The title should have warned me. On reading the title poem, I realise any of the poems is a gateway into this passion with compassion, into a garden whose fragrances colour every sound lovers make when words have to cope. Make the lovers poets, see how each facet is etched, each jewel worked and polished. Wonderful, wonderful, wonderful.
When the beautiful Magdalena Chavez and her troubled, passionate son move into the small town of Las Madres, New Mexico, it doesn't take long for the discerning among the townspeople to discover that they are "other." Magdalena is a teller of stories that delight many, but also challenge the assumptions of one and all. Soon the reader is seduced into an enchanted world in which the boundary between reality and fantasy is always on the point of collapsing. The main characters must maintain a difficult balance between opposing polarities-sacred and profane, forbidden desire and ruthless power-a balance that seems to come instinctively to the simple but knowing inhabitants of Las Madres. Fairhead is utterly at home in this environment, evoking it with a mixture of precision and lyrical intensity. Whether she is describing the tumult of a bullfight, the stillness of a work of art or the vast, cinematic splendour of the New Mexico landscape, her voice is always pitch perfect. As the title suggests, it is a world of great beauty, but that same title also warns us that we cannot speak of beauty without also speaking of death. The Duende, that dark wind that blows through the world and touches the back of the neck whenever death is possible, is never far away.
Octavia Chavez, eighteen and fiercely passionate, has spent her life listening to the remote music of the stars, which only she seems to hear. She has a forbidden love of which she dares not speak, and a longing for wild, empty places. Her one true friend is a sanguine, seventy-seven-year-old wood-carver, Alejandro Jaramillo. Alejandro has been carving angels ever since he was summoned to do so at the age of ten. These two unlikely friends share one thing: a sense of having been called to something that lifts them towards an experience of the sacred. But when Octavia is involved in a life-threatening accident, and Alejandro begins to have dreams in which thousands of angels fall away from him into a bottomless abyss, they are both forced to question everything they have come to assume about themselves and their place in the world. So begins a voyage of discovery on which silence and dark music, new love and ancient landscapes will test their resolve to inhabit their own, inimitable lives. In prose that is both refreshingly muscular and hauntingly lyrical, Grenfell Fairhead invites us to examine what it means to grow up and truly belong, but also―even more crucially―what it could mean to grow down into one’s own center, learning the slow, fierce discipline of paying attention to each fleeting moment.
This remarkable tale is a powerful reimagining of our species' unfolding and its future potential. Rio Abajo Rio is many things at once - part post-creation myth, part evocation of the first words ever spoken, it is simultaneously a projection of a post-apocalyptic society. This brave book is not easily described because Barbara Fairhead's narrative defies linearity in time and telling. The narration transports readers to a time and place when language was in formation and identity was fluid. Characters morph and shift with their emerging consciousness.
A generous portrait of an artist at the height of her powers of perception. In these poems, sketches and song lyrics, crafted over a lifetime, we come to share in the adventure of stepping out of what Grenfell Fairhead calls the "house of orthodoxy." What binds these pieces together is her exuberance, and the sense that we are always at the beginning. Again and again, one feels a sense of things just beyond the range of the senses, waiting for us to catch up with them. In each landscape she describes, one feels her sensibility in sympathy with it, finding a place in it. As she remembers and argues with herself, mourns and celebrates, we find ourselves accompanying her on this voyage of discovery with our own full attention.
This remarkable tale is a powerful reimagining of our species' unfolding and its future potential. Rio Abajo Rio is many things at once - part post-creation myth, part evocation of the first words ever spoken, it is simultaneously a projection of a post-apocalyptic society. This brave book is not easily described because Barbara Fairhead's narrative defies linearity in time and telling. The narration transports readers to a time and place when language was in formation and identity was fluid. Characters morph and shift with their emerging consciousness.
When the beautiful Magdalena Chavez and her troubled, passionate son move into the small town of Las Madres, New Mexico, it doesn’t take long for the discerning among the townspeople to discover that they are other. Magdalena is a teller of stories that delight many, but also challenge the assumptions of one and all. Soon the reader is seduced into an enchanted world in which the boundary between reality and fantasy is always on the point of collapsing. The main characters must maintain a difficult balance between opposing polarities—sacred and profane, forbidden desire and ruthless power—a balance that seems to come instinctively to the simple but knowing inhabitants of Las Madres. Fairhead is utterly at home in this environment, evoking it with a mixture of precision and lyrical intensity. Whether she is describing the tumult of a bullfight, the stillness of a work of art or the vast, cinematic splendour of the New Mexico landscape, her voice is always pitch perfect. As the title suggests, it is a world of great beauty, but that same title also warns us that we cannot speak of beauty without also speaking of death. The Duende, that dark wind that blows through the world and touches the back of the neck whenever death is possible, is never far away. BARBARA GRENFELL FAIRHEAD was born in the UK in 1939 and has lived in South Africa since 1948. She is an artist, sculptor, writer, poet and lyricist for the band, Red Earth & Rust. She has published two books of poetry: And Now You Have Leapt Up To Swallow the Sun: 1997 and Word and Bead: The Presentation of a Journey: 2001, and a short story: Raven’s Moon: 2001. Over a period of twenty years she visited New Mexico regularly to spend time in her casita close to Black Mesa. She lives in Cape Town with her partner, singer-songwriter, poet and editor, Jacques Coetzee. Of Death and Beauty is her first novel.
Octavia Chavez, eighteen and fiercely passionate, has spent her life listening to the remote music of the stars, which only she seems to hear. She has a forbidden love of which she dares not speak, and a longing for wild, empty places. Her one true friend is a sanguine, seventy-seven-year-old wood-carver, Alejandro Jaramillo. Alejandro has been carving angels ever since he was summoned to do so at the age of ten. These two unlikely friends share one thing: a sense of having been called to something that lifts them towards an experience of the sacred. But when Octavia is involved in a life-threatening accident, and Alejandro begins to have dreams in which thousands of angels fall away from him into a bottomless abyss, they are both forced to question everything they have come to assume about themselves and their place in the world. So begins a voyage of discovery on which silence and dark music, new love and ancient landscapes will test their resolve to inhabit their own, inimitable lives. In prose that is both refreshingly muscular and hauntingly lyrical, Grenfell Fairhead invites us to examine what it means to grow up and truly belong, but also―even more crucially―what it could mean to grow down into one’s own center, learning the slow, fierce discipline of paying attention to each fleeting moment.
A generous portrait of an artist at the height of her powers of perception. In these poems, sketches and song lyrics, crafted over a lifetime, we come to share in the adventure of stepping out of what Grenfell Fairhead calls the "house of orthodoxy." What binds these pieces together is her exuberance, and the sense that we are always at the beginning. Again and again, one feels a sense of things just beyond the range of the senses, waiting for us to catch up with them. In each landscape she describes, one feels her sensibility in sympathy with it, finding a place in it. As she remembers and argues with herself, mourns and celebrates, we find ourselves accompanying her on this voyage of discovery with our own full attention.
A Pattern of Shadows is set in August 1914 and looks at the shattering effect the approaching conflict has on the lives of three young people who have grown up together in the same Kentish village. Alice Campion keeps house at Rendle Manor for her father, Sir Douglas, and younger brother, Ben. She is in love with Peter Crawford, a professional soldier and eldest son of one Sir Douglass tenants. However, she becomes aware of a mystery over Peters birth which could affect their future together. Ben sails to America as war is declared on a pre-arranged visit. Meanwhile Peter embarks with his unit for France. Sir Douglas decides to turn Rendle Manor into a hospital and sends Alice to London to a meeting at the Local Government Board, where she makes an astonishing discovery about herself. She returns home confused and unable to concentrate. In France, Peter is involved in the general retreat from Mons and is wounded. Ben, emboldened by his experiences, returns from America to join the Royal Flying Corps, and with the news he is to be married. Peters mother, Edna, finally divulges the secret that will allow Alice to marry Peter. However, no one has heard from him for over a week. The novel ends at the beginning of September with Alice hoping for a letter, but determined not to lose heart. The epilogue, which looks back at events in the war, is set in 1930.
Sailing the uncharted waters of the Pacific in 1830, Captain Benjamin Morrell of Connecticut became the first outsider to encounter the inhabitants of a small island off New Guinea. The contact quickly turned violent, fatal cannons were fired, and Morrell abducted young Dako, a hostage so shocked by the white complexions of his kidnappers that he believed he had been captured by the dead. This gripping book unveils for the first time the strange odyssey the two men shared in ensuing years. The account is uniquely told, as much from the captive's perspective as from the American's. Upon returning to New York, Morrell exhibited Dako as a “cannibal” in wildly popular shows performed on Broadway and along the east coast. The proceeds helped fund a return voyage to the South Pacific—the captain hoping to establish trade with Dako's assistance, and Dako seizing his only chance to return home to his unmapped island. Supported by rich, newly found archives, this wide-ranging volume traces the voyage to its extraordinary ends and en route decrypts Morrell's ambiguous character, the mythic qualities of Dako's life, and the two men's infusion into American literature—Dako inspired Melville's Queequeg, for example. The encounters confound indigenous peoples and Americans alike as both puzzle over what it is to be truly human and alive.
This remarkable tale is a powerful reimagining of our species' unfolding and its future potential. Rio Abajo Rio is many things at once - part post-creation myth, part evocation of the first words ever spoken, it is simultaneously a projection of a post-apocalyptic society. This brave book is not easily described because Barbara Fairhead's narrative defies linearity in time and telling. The narration transports readers to a time and place when language was in formation and identity was fluid. Characters morph and shift with their emerging consciousness.
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