We constantly tell stories 'ere at Green Man -- stories about what we're reviewing and what we refuse to review no matter what the Editor says, stories about the best ale we've ever had, stories about who's sleeping with who, stories about why the Editor's pissed off at so and so this month, and even stories about you, our dear readers. But the very best storytellers are the Jacks 'ere -- their tale is our primary story this month as you can read below...
Reviews this edition include a look at Ray Bradbury's Moby Dick screenplay, a comprehensive (more or less) telling of the Le Musgana musical story, what's in Volume 3 of master storyteller Nell Gaiman's Absolute Sandman, what happens when Robert Plant and Alison Krauss make music together (!), a look at the Swamp Thing series box set (April Gutierrez, our Book Editor, will be reviewing Swamp Thing -- Dark Genesis, the trade edition of the first run of this series), and a number of splendid live reviews including look-sees at the venerable Bob Dylan and newcomers Rupa and the April Fishes.
Exciting staff news was just handed to me by one of our publishing apprentices -- 'As most readers know, our own Michael Jones also contributes wonderful reviews to Realms of Fantasy Magazine. Now Editor and Reviewer Mia Nutick is branching out into interviews and biographies. Her feature piece on fabulous writer and artist James A. Owen is the cover article for the October Realms. Check out Michael and Mia as the issue is on newstands now!' Congratulations Mia!
Also worth noting is that coming up in October, we have an edition dedicated to World Fantasy Award-winning author Patricia A. McKillip! Our special issue will go beyond her well-known works (such as the Riddle Master Trilogy, Ombria in Shadow, and Od Magic), allowing our readers to delve beneath the surface and learn more about her life and career through our retrospective, personal interview, and collection of reviews spanning her body of work. We even have a review of her latest novel, The Bell at Sealey Head, which our reviewer reports to be '...a lovely novel best characterized as an enchanting waltz through the building of stories, set among a sleepy little fishing village with deep people, deeper mysteries, and more than one face.'
G'Afternoon -- Give me a moment to turn down The Dead's 'Jack Straw' off Steppin' Out England '72 which is playin' on the Infinite Jukebox so we can talk.
This is one of The Jacks speaking. Which Jack? Ahhh, that would be spoiling my fun! We Jacks are at our very best when we're more myth than reality.
Now my red headed colleen, what story were you telling me that one of me fellow Jacks told you he heard from an old blind Welsh crwth player of ill repute who likes his metheglin a bit too much? Oh, that one about The White Goddess and how The Mabinogion came to be? You believed him? Did you check your purse afterwards to see if all of your silver was still there?
Surely you know that all of us Jacks are born liars, errrr, storytellers? That all storytellers are telling not the truth, but a story to entertain? So be we Jack Flanders, Jack Straw, Broad Arrow Jack, Jack Spriggan, Jack Daw, Jack Sparrow, Jack Merry, Jack of Fables, Grimjack, Gypsy Jack, Ramblin' Jack, Jack Sprat, Jack Frost, Mad Jack, Jack B. Nimble, Spring Heel Jack, Headless Jack, the Jack of Beanstalk fame, or Whiskey Jack -- we all are not to be trusted to ever tell the truth without embellishing it. All of us Jacks really do like having reality and myth dance a lively improvised jig. Most find this part of our charm.
Of course, we couldn't do what we do, we storytellers, without the complicity of our audience. Yes, darlin', an audience of one is still an audience, sometimes the very best of audiences, depending upon the situation. Inspiration and necessity are at the root of the storyteller's trade. And there's not a one of us Jacks who wouldn't be inspired by a lass with hair the colour of spun firelight, just like yours. It reminds me of the tale of the Baroness and the Gypsy, he with his eyes dark and bright like globes of midnight sun, and she with her hair like an ocean of red gold...
...What? Well of course the Baroness in my tale looks just like yerself. And why wouldn't she? And yes, some ladies have admired my dark eyes, and even called them fine, just as the Baroness did our Gypsy lad's. It's that part of storytelling -- that insertion of reality into myth, of us into story -- which makes it ours. It goes both ways, though. We're shaped by our myths and legends just as we shape them. They're living things, stories, and as real as we dare them to be.
Did you just ask me if this particular Jack is more myth or more man? No, lass, I'm not laughing at you -- more at my own self. There are times when we storytellers get too caught up in our tales, or they in us, I s'pose. It wasn't my intention to tell you tales which put you in doubt of my reality. I'm certainly real, as real as yerself, as real as the Gypsy and the Baroness, as real as the King of England sitting on his throne today.
Beg pardon? There is no Royal family since The Commonwealth was formed by Cromwell, you say? Ah yes, of course. It was that other Jack, in that other time with that other life, who snuck into the English King's bedchamber to have a peek in his wig cupboard. No, no, he meant no mischief, did Jack. Well, not much, at any rate. It was simply a bet, you see, and mayhaps a wee bit of idle curiosity. Would you like to hear that story, while we help ourselves to another pint? You would? No, that Jack's eyes were not dark as night -- they were greener than the moors, my lovely colleen, though many ladies found them just as fine as our Gypsy lad's. The whole thing started the day Jack caught sight of the Royal Palace's comeliest upstairs chambermaid, a girl with eyes grey as the stormy seas and fringed in black lashes, just like your own...
We like to mix things up here at GMR, so this time we have not one, not two, but three related reviews as our featured book 'review' -- in honor of author Ray Bradbury's recent 88th birthday. Reviewer Richard Dansky looks back in time to a Bradbury classic and then at two brand-new releases of his from Subterranean Press and for his efforts, he earns an Excellence in Writing Award. First, Richard takes a look back in time at the classic Something Wicked This Way Comes, which he describes as one of Bradbury's 'darkest works', with 'moments of genuine terror and dark majesty' despite its message about 'redemptive joy'. Next up is a collection of short stories, Summer Morning, Summer Night, which shares a setting with the older novel. Richard says that this collection contains 'delicate small pieces about people' that are 'best read like an afternoon's conversation over drinks with a long-lost friend'. The last Bradbury selection is his screenplay for John Huston's Moby Dick. In Moby Dick -- A Screenplay, 'Bradbury cuts straight to the heart of the material, seizing on what is simultaneously most important and most cinematic while never forgetting that what matters most is the interplay of characters on the Pequod, their drives and manias and personal demons urging them on'. A must-read for Bradbury and Melville fans alike.
Kage Baker drops by to recommend Otto Penzler's anthology, The Black Lizard Big Book of Pulps, which she comments is 'a swell collection, a fine overview of the genre', giving it 'nine black masks out of ten'. A rousing start to the issue and an Excellence in Writing Award for Kage.
Donna Bird starts off her slate of reviews issue with a look at Aleksandar Hemon's The Lazarus Project, a novel she feels is 'as they say, semi-autobiographical'. Hemon's narrative entwines two threads, that of a fictional narrator and the real life story of a Jewish immigrant shot in Chicago in 1908. While Donna feels the first chapter is a powerhouse, 'after a while the two stories run together', making it difficult to follow either.
Next, Donna takes on C. J. Sansom's spy thriller, Winter in Madrid. Donna says this lengthy book is 'nicely balanced among physical setting, historical detail, character development and dialogue' and that she 'had a very hard time putting it down'!
Donna then turns her attention to a trio of related books from author Robert Sole, The Photographer's Wife, Birds of Passage and The Alexandria Semaphore. 'All three of these novels are about members of a large extended family of Syrian Christians who lived in Cairo and Alexandria for generations,' but are set in different times and written in different styles, Donna says. She also says the set are 'utterly wonderful novels' and make for a 'delightful reading experience'.
J.J.S. Boyce returns to Neal Asher's Polity series with its latest, Shadow of the Scorpion, which dives into the background of the series' main character, Ian Cormac, covering his first mission. J.J.S. says 'there's little praise I can lay on this that won't be recycled from previous Polity novel reviews. It's Asher; it's good'.
Faith Cormier enjoyed R. L. Copple's fantasy novel, Infinite Realities, which is about 'a neat allegory of humans' relationship with God and what happens when that relationship gets clouded' and turns out to be a 'nice little story'.
Faith also digs into the third volume in Rob Thurman's Caliban series, Madhouse. This time around brothers Cal and Niko are up against the Sawney Beane of legend and Faith enthuses that this plot, plus Cal's relationship issues, make for a 'rip-roaring good book'!
Faith tackles another series' third book in Julianne Lee's Knight's Lady, a historical fantasy about 20th century folk transported back to 14th century Scotland. She says that 'al in all, it's an enjoyable book', which seems 'reasonably authentic'. And she's eager to find the first two books and a potential fourth.
Lastly, Faith takes a look at two seemingly unrelated books, John Darnielle's Master of Reality and David Ambrose's The Man Who Turned Into Himself. Despite the books differences -- one is about Black Sabbath, the other is a science fiction novel -- Faith states that 'under the surface, they're both studies in madness'. Unfortunately, Faith failed to make an emotional connection to either.
Cat Eldridge continues to be enthralled with Vertigo's release of Neil Gaiman's Absolute Sandman series. Of Absolute Sandman -- Volume 3, he says, 'the stories within are among the best in the series' and 'there are jaw dropping artistic moments'. High praise indeed, when it comes to this particular series!
Richard Dansky reviews another screenplay for this issue, this time by Phillip K. Dick, Ubik -- The Screenplay, based on Dick's sci fi novel. How successful was Dick at the adaptation? Well, Richard says 'the end result is something that feels a bit more like an amphibious hybrid between novel and screenplay, something that's not quite either', but concludes that for all that Ubik is a joy to read.
Next up, Richard takes a look at a novel by the late creator of the Dungeons & Dragons game, Gary Gygax -- The Anubis Murders. He says that 'for a pulp pastiche, the plotting isn't bad, with suitably perilous perils and whatnot', but that the writing 'alternates between bombastic declamation and relentless exposition without much in the way of in-between' and the main character might well be a Mary Sue. Nonetheless, he concludes that 'there are certainly worse books out there, and if Gygax's name draws some roleplayers in to a place where they can discover some of their hobby's roots, there's nothing wrong -- and a lot right -- with that'.
Richard also reviews two of Grant Morrison's graphic novels, Doom Patrol -- Crawling From The Wreckage and Fifty Two. Doom Patrol 'is mind-blowing stuff, tricky and dangerous to the punchimminnaface comics crowd', with what's at stake being 'reality and perception, the possibility of a forced marriage in a house outside of time or the horror of being cut out of existence, one slice at a time'. Whoa! Fifty Two's great strength is 'the sheer variety and breadth of the material brought to bear' in this DC Universe maxi-series. However, Richard concludes that Fifty Two 'is for comics fans only, and most likely hardcore readers will get more out of it than casual ones'.
And lastly, Richard turns his attention to Cherie Priest's latest, Those Who Remain There Still, which he describes as a mix of 'her trademark Southern gothic with some good old fashioned monster mash'. Though he finds the book a bit too short and the ending a tiny bit rushed, he feels 'the pleasures of the book' outweigh those issues.
David Kidney brings his love for the ukulele ("uke") to his review of James Hill and J. Chalmers Doane's Ukulele in the classroom -- Book 1. Book 1 is really two books (Student and Teacher's versions) and a CD. David's been trying out the exercises and says he's 'learned quite a bit about strumming and finger placement' and is 'looking forward to Books 2 & 3'. Praise enough, coming from a uke player!
David reviews a slightly different book and CD combo next, examining a pair of autobiographical works from musician Janis Ian, Society's Child -- my autobiography and Best of Janis Ian -- The Autobiography Collection. The two CD set's hand-picked songs illustrate the various chapters in Ian's biography, and David says 'her prose is every bit as good as her lyrics, and the book reads like a long chat with Ms. Ian. Her tone is warm and friendly, even as she confides some of the more horrific parts of her life'. And he feels 'the CDs amplify the text, but stand on their own as a masterful collection of songs'. A great two-fer for fans of Ian, and an Excellence in Writing Award-winning review for David.
David then turns his attention from music-related books to a graphic novel, Joe Sacco's Palestine -- the Special Edition, which he proclaims is 'an extraordinary look at the country and people that make up Palestine, and this edition is a publisher's gift to a brilliant work of art'.
Our librarian, Iain Mackenzie steps out from the stacks to tell us about Arnie and Cathy Fenner's 2007 collection, Spectrum 14 -- The Best of Contemporary Fantastic Art. He says it's 'a dandy look at the year in contemporary fantastic art'. He's convinced that 'if this overview had existed as a physical exhibition, all the major art critics would be raving about it'!
Kestrell Rath reviews Kelly Link's YA short story collection, Pretty Monsters. Kestrell says that Link and YA are a 'magical pairing' and that 'Link's spare but evocative prose complements the intensely-felt inner landscapes of her smart but still emotionally awkward young protagonists'.
Elizabeth Vail was less than thrilled with the fourth book, Dragon Wytch, in Yasmine Galenorn's romance series about the magically-inclined D'Artigo sisters. She lament that it essentially suffers from middle-book syndrome, in that 'its basic story cannot function as a standalone, as it sweeps in on waves of backstory backwash and exits on a frustrating anticlimax that lays more ground for the next instalment than it ties up loose ends in the current one'. Elizabeth conclues that 'fans of Galenorn's previous books may enjoy the return of familiar characters' but new readers will want to start at the beginning ...'if at all'.
Elizabeth definitely prefers S.M. Peters' Whitechapel Gods, an intriguing twist on 'the themes of industrial abuse and pollution in a nineteenth-century setting'. She says though the ending is flawed, Whitechapel Gods is 'gorgeously written, endlessly inventive steampunk novel and a truly entertaining read'. Elizabeth earns herself an Excellence in Writing Award for this review.
Denise Dutton weighs in with a review of Shout Factory's box DVD set of Swamp Thing -- The Series. Much as she loves camp, even looking through a haze of nostalgia didn't win her over with this one. She has some serious issues with the way the editors put together this boxed set -- '...with Swamp Thing -- The Series, the first 22 episodes (seasons 1 and 2) get a box set treatment. It's a completist's treasure, but a well thought out "Best Of" set with the lesser episodes removed would have been a better crafted, more enjoyable collection.' Read her insightful review thisaway!
David Kidney has waited over forty years to see Bob Dylan in concert and it sounds like it was well worth the wait for him! 'Bob's voice has gone through a lot of changes over the years. First a young Minnesotan's take on Woody Guthrie, then a warm country croon, it has grown into an elder bluesman's growl. Is it shot? I don't think so. He plays new games with his phrasing, and once in a while slips back into the Woody-sound for a line or two. Or a syllable here and a syllable there. The lyrics are broken up like free verse. The band chugs along like there's no tomorrow, and people expecting to hear the classics delivered just the way they appeared on the original albums are in for a disappoinment. But you should know that going in. Take a listen to 1979's Live at Budokan, he's been reworking the classics for years!' Find out what else David thought about this long-awaited encounter right here!
Peter Massey spent a day in summer at the Middlewich Folk & Boat Festival in the English market-town, in the County of Cheshire. 'The sleepy market town of Middlewich is set in the heart of the beautiful Cheshire countryside. Renowned for its salt mines, once a year the town springs to life with the event of the Middlewich Folk & Boat Festival. Why Folk & Boat festival? Well Middlewich lies on the cross junction of the Shropshire Union, and Trent and Mersey canals... Many of the canal boat enthusiasts, who are also fokies, arrive for the festival by narrowboat.' Take a walk along the towpath and join Peter here to read his full review!
Next up, Barbara Truex spent an evening in the company of Rupa and the April Fishes in Portland, Maine. '"Multi-cultural" is a good way to describe both the people and the music. There is a heavy element of French/circus sensiblity throughout -- many songs in the classic 3/4 time used by acrobats and French accordion players... In performance the Fishes are simply fabulous. It is basically an acoustic band. Certainly people are plugged in to manage the sound more easily, but there were no lines of stomp boxes or electronica. Marya is a superb front person -- animated, friendly, she brings the audience right under her wing, she's bouncy on stage and probably would have been more so with a little more room.' Barbara gives an enthusiastic and detailed account of the evening in her review.
Also in summer festival mode was Gary Whitheouse, though on t'other side of the Atlantic, at Oregon's Pickathon festival. 'The setting is ideal, just a few minutes drive or shuttle ride from any of a number of lodgings in suburban Clackamas County southeast of Portland proper. The Pendarvis Farm is one of the last agricultural properties in a neighborhood increasingly developed for housing and shopping, but it feels totally isolated once you arrive. The main venue with its two stages and vending area is in a sloped meadow with the audience looking roughly eastward -- from much of the seating area you can see Mt. Hood when the sky is clear. There is camping space for hundreds of tents in meadows and woods and some space for campers, trailers and RVs. A big play area with activities for kids. Free water, plenty of porta-potties and washing stations -- including one with about a dozen sinks with solar-heated water. The entire festival is powered by solar and bio-diesel, waste is reused, recycled or composted, and the food is higher quality than typically found at festivals, with the emphasis on organic ingredients and plenty of vegetarian options; there's hearth-baked pizza, better-than-average Thai and much-better-than-average Mexican, chockful of fresh local produce, including fresh asparagus; as well as baked goods, juicebars and more. The beer sold onsite is from Lagunitis, one of the better of Oregon's hundreds of craft brewers.' Get the picture? Well, get the bigger picture by reading Gary's review!
Gary also got to catch up with Crooked Still at Pickathon for a brief back-stage interview. 'I was unprepared for my interview with members of Crooked Still. By that I mean that I was unprepared for how genuinely nice these young musicians were. Friendly and accommodating in the middle of a busy weekend of music, in the midst of a hectic and seemingly never-ending touring schedule; and they were also passionate and thoughtful about music in general and their own music in particular.' The rest of Gary's interview can be found here!
Quite a bit of lively Castilian Spanish music pleased Donna Bird -- 'These four CDs represent a good sampling of the recorded output from this talented Castilian Spanish folk ensemble. The other three CDs they've done over the years (La Musgana, 1988; El Paso de la Estantigua, 1989; and El Diablo Cojuelo, 1992) are not readily available in the US at prices most folks (including us) would want to pay. Maybe someday someone will decide to re-release them... ...As I was writing this review, I treated myself by re-listening to all these CDs. They are a delight to the ear, with sparkling production and lively music. What I find remarkable is how consistent the sound is, regardless of the time in which the music was recorded, the mix of musicians and instruments, or the respective producers. Take your pick, really!' Read her Excellence in Writing Award winning review thisaway!
Ahhhh, Deborah Grabien, author of the just out Rock and Roll Never Forgets -- A JP Kinkaid Mystery which is the very first novel in what I hope will be a very long series. had the privilege of reviewing a really great album as she notes 'ere -- 'Just before I popped Raising Sand in and uploaded it to my music library, I mentioned in my blog that I was going to review it. Two people responded immediately, and they couldn't be more different -- age, political leanings, upbringings, professions and musical tastes. They said precisely the same thing, in the same words -- I can't stop playing this. Raising Sand, the combined (and formidable) talents of Robert Plant and Alison Krauss, earns that comment from two women whose taste I respect enormously. In fact, I get just why they can't stop playing it; the damned thing is exquisite. In places, it hits a note that's very nearly perfection.' Her review is also perfect as well which is why she gets an Excellence in Writing Award for it!
Robert M. Tilendis has been enjoying the work of a stellar pianist. 'As I'm working my way through the six-volume CD commemoration of pianist Leon Fleisher's eightieth birthday, I am becoming more and more impressed with his abilities as a performer and interpreter.... I'm impressed not so much by his technical facility -- in an age littered with Wunderkinder and the perfectionism possible in the recording studio, that's pretty much a given -- but by his sympathetic understanding of the music he performed. From his seamless blending with the Juilliard in Brahms' Piano Quintet to his faultless negotiation of the angularities of twentieth-century American music, to this enchanting rendering of Ravel and Debussy, I'm astonished at his ease and his honesty -- his approach has been not to enforce a "style" on the material, but to find what is in the music and show it to us, which to me is the hallmark of the very best performers.'
The unknown is sometimes a good thing as Gary Whitheouse notes here -- 'This is a fascinating recording. I'd never heard of Balagan, and I'm still not quite sure what to make of it. But this recording, which is apparently a studio representation of the music this large ensemble plays as part of a fabulist cirque, may only hint at the wildly creative entity that is Balagan.' Read his review for all of the fascinating tale!
Sunshine In A Shot Glass also got Gary's mojo rising -- 'It's not often that you'll hear me lament that I wish I lived closer to Cincinnati, but when I listen to 500 Miles To Memphis, that's what I do wish, at least briefly. This Cincy-based group plays hot country-punk the likes of which is far too rare these days, and I'd sure go see them play if I was nearer to their hometown.' Nice, very nice!
A tasty helping of Nordic music pleased Gary as well -- 'This year marked a milestone for the Danish folk duo Haugaard & Hoirup. It's 10 years since they first collaborated. In those years, they've won seven Danish Music Awards, played more than 850 concerts and traveled the world. They've released their seventh album Rejsedage / Travelling to celebrate. It's a two-disc set, with a CD containing 11 all-new tracks, and a DVD with an intimate concert and an interview in which the duo discuss their history and talk about their music.' Oh, ymmm!
Gary confesses that 'OK, so I have to admit that this is my first Aimee Mann disc. I've been meaning to catch up with her since the whole Magnolia soundtrack thing, and I know lots of people who rave about her, but, well, she's really a departure from the kind of music I usually listen to, so I just didn't get around to it. My bad. Aimee's music is much more pop-oriented than my usual gig. I think of her as Rosanne Cash without the twang; to me, their voices are similar, as are their somewhat-cynical-with-age-but-still-romantic lyrical tendencies. If you want a bitter romantic, just check out the title, which Mann says was inspired by the way she feels about incurable optimists. @#%&*! Smilers indeed.'
Gary says that ' Waiting In Vain is James Jackson Toth's putative solo debut, but he and his wife Jexie have been recording for years in one incarnation or another, often as a band called Wooden Wand or some variation of that name. I'm told that they create psychedelic folk music, and on this album the two, with a band of regulars, do more of the same.' Hmmm... Read his review to see if that's a good thing.
Music Tuscon style pleased Gary as well -- 'The Year of Our Lord 2008 has been a busy one for certain musicians based in Tucson, Arizona, including two of my all-time favorites, Giant Sand and Calexico, and their collaborator Marianne Dissard, all of whom have new albums out late this summer.' Read his loving look at these bands 'ere!
An English bloke gets a rave review from Mike Wilson -- 'Thinkers & Fools is the second album from burgeoning British song-writing talent Darren Black. With a style that boasts firmly established folk roots, Black chooses his collaborators carefully to bolster this inclination. Joining Black here is a formidable cast of accomplished musicians that includes veteran fiddle maverick Dave Swarbrick, former Uiscedwr member Kevin Dempsey on guitar, and one-time Albion Band member Joe Broughton on fiddle, mandolin, bass and percussion. As if that weren't enough, Broughton also takes the production credits here.' A bloody good review I'd say!
Mike also looked at a sort of old-time American roots band -- The five-piece Old Crow Medicine Show take an old-time American roots sound and give it a contemporary makeover, in much the same way that Gram Parsons did with country music some 40 years ago. Built on the solid musical conventions of expertly applied acoustic instrumentation, stirringly replete harmonies and unpretentious lyrics that tell of everyday life, love and loss,Tennessee Pusher has a simplicity that exudes effortless beauty. The producer, former Bonnie Raitt collaborator Don Was, does a great job of avoiding any insincere gloss, maintaining utmost integrity throughout.' Read his Excellence in Writing Award winning review here!
Mike says .that 'Whapweasel make folk music just as it should be -- absolutely alive! They may do little for the purists but they will entice and excite the passionate with their committed and innovative arrangements of traditional-influenced contemporary melodies. Colour -- and the music here boasts plenty of that -- with its sleek silver cover and discrete logo takes on the appearance of an album of "dance" music, and that's surely what it is, though maybe not quite in the way that the cheekily mimicking cover might lead you to believe! Bringing together nine musicians that blend traditional instrumentation with a pulsating brass section and funky rhythm section, their music asserts similar challenges to expectations and conventional definitions.' His tasty review's thisaway!
We should remind you about our special editions which are our way of looking at specific writers and other subjects worthy of exploring in-depth. Of course, we've done several editions on master storyteller Peter S. Beagle which you can find thisaway and over 'ere; a great edition on Charles de Lint who's now beginning to set his tales in the desert Southwest; one on the ever fascinting trio of Brian, Toby, and Wendy Froud; naturally we did one on master storyteller J.R.R. Tolkien who is much loved by our staff; and one on a fantastic new storyteller, Catherynne M. Valente who is always worth reading.
We have special editions coming up soon on Patricia McKillip and Elizabeth Bear. In edition, our Oak King and Winter Queen this year are gentle folk whose work all of us have admired for years.
For our main page, please go here; to search the roots, branches, and leaves of This Tree, use the Google search engine; every past edition of our fortnightly What's New can be found here; for a detailed look at Green Man Review, go thisaway; and lastly, you report errors over here. Still have questions? Email our Editor here. Provided he's not in the Green Man Pub savouring a properly poured pint of Guinness whie listening to Peter Beagle spin another wonderful tale, he'll try to answer your question!
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