Brown eyed women and red grenadine
the bottle was dusty but the liquor was clean
Sound of the thunder with the rain pouring down
and it looks like the old man’s getting on
Robert Hunter’s ‘Brown-Eyed Women’
It’s a wet day here with constant rain and wind enhanced by the sound of thunder as those storms roll through the region. By no means a day to be outside, so Kinrowan Hall is busy from the Kitchen in the lower basement to the private flats for senior staff on the top floors of this ancient, sprawling building. My Several Annies are managing Library affairs such as need doing so I’m putting together this Edition while sampling the just tapped Summerland Ale named after a certain novel by a baseball loving staffer and munching on some Riverrun cheddar cheese.
More than a few of our contributors down the years have been writers of quite some talent — Charles de Lint, Kage Baker, Paul Brandon, Peter Beagle, Elizabeth Bear, Christopher Golden, Catherine Valente, Jennifer Stevenson, Cat Rambo, even Stephen Brust have done reviews or sometimes stories published here. We’re thrilled to have them involved here and certainly look forward to what they do here in the future.
Shall I get to this edition then? Then I shall.
Cat R. does another multiple book wrap-up, focusing on independent and small press works, looking at works by Kyell Gold, Watts Martin, Gretchen Rix, N. J. Shrock, Tim Susman, and Ursula Vernon.
I was, perhaps not surprisingly, favorably impressed by a critical study of Patricia McKillip, Audrey Isabel Taylor‘s Patricia A. McKillip and the Art of Fantasy World-Building: ‘We’ve reviewed damn near every book that Patricia A. Mckillip has published over the many decades she’s been writing. Indeed the editing team is updating the special edition we did on her so that it can be republished this Autumn, as many of us here think of her as befitting the Autumn season. And so it is that I’m reviewing what I think is the first academic work devoted to her.’
Jennifer takes a look at a series she wishes she’d discovered sooner, namely Katharine Eliska Kimbriel’s Night Calls series: ‘Once in a while I find out I’ve missed something important in the book world, some classic that’s been out forever that I somehow never noticed when it was first published, something that turns out to be wonderful. Then once in a very great while I find something I wish I’d read thirty years before it was ever published.’
Speaking of Jennifer Stevenson, Wes finishes our book reviews off with one of her entertaining novels: ‘A storm’s a’brewing, the women restless, the men conflicted, and there are the strangest foxes you’ve ever seen running wild along the bucking river. Trash Sex Magic isn’t just a lurid, sexually charged magical romp. Complex characters drive an organic plot, elegantly woven of mythic resonance and familial metaphors.’
Cat R. looks at some candy that is a favourite of hers: ‘Having recently discovered that my favorite gummi bears were possibly made with child labor, I went looking for a substitute recently and picked up a bag of Albanese Mini Gummi Butterflies.’ Now go read her insightful look at what makes for a great candy treat.
Neverwhere was rumoured to have been planned as a film by the Jim Henson Company but this never happened but you’ll love the graphic novel I think as April tells us about it here: ‘Over a decade after the original televised mini-series and the novel it spawned, Neil Gaiman’s Neverwhere has found new life in comic form — but not scripted by Gaiman himself. That honor has gone to Mike Carey, writer for the Vertigo series Lucifer and Crossing Midnight, with Glenn Fabry (Preacher, Hellblazer) providing the artwork. Gaiman did serve as consultant for the project. In his introduction, Carey remarks on the difficulty of adapting a novel to comic format, noting that some scenes have been moved around, some cut, dialogue changed to accommodate both, and the omission of a character. His hope is that fans of the original will appreciate the decisions that were made and the final result.’
Robert has a series for us that did get the video adaptation experience but that’s not what he’s looking at here for us: ‘Preacher is one of those series that was always on my list of things to check out someday. I had a vague idea that it involved some guy walking around in a cowboy duster shooting things up. It’s not that, although there is a character that fits that description. He’s not one of the good guys. (There’s a lesson there: browse carefully.) The first collection, Gone to Texas, sets the stage.’
Barb exclaims that ‘If there are superstars to be named on the Swedish music scene, I would like this opportunity to nominate Lena Willemark (vocal, fiddle, viola, whistle, drone whistle), Per Gudmundson (fiddle, viola, bagpipes, vocal), and Ale Möller (octave mandola, overtone flute, cow’s horn, drone whistle, folk harp, shawm, harmonica, vocal), otherwise known as Frifot. The group’s CD Sluring is most certainly a masterpiece.’
Brendan gives us a detailed look at Grateful Dead’s So Many Roads (1965-1995): ‘So often dismissed as a anachronistic hippie band that would somehow never die, the Grateful Dead actually formed a keystone of sorts between the traditional forms of American roots music and the rock music of the 60s. Looking past the psychedelic trappings and bizarre skeleton images, one can easily see that foundations of the Dead’s music consist mainly of the American Musical Triumvirate: jazz, blues, and country, with of course a healthy dose of rock and roll to keep things interesting’
Lebanon’s Marcel Khalife is a prolific, controversial and well-known composer, singer and player of the oud. Gary takes a look at his latest work, Andalusia of Love, which draws on the poetry of the late Palestinian poet Mahmoud Darwish. He’s joined by his sons, pianist Rami and percussionist Bachar, and Jilbert Yamine on the hammered dulcimer called the kanoun. ‘Throughout this work there is virtuosic playing, some of a solo nature but mostly by the ensemble,’ Gary says. ‘It’s a moving performance of music that is complex yet welcoming.’
Robert has something that defies description. Almost: ‘Classifying things seems to be, for some reason, a basic human need. And it is axiomatic that our systems for classification have built-in limits and conceptual gaps: Archaeopteryx lithographica is, therefore, a bird. And Wolfsong Night, a collaboration between Tim Clement and Kim Deschamps, is New Age.’
This week’s What Not is another visit to one of Chicago’s cultural treasures: The Field Museum of Natural History, specifically “The Ancient Americas”. Says Robert: ‘When I offered to take my cousin to the Field Museum, showing off my new membership, and suggested that we see the permanent exhibition “The Ancient Americas,” she said, “What’s that?” “Indians,” I said, “from Day One.” She said later that it wasn’t what she was expecting. (What? Cowboys?) To allay any mistaken assumptions about the exhibition, read on.’
I rather like ‘Brown-Eyed Women’ quite a bit but my favorite version isn’t the one with Garcia singing that the Dead did, but rather is one someone here found some years back. Robert Hunter who wrote much of what they played including this song and my favourite version is done by him during a show at Biddy Mulligan’s in Chicago on the tenth of October some thirty years ago. So let’s now listen to him doing that song.