does to Jim Henson and Sherri Lewis. ‘Among the complex issues they set out to explore with Anerca are cross-cultural interactions, the misunderstandings of language, and direct emotional communication. Rather than putting Western words into another language, they focus on the emotional tone, physical world and spiritual quest of the characters.’

Speaking of puppets, Denise dives back into our stock to review Folkmanis’ Narwhal puppet. She was smitten with the sea creature, and took to him right away. ‘I soon had him tootlin’ around while I sang “Octopus’s Garden”.  He seemed to be the type that’d like that song.’ Read her review for more about this puppet!

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All songs are stories and Arlo Guthrie’s ‘City of New Orleans’ is certainly one of the better told ones. Recorded 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.

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A Kinrowan Estate story: Enter The Sandman

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It was well past the witching hour on a night when a hard rain was beating against the windows in our Pub when the stranger started her story: ‘The Sandman is a far more dangerous, feral creature than modern folk think of him as being. The Sandman of old didn’t make children sleepy.  No, he gave them nightmares that harmed them deeply for years after they became adults.’

I asked why had The Sandman became a fairly harmless bogeyman. She reminded me and the other listeners that the original versions of the tales collected by the Brothers Grimm were full of incest, murder, and even cannibalism, but were watered down substantially by the Victorian Era translators who brought them first in the English language.

So The Sandman as she told the story was a creature cloaked in darkness who face is so hideous that it made children scream. He would get very close to them and whisper in a voice so low that only his victim, and yes they are his victims, could hear the awful things he said to them. Whatever it was that he said, it made children wake up screaming.

There is a much darker version of this tale that says that The Sandman was so hideous that his victims became blind literally from seeing him. Call it nightmare creature induced blindness. I hadn’t heard this version but it sounded plausible. It’s surely a scary idea.  She added that there was a rare variant of The Sandman myth that said he induced the fear in children so that he could be the last thing they saw before he tore their eyes out leaving them blind, and also so he could savour the salty tears of fear in their eyes as he ate them down like treats.

She drank deeply of her autumn ale and ended by saying ‘Pleasant dreams, everyone.’

ivy

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What’s New for the 21st of April: Joni Mitchell sings of Coyote, Corridos from the Arizona-Sonora Borderlands, Tex-Mex Celtic music (!), live music from Calexico, R. Carlos Nakai, a bevy of novels set in the desert Southwest USA and other things for your consideration…

ivyWhat draws a Green Man into the desert? Melodies, bones, and ghosts, I’d say. We go on these pilgrimages from time to time, searching for our heart’s home, and often it’s the border country of the American West that calls. Coyote? Well, yes she’s here, but more often than not, it’s that little man with the flute that lures us into a world that borders our own simply because the ghosts linger longer in arid land. —  Kim in her ‘What Draws a Green Man into the Desert?’ essay

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Iain, your usual host here, begged off this week as he’s got the applications for potential incoming Several Annies, his Library apprentices who start in late Summer, to go over. He’s got his first applicant from one of the First Nations and another who’s Maori.

Now it’s  indeed quite true much of fiction here is grounded firmly in the English,  Celtic and European mythologies such as Midori Snyder’s The Flight of  Michael Macbride or Steven Brust and Megan Lindholm’s The Gypsy (although I’ll readily admit, the latter makes use of a less familiar European tradition), but a number of books reviewed by us have been rooted instead in the much different lore of the Southwestern USA, where Catholic beliefs merge easily (mostly) into the much older beliefs of the First Folk who have been here much longer than the later European settlers.

Likewise the music, food and other aspects of the culture reflect the mergers of disparate elements into something uniquely new, say Tex-Mex music with Celtic as in the case of The Mollys, a band that once existed here, or perhaps in Bad Wolf, the band that exists in The Wood Wife, the novel by Terri Windling, that merges these disparate elements too.

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Though most of Charles de Lint’s more recent work, both novels and shorter pieces, is set in his invented city, Newford, and its environs, some of his work is set in the Southwestern USA. One of these is a splendid novel called Medicine Road which features the two of the Dillard sisters from Seven Wild Sisters, now folk musicians on tour in that region.

Grey 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.’

There’s a bar in Medicine Road where the sisters play called A Hole in The Wall which de Lint borrowed from Terri Windling’s The Wood Wife (with permission). It’s possible that The Wood Wife is the first modern fantasy to take full advantage of the myths of this region. Grey says of the latter novel that it is ‘not only an expertly-crafted tale of suspense. It also stands squarely within the realm of modern fantasy. Windling’s Arizona desert comes alive with fey beings, shapeshifters small and great that are as mysterious and amoral as any European Fair Folk, yet practical and earthy and distinctively Native American in their coloration.’

Though not actually set here, de Lint’s Forests of The Heart novel starts off here and draws in part on the myths of this region, so I highly recommend it for your reading pleasure.

I shall  finish this section off with Smoking Mirror Blues,  a novel by Ernest Hogan. Cat says of it that ‘In the very near future, the citizens of Los Angeles are preparing to celebrate Dead Daze, a bacchanalian rave of a holiday that’s an over-the-top merging of All Hallows Eve, the Mexican Day of the Dead, and Mardi Gras. The reawakened Aztec god Tezcatlipoca, riding the body of a human, is feeling quite well, thank you! And let’s not forget that the Day of the Dead, which forms part of Dead Daze, is at its heart a time when the barriers between the dead and the still-living are all but completely erased. So maybe the gods do walk again … And this holiday, not dissimilar to the one in the Strange Days movie, needs National Guard troops to prevent rioting!’

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Robert brings us a look at a graphic novel series set (pretty much) in the Southwest, but the traditions it draws on — well, we can’t really call them “native.” See what we mean in his review of Preacher: Gone to Texas. Just to warn you: ‘It turns into a bit more than the story of one man’s search for God, however literally Ennis may have decided to portray it. This first volume shows every sign of a series that is turning into a look at America’s underbelly. It’s rough, it’s crude, it’s violent, but if the assholes win, it’s usually short-term …’ Oh, and one more warning: there are six reviews; just click on the link at the bottom of each one to be magically transported to the next.

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Jack has a look at a album of an unusual nature: ‘Let me start this review off by saying that most of what the musician who created Jackalope, R. Carlos Nakai, plays leaves me terribly bored. Yes, bored. Bored quite stiff. Even the other Jackalope albums that I’ve heard over the years were not very interesting for me. But Dances with Rabbits has had more playings in this household that I can count as it simply has not a less than stellar cut on it.’

Kim in her review of Trouble says ‘Disclosure: I’m a long time Molly’s fan! Live, recorded, whatever, I’m there. There’s something about the world-weary defiance, the determination to feel joy — or at least pleasure — in The Mollys’ music, that warms the soul. For the unitiated, The Mollys have always combined Celtic and Tex Mex influences in a heady blend that seems almost, but not quite, like the Appalachia meets Cowboy influenced-music that made alt-country popular.’

Gary says Calexico’s Feast of Wire is one of his so-called desert-island discs. He liked it a lot when he originally reviewed it in 2003, too. ‘The elements all fit together into a unified whole, its disparate parts forming a pleasing if somewhat disorienting picture that perfectly reflects the jumble of cultures and landscapes in which the music is set.’

Singing Bones was the first album Brett and Rennie Sparks (The Handsome Family) released after they moved from Chicago to Albuquerque, Gary notes. He finds it appealing if a bit transitional in feel. ‘That the songs are often equally sad and funny is part of the appeal; the rest comes from Brett’s deft melodies and his deadpan deep-voiced delivery of Rennie’s lyrics.’

Musicians in northern Mexico have a long tradition of ballads called ‘corridos’ that tell stories of everyday occurrences and the exploits of heroes and crooks. Gary reviews a release from Smithsonian Folkways called Heroes & Horses: Corridos from the Arizona-Sonora Borderlands. ‘The songs themselves are a capsule history of northern Mexico, from the exploits of the bandit Joaquin Murrieta to the 1994 Zapatista uprising, as well as tragic duels over women, mining disasters, train explosions and famous horse races. All were recorded between 1995 and 1999.’

No overview of contemporary Southwestern Americana music would be complete, Gary says, without a mention of Howe Gelb. He reviewed two releases from Gelb, one under his own name and the other as The Band of Blacky Ranchette — neither under the moniker of his main project Giant Sand. He notes, ‘The Listener is the more accessible of these two discs, but both are fine examples of thoughtful, independent Americana.’

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Befitting the theme this week of the roots and branches of the southwest USA, I’m going to leave you with music by Joni Mitchell and Calexico.

Yes Joni Mitchell. It’s her take on the coyote myth that de Lint uses in his fiction. So here’s ‘No Regrets Coyote’ performed in concert by her at the Sydney Opera House Sydney, New South Wales, Australia on the 3rd of March 1983. If the song sounds familar to you, it might well be because she performs it in The Last Waltz, the Martin Scorsese film of The Band’s last concert.

Our second song comes from the genius that’s the band called Calexico in the form of Sunken Waltz, a song that starts off telling the story of American corporate greed along the Border before veering into… Well just go listen to it.

 

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A Kinrowan Estate story: My Snuggery

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Snuggery is informal British slang for a comfortable or cozy space. And that’s what my office is, behind the Green Man Pub. It’s actually a space specifically designed by me when I took the job as Pub Manager here at the Kinrowan Estate over a generation ago. Before me taking the job, the Pub Manager commandeered the Snug when he needed to do the books, and that’s how it had worked since the Pub was added here in the early eighteen hundreds.

But I wanted something more private than that. And something more permanent, as it was becoming obvious that the attendees of the various conferences, festivals, and such held here were making the Pub more profitable and more complex to manage. And even though Ingrid, my wife, as Estate Purchasing Agent does most of the Pub buying of spirits and all, I still need to keep track of inventory, customer drinking patterns, and work with Bjorn, our Brewmaster, on what we’ll be serving her as the seasons change.

Then I got an idea — the best Snuggery was a hidden one. Iain, our Librarian, has one that’s hidden under a staircase with the door being invisible unless you know how to find the latch in the wood paneling that opens it. Obviously mine couldn’t be that invisible but we decided that it could be made to look like nothing was back there. So the door is hidden behind a false set of shelving that very much looks deep to the eye, a fey custom designed spell, that swings inward to left me in and out.

I first had to find out what was behind the Pub. As luck would have it, there was a storage room there that actually had an exterior window, as it was built long before electricity was installed here. It was not that big — just twenty by twelve feet — but big enough. So I got one of the Estate lads who had drafting skills to help me design it.

We decided on a built in desk facing the greensward that sloped towards the area of forest called Oberon’s Wood, lots of bookshelves to hold countless ledgers, reference books, and various travel memorabilia I had such as the centuries old matryoshka, a set of Russian nested dolls that Ingrid, my wife, found in Moscow. Oh, and I keep my collection of rare single malt whiskies there.

So I requisitioned a Turkish rug from Estate stores, found a century-old office chair with a comfy leather seat that was also in stores, got a flat wall mounted heating unit put in, and had electricity installed. All in all, my Snuggery makes keeping the accounts almost pleasurable.

ivy

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