Grange Park Opera Interim Season. Simon Keenlyside: An Autumn Walk in Wales (available online). Review by Barbara Lewis: Context is all, says Simon Keenlyside, as for the second time this year he delivers a musical tour of his own personal context – the woods around his Welsh home.
travel
Post-Virus Venice: More than looks. Venice is, to a majority of us, one of humanity’s most seductive achievements.
Poetry review – NO FAR SHORE: Norbert Hirschhorn enjoys Anne-Marie Fyfe’s travel memoir that weaves a course between prose and poetry
Poetry review – REMARKABLE OCCURRENCES: Emma Storr reviews a collection by Patrick Lodge which features vivid and dramatic poems about the explorations of Captain Cook
Poetry Review – Jim Neat: Stuart Henson appreciates the challenges of constructing fact-based poetry such as Mary J Oliver’s biography of her father
Tomar and the Knights Templar, Portugal. Under vows of holiness, poverty and chivalry, the Order of the Knights Templar, founded around 1120 to protect pilgrims to the Holy Land, achieved much else besides.
During my last week in Calgary I still had to do some shopping, visit the Glenbow museum, the Zoo and Lougheed house, a villa belonging to a rich MĂ©tis family.
I visited two places out of Calgary: Head-Smashed-In Buffalo Jump and Banff, thanks to my friend Pam who drove me there and toured me around.
On 1st July, Canada Day, I was up and ready since early morning wearing a red T-shirt and red cowboy hat.
One of the main aims of visiting Canada was to develop my research on Margaret Atwood. The New Central library in Calgary, which opened in 2018, provided me with all the facilities I needed.Â
Before planning my journey to Canada, I made a list of my priorities. At the top of it was experiencing the country of the author I am studying for my PhD: Margaret Atwood.Â
by Michael Bartholomew-Biggs • added recently on London Grip, books, poetry reviews, travel, year 2020 • Tags: books, Brian Docherty, poetry, travel • 1 Comment
Poetry review – A CITY WAKING UP: Brian Docherty detects the voice of a woke woman in Sue Wallace-Shaddad’s new collection