Just touching base (and touching bass too, as it were) after a busy week of books and music has meant fewer blog posts than usual here.
As you can see from the header photo Crickhowell in southeast Wales has just had its fourth literary festival over the last week and a bit, and I’ve been involved stewarding a few of the events. These included authors as diverse as comic fantasy writer Jasper Fforde, debut novelist Katy Mahood (whom I used to teach music in Bristol) and stand-up comedian and broadcaster Robin Ince, as well as subjects ranging from Frankenstein to dry-stone walling and poetry featuring historic characters associated with a short stretch of our local canal.
I’ve also sung in an ensemble which took part in Open Day events marking the re-opening of a 15th-century Welsh farmhouse, singing medieval songs, madrigals and commissioned choral pieces within an ambient soundscape. Refined techniques involving dendrochronology established that Llwyn Celyn‘s framework came from trees first felled in 1420, with significant additions documented around 1690; the last owners only vacated the property recently so the range of music reflected its long history. The choral singing combined with homemade instruments and the ambient sounds of sheep, birds retiring for the night and high-flying aircraft to echo round the valleys in the Black Mountains of the Welsh borders as dusk fell.
Other literary matters haven’t been neglected though. I’ve completed some books which are awaiting reviews — these include Henry James’ Daisy Miller and Gail Honeyman’s bestseller Eleanor Oliphant is Completely Fine — and, in concert with Lizzie Ross, I’ve been helping prepare for this year’s Witch Week which this year has Feminism+Fantasy as it’s theme: look out for at least one more advance notice in the days to come!