POPULARITY
2 episodes with Patrick Leigh Fermor
2 episodes with Patrick Leigh Fermor
3 episodes with Patrick Leigh Fermor
3 episodes with Patrick Leigh Fermor
El podcast más viajero del Grupo Libertad Digital llega a su número 100 y lo celebramos por todo lo alto con una fiesta y disfrutando con el público. El Placer de Viajar cumple 100 episodios y Kelu Robles y Carmelo Jordá han decidido celebrarlo por todo lo alto con una grabación en la que por primera vez se han encontrado con sus oyentes : este capítulo se grabó en directo frente al público el pasado 30 de enero en un abarrotado B travel Xperience Madrid en el que hubo un poco de todo. Para empezar una tertulia muy viajera con la escritoria y periodista María José Solano, colaboradora habitual de la revista Zenda y autora de La mujer que besó a Virgilio y Una aventura griega, tras los pasos de Patrick Leigh Fermor; el periodista de viajes y subdirector de Forbes Travel, Clemente Corona; y Juan Francisco Alonso de ABC. Una animada conservación en la que ha habido espacio para recordar los viajes de la infancia, lamentar el final de una era de los billetes baratos, recomendar destinos maravillosos y, sobre todo, pasar un buen rato alrededor de esa maravilla que es poder recorrer el mundo para conocer lugares y vivir experiencias en lugares más o menos cercanos. Pero después llego lo mejor: un sorteo en el que gracias a la generosidad de easyHotel se sorteó entre los presentes un bono de 300 euros para una estancia en cualquiera de sus hoteles en toda Europa, con una feliz ganadora y, como premio de consolación, dos ejemplares firmados por Carmelo Jordá de su libro Lugares Generalmente Distantes. Y la fiesta terminó compartiendo cerveza gracias a Estrella Galicia, vino de autor de Becquer y Benito Escudero y una selección de queso e ibéricos. Un encuentro completo. Escríbenos, explícanos qué te gusta más y si hay algo que no te gusta tanto de El Placer de Viajar, dinos de qué destinos quieres que hablemos y si quieres que tratemos algún tema y, por supuesto, pregúntanos lo que quieras en el correo del programa: elplacerdeviajar@libertaddigital.com.
In today's episode, Geoff, Ben and Rory enjoy an imaginary trip to Greece to delve into Patrick Leigh Fermor's Mani House, a cultural powerhouse. This leads us on to discussing British expats. Submit a question to our Q&A episodes via admin@thecountryhousepodcast.com
"Zmienić scenerię; porzucić Londyn i Anglię i wyruszyć przez Europę niby włóczęga - lub jak znamiennie sformułowałem to na własny użytek, niczym pielgrzym lub pątnik" - takie postanowienie podejmuje osiemnastolatek Patrick Leigh Fermor.
On a dark night in April 1944 a German general was returning to his villa on the Nazi occupied island of Crete. Suddenly, two men, dressed as Wehrmacht soldiers, emerged from the darkness and stopped the car. The two men were British officers, and together with Cretan resistance fighters, they bundled the general into the back, and drove through Heraklion and 22 checkpoints. So began one of the most audacious operations of World War Two, orchestrated by Patrick Leigh Fermor, autodidact, writer and war hero. Artemis Cooper, biographer of Paddy, joins to discuss his early life, the operation, his walk through Europe and his writing. Artemis Cooper Links Patrick Leigh Fermor: An Adventure Cairo in the War: 1939-45 Patrick Leigh Fermor Links 3 Books Collection Set (A Time of Gifts, Between the Woods and the Water, The Broken Road) Abducting a General: The Kreipe Operation and SOE in Crete Mani: Travels in the Southern Peloponnese Roumeli: Travels in Northern Greece Aspects of History Links Ollie on X Get in touch: history@aspectsofhistory.com Learn more about your ad choices. Visit megaphone.fm/adchoices
"How is it possible to bring order out of memory?"This quote begins Beryl Markham's West with the Night, the memoirs of the first woman to fly solo across the Atlantic from East to West."I should like to begin at the beginning patiently like a weaver at his loom. I should like to say this is the place to start. There can be no other, but there are a hundred places to start."Today, James and Cal Fussman return for another episode of "Hooked on the First Line", where they each bring to the table books that had them hooked from page one.Cal Fussman and James Altucher engage in a deep exploration of the art of writing, examining how first and last lines, personal experiences, and storytelling techniques shape a writer's work and influence the reader's experience. They discuss specific examples from literature, including the works of Ernest Hemingway, and relate these concepts to broader themes like memory, personal growth, and the diversity of writing styles across different fields.-----------Episode Summary:Importance of First and Last Lines in Writing [00:00:30]: The discussion begins with the significance of the first and last lines in writing, their impact on readers, and the challenge of competing with modern distractions.Reflections on Personal Life and Chess [00:02:18 - 00:03:56]: Personal anecdotes about past relationships, chess playing, and the influence of sports and activities on personal growth are shared.Discussion on George Foreman and Muhammad Ali [00:03:56 - 00:09:10]: They delve into the lives and careers of George Foreman and Muhammad Ali, discussing their iconic fight and their impact on their careers and personalities.Peak Ages in Different Professions [00:09:10 - 00:10:54]: The conversation shifts to the concept of peak ages in various professions, including sports, mathematics, and writing, and the importance of experience in artistic fields.George Foreman's Career and Personal Transformation [00:10:54 - 00:14:30]: Fussman recounts George Foreman's career, his comeback in boxing, and how he transformed his public persona.Writing Craft and First Lines [00:14:39 - 00:16:11]: The discussion focuses on the art of writing, the importance of first lines, and how it sets the tone for a story or a piece of writing.Cal Fussman's Personal Writing Experiences [00:16:11 - 00:19:21]: Fussman shares his experiences with writing, particularly on significant events like 9/11, emphasizing the importance of both the first and last lines in storytelling.Analysis of Hemingway's Work and Other Literature [00:19:21 - 00:22:55]: The conversation shifts to Ernest Hemingway's work and his thoughts on other writers, including "West with the Night" by Beryl Markham and analysis of various books and their opening lines.Exploring Memory and Storytelling [00:22:55 - 00:28:51]: The interview touches on the themes of memory, storytelling, and how writers use their experiences to craft narratives.Discussion on Business Books and Writing Styles [00:28:51 - 00:57:12]: The dialogue expands to include different writing styles and the importance of craftsmanship in writing across genres. After a discussion about journaling, Cal discusses Harry Crews and his memoir "A Childhood: The Biography of a Place". They explore how the principles of storytelling and narrative structure apply to various forms of writing, including business and self-help genres."A Time of Gifts" by Patrick Leigh Fermor [00:45:10]: Fussman describes Fermor's journey from Holland to Constantinople in 1933 and the impact of this journey on the world and literature, noting that it took three books to capture the experience. The second book mentioned is "Between the Woods and the Water," detailing Fermor's travels from Hungary to Romania,Discussion on Business Books [00:54:25]: Towards the end of the conversation, Fussman reflects on business books, contrasting them with fiction, which...
"How is it possible to bring order out of memory?"This quote begins Beryl Markham's West with the Night, the memoirs of the first woman to fly solo across the Atlantic from East to West."I should like to begin at the beginning patiently like a weaver at his loom. I should like to say this is the place to start. There can be no other, but there are a hundred places to start."Today, James and Cal Fussman return for another episode of "Hooked on the First Line", where they each bring to the table books that had them hooked from page one.Cal Fussman and James Altucher engage in a deep exploration of the art of writing, examining how first and last lines, personal experiences, and storytelling techniques shape a writer's work and influence the reader's experience. They discuss specific examples from literature, including the works of Ernest Hemingway, and relate these concepts to broader themes like memory, personal growth, and the diversity of writing styles across different fields.-----------Episode Summary:Importance of First and Last Lines in Writing [00:00:30]: The discussion begins with the significance of the first and last lines in writing, their impact on readers, and the challenge of competing with modern distractions.Reflections on Personal Life and Chess [00:02:18 - 00:03:56]: Personal anecdotes about past relationships, chess playing, and the influence of sports and activities on personal growth are shared.Discussion on George Foreman and Muhammad Ali [00:03:56 - 00:09:10]: They delve into the lives and careers of George Foreman and Muhammad Ali, discussing their iconic fight and their impact on their careers and personalities.Peak Ages in Different Professions [00:09:10 - 00:10:54]: The conversation shifts to the concept of peak ages in various professions, including sports, mathematics, and writing, and the importance of experience in artistic fields.George Foreman's Career and Personal Transformation [00:10:54 - 00:14:30]: Fussman recounts George Foreman's career, his comeback in boxing, and how he transformed his public persona.Writing Craft and First Lines [00:14:39 - 00:16:11]: The discussion focuses on the art of writing, the importance of first lines, and how it sets the tone for a story or a piece of writing.Cal Fussman's Personal Writing Experiences [00:16:11 - 00:19:21]: Fussman shares his experiences with writing, particularly on significant events like 9/11, emphasizing the importance of both the first and last lines in storytelling.Analysis of Hemingway's Work and Other Literature [00:19:21 - 00:22:55]: The conversation shifts to Ernest Hemingway's work and his thoughts on other writers, including "West with the Night" by Beryl Markham and analysis of various books and their opening lines.Exploring Memory and Storytelling [00:22:55 - 00:28:51]: The interview touches on the themes of memory, storytelling, and how writers use their experiences to craft narratives.Discussion on Business Books and Writing Styles [00:28:51 - 00:57:12]: The dialogue expands to include different writing styles and the importance of craftsmanship in writing across genres. After a discussion about journaling, Cal discusses Harry Crews and his memoir "A Childhood: The Biography of a Place". They explore how the principles of storytelling and narrative structure apply to various forms of writing, including business and self-help genres."A Time of Gifts" by Patrick Leigh Fermor [00:45:10]: Fussman describes Fermor's journey from Holland to Constantinople in 1933 and the impact of this journey on the world and literature, noting that it took three books to capture the experience. The second book mentioned is "Between the Woods and the Water," detailing Fermor's travels from Hungary to Romania,Discussion on Business Books [00:54:25]: Towards the end of the conversation, Fussman reflects on business books, contrasting them with fiction, which he grew up reading. He acknowledges his later introduction to business books and notes a different approach to the first lines in these works compared to fiction.------------What do YOU think of the show? Head to JamesAltucherShow.com/listeners and fill out a short survey that will help us better tailor the podcast to our audience!Are you interested in getting direct answers from James about your question on a podcast? Go to JamesAltucherShow.com/AskAltucher and send in your questions to be answered on the air!------------Visit Notepd.com to read our idea lists & sign up to create your own!My new book Skip the Line is out! Make sure you get a copy wherever books are sold!Join the You Should Run for President 2.0 Facebook Group, where we discuss why you should run for President.I write about all my podcasts! Check out the full post and learn what I learned at jamesaltucher.com/podcast.------------Thank you so much for listening! If you like this episode, please rate, review, and subscribe to “The James Altucher Show” wherever you get your podcasts: Apple PodcastsStitcheriHeart RadioSpotifyFollow me on Social Media:YouTubeTwitterFacebook
Adam Sisman is a writer specialising in biography, living in Bristol, England. He is the author of Boswell's Presumptuous Task, winner of a National Book Critics Circle Award, and the biographer of John le Carré, A. J. P. Taylor and Hugh Trevor-Roper. Among his other works are two volumes of letters by Patrick Leigh Fermor. He is a Fellow of the Royal Society of Literature and an Honorary Professor at the University of St Andrews. "Mr. Sisman has an ideal biographical style: inquisitive and open, serious yet not severe," Dwight Garner wrote of Sisman's life of Hugh Trevor-Roper in the New York Times: "I'd read him on anyone.” With thanks for your support for 5x15 online! Learn more about 5x15 events: 5x15stories.com Twitter: www.twitter.com/5x15stories Facebook: www.facebook.com/5x15stories Instagram: www.instagram.com/5x15stories
Simon and Rachel speak with the biographer Adam Sisman. After an initial career in publishing, Adam's first book, a biography of historian A.J.P. Taylor, appeared in 1994. His second, "Boswell's Presumptuous Task" (2000), won the US National Book Critics Circle Award for Biography, and he has subsequently written biographies of another historian, Hugh Trevor-Roper, and the espionage novelist John le Carré. A coda to his original biography of Le Carré, published in 2015, came out this year; it contains information he was unable to publish in the novelist's lifetime. Among Adam's other works are two volumes of letters by travel writer Patrick Leigh Fermor. We spoke to Adam about his new book - "The Secret Life of John le Carré" - his early career in publishing, and his move into writing biographies. “Always Take Notes: Advice From Some Of The World's Greatest Writers” - a book drawing on our podcast interviews - is published by Ithaka Press. You can order it via Amazon, Bookshop.org, Hatchards or Waterstones. You can find us online at alwaystakenotes.com, on Twitter @takenotesalways and on Instagram @alwaystakenotes. Our crowdfunding page is patreon.com/alwaystakenotes. Always Take Notes is presented by Simon Akam and Rachel Lloyd, and produced by Artemis Irvine. Our music is by Jessica Dannheisser and our logo was designed by James Edgar.
Travel writing by Patrick Leigh Fermor, with an introduction by Karen Armstrong. 1957
This episodes guests are the marvellous Sara & Lilly, hosts of the Fiction Fans podcast! Join us as they share which five books they would take when castaway to their mystery remote locations. Unearth literary treasures with the Books to Last Podcast, a homage to BBC's Desert Island Discs. Dive into the minds of avid book lovers as they handpick their five essential books for a remote adventure. Expect delightful tangents and heartwarming anecdotes, making this podcast a haven for book enthusiasts seeking recommendations and inspiring tales. Guest Details: Website: https://www.fictionfanspodcast.com/ Instagram: @fictionfanspod Goodreads: https://www.goodreads.com/user/show/129177449-fictionfans Podcast: W: https://anchor.fm/bookstolastpod Twitter: @BooksToLastPod Instagram: @BooksToLastPod Music by DAYLILY @daylilyuk on Instagram https://open.spotify.com/artist/31logKBelcPBZMNhUmU3Q6 Spoiler Warning Books Discussed: The Return of the King by J. R. R. Tolkien The Silmarillion by J. R. R. Tolkien Dead to the World by Charlaine Harris Night Watch by Terry Pratchett Frankenstein by Mary Shelley Dashing for the Post: The Letters of Patrick Leigh Fermor by Patrick Leigh Fermor Sabriel by Garth Nix Saint Death's Daughter by C. S. E. Cooney Hel's Eight by Stark Holborn Legacy of Brick & Bone by Krystle Matar Good Omens by Terry Pratchett and Neil Gaiman Grave Secrets by Alice James Crown Duel by Sherwood Smith Inda by Sherwood Smith
On this episode, my guest is Nick Hunt, the author of three travel books about journeys by foot, including Outlandish: Walking Europe's Unlikely Landscapes. His articles have appeared in The Guardian, Emergence, The Irish Times, New Internationalist, Resurgence & Ecologist and other publications. He works as an editor and co-director for the Dark Mountain Project. His latest book is an alternate history novel, Red Smoking Mirror.Show NotesAwe and the Great SecretOn Focus, Sight and SubjectivityThe Almost Lost Art of WalkingPilgrimage and the Half Way PointWhat if Left of Old-School Hospitality in our Times?When Borders Matter LessHospitality and PainThe Costs of InterculturalityAsking Permission: On Not Being WelcomeFriendship, Hospitality, and ExchangeHomeworkNick Hunt's Official WebsiteRed Smoking MirrorEssay: Bulls and ScarsTranscript[00:00:00] Chris Christou: Welcome Nick to the End of Tourism podcast. Thank you so very much for joining us today. [00:00:05] Nick Hunt: Very nice to be here, Chris. [00:00:07] Chris Christou: I have a feeling we're in for a very special conversation together. To begin, I'm wondering if you could offer us a glimpse into your world today, where you find yourself, and how the times seem to be rolling out in front of you, where you are.[00:00:22] Nick Hunt: Wow, that's a good, that's a good question. Geographically, I'm in Bristol, in the southwest of England, which is the city I grew up in and then moved away from and have come back to in the last five or so years. The city that I sat out the pandemic, which was quite a tough one for various reasons here and sort of for me personally and my family.But the last year really has just felt like everyone's opening out again and it feels... it's kind of good and bad. There was something about that time, I don't want to plunge straight into COVID because I'm sure everyone's sick of hearing about it, but the way it, it froze the world and froze people's personal lives and it froze all the good stuff, but it also froze a lot of the more difficult questions.So, I think in terms of kind of my wider work, which is often, focused around climate change, extinction, the state of the planet in general, the pandemic was, was oddly, you didn't have to think about the other problems for a while, even though they were still there. It dominated the airspace so much that everything else just kind of stopped.And now I find that in amongst all the joy of kind of friends emerging again and being able to travel, being able to meet people, being able to do stuff, there's also this looming feeling of like, the other problems are also waking up and we're looking at them again. [00:01:56] Chris Christou: Yeah. We have come back time to time in the last year or two in certain interviews of the pod and, and reflected a little bit on those times and considered that there was, among other things, it was a time where there was the possibility of real change. And I speak more to the places that have become tourist destinations, especially over touristed and when those people could finally leave their homes and there was nobody there that there was this sense of Okay, things could really be different [00:02:32] Nick Hunt: Yeah.As well. Yeah. I know there, there was a kind of hope wasn't there that, "oh, we can change, we can, we can act in, in a huge, unprecedented way." Maybe that will transfer to the environmental problems that we face. But sadly that didn't happen. Or it didn't happen yet. [00:02:53] Chris Christou: Well, time will tell. So Nick, I often ask my guests to begin with a bit of background on how their own travels have influenced their work, but since so much of your writing seems to revolve around your travels, I've decided to make that the major focus of our time together. And so I'd like to begin with your essay Bulls and Scars, which appears in issue number 14 of Dark Mountain entitled TERRA, and which was republished in The Best British Travel Writing of the 21st Century.[00:03:24] Nick Hunt: A hyperbolic, a hyperbolic title, I have to say. [00:03:29] Chris Christou: And in that exquisite essay on the theme of wanderlust, you write, and I quote, "always this sense, when traveling, will I find it here? Will the great secret reveal itself? Is it around the next corner? There is never anything around the next corner except the next corner, but sometimes I catch fragments of it.This fleeting thing I am looking for. That mountainside, that's a part of it there. The way the light falls on that wall. That old man sitting under a mulberry tree with his dog sleeping at his feet. That's a part of the secret too. If I could fit these pieces together, I would be completed. Waking on these sacks of rice, I nearly see the shape of it. The outlines of the secret loom, extraordinary and almost whole. I can almost touch it. I think. Yes, this is it. I am here. I have arrived, but I have not arrived. I am traveling too fast. The moment has already gone, the truck rolls onwards through the night, and the secret slides away.This great secret, Nick, that spurs so much of our wanderlust. I'm curious, where do you imagine it comes from personally, historically, or otherwise? [00:04:59] Nick Hunt: Wow. Wow. Thank you for reading that so beautifully. That was an attempt to express something that I think I've always, I've always felt, and I imagine everybody feels to some extent that sense of, I guess you could describe it as "awe," but this sense that I, I first experienced this when I was a kid.I was about maybe six, five or six years old, maybe seven. I can't remember. Used to spend a lot of time in North Wales where my grandparents lived and my mum would take me up there and she loved walking. So we'd go for walks and we were coming back from a walk at the end of a day. So it was mountains. It was up in Snowdonia.And I have a very vivid memory of a sunset and a sheep and a lamb and the sky being red and gold in sense that now I would describe it as awe, you know, the sublime or something like that. I had no, no words for it. I just knew it was very important that I, I stayed there for a bit and, and absorbed it.So I refused to walk on. And my mom, I'll always be grateful for this. She didn't attempt to kind of pull my hand and drag me back to the car cuz she probably had things to do. But she walked on actually and out of sight and left me just to kind of be there because she knew that this was an important thing.And for me, that's the start of, of the great secret. I think this sense of wanting to be inside the world. I've just been reading some Ursula LeGuin and there's a short story in her always coming home. I think it's called A Hole in the Air. And it's got this kind of conceit of a man stepping outside the world and he kind of goes to a parallel version of his world and it's the one in which some version of us lives.And it's the kind of, you know, sort of fucked up war-like version where everything's kind of terrible and polluted, dangerous and violent and he can't understand it. But this idea of he's gone outside the world and he can't find his way back in. And I think this is a theme in a lot of indigenous people.This idea of kind of being inside something and other cultures being outside. I think a lot, all of my writing and traveling really has been about wanting to get inside and kind of understand something. I don't know. I mean, I dunno what the secret is because it's a secret and what I was writing about in that essay was, I think in my twenties particularly, I kind of imagined that I could find this if I kept moving.The quicker the better because you're covering more ground and more chance of finding something that you're looking for, of knowing what's around the next corner, what's over the next hill. You know, even today I find it very difficult to kind of turn back on a walk before I've got to the top of a hill or some point where I can see what's coming next.It feels like something uncompleted and then I'm sure, as I imagine you did, you know, you were describing to me earlier about traveling throughout your twenties and always kind of looking for this thing and then realizing, what am I actually, you know, what am I doing? What am I actually looking for?Mm-hmm. So I still love traveling, obviously, but I don't feel this kind youthful urge just to keep moving, keep moving, keep moving, see more things, you know, experience more. And then I think you learn when you get a bit older that maybe that's not the way to find whatever it is that you are kind of restless for.Maybe that's when you turn inside a little bit more. And certainly my travels now are kind of shorter and slower than they were before, but I find that there's a better quality of focus in the landscapes or places that before I would've kind of dismissed and rushed through are now endlessly fascinating.And allowing more time to kind of stay in a place has its own value. [00:09:19] Chris Christou: Well, blessings to your mother. What's her name if I can ask? Her name's Caroline. It's the same name as my wife. So it's a source of endless entertainment for my friends. Well, thank you, Caroline, for, for that moment, for allowing it to happen.I think for better or worse, so many of us are robbed of those opportunities as children. And thinking recently about I'll have certain flashbacks to childhood and that awe and that awe-inspiring imagination that seems limitless perhaps for a young child and is slowly waned or weaned as we get older.So thank you to your mother for that. I'm sure part of the reason that we're having this conversation today. And you touched a little bit on this notion of expectation and you used the word focus as well, and I'm apt to consider more and more the the question of sight and how it dominates so much of our sense perception and our sense relationships as we move through our lives and as we move across the world.And so I'd like to bring up another little excerpt from Bulls and Scars, which I just have to say I loved so much. And in the essay you write, quote, "I know nothing about anything. It's a relief to admit this now and let myself be led. All I see is the surface of things. The elaborate hairstyle of a man, shaved to the crown and plastered down in a clay hardened bun, a woman's goat skin skirt, fringed with cowrie shelves and not the complex layers of meaning that lie beneath. I understand nothing of the ways in which these things fit together, how they collide or overlap. There are symbols I cannot read, lines I do not see."End quote. And so this, this reminded me. I have walking through a few textile shops here in Oaxaca some years ago with a friend of mine and he noted how tourists tend towards these textile styles, colors and designs, but specifically the ones that tend to fit their own aesthetics and how this can eventually alter what the local weavers produce and often in service to foreign tastes.And he said to me, he said, "most of the time we just don't know what we're looking at." And so it's not just our inability to see as a disciplined and locally formed skill that seems to betray us, but also our unwillingness to know just that that makes us tourists or foreigners in a place. My question to you is, how do you imagine we might subvert these culturally conjured ways of seeing, assuming that's even necessary? [00:12:24] Nick Hunt: Well, that's a question that comes up an awful lot as a travel writer. And it's one I've become more aware of over these three books I've written, which form a very loose trilogy about, they're all about walking in different parts of Europe.And I've only become more aware of that that challenge of the traveler. There's another line in that essay that something like " they say that traveling opens doors, but sometimes people take their doors with them." You know, it's not necessarily true, but any means that seeing the world kind of widens your perspective. A lot of people just, you know, their eyes don't change no matter where they go. And so, I know that when I'm doing these journeys, I'm going completely subjectively with my own prejudices, my own mood of the day which completely determines how I see a place and how I meet people and what I bring away from it.And also what I, what I give. And I think this is, this is kind of an unavoidable thing really. It's one of the paradoxes maybe at the heart of the kind of travel writing I do, and there's different types of travel writers. Some people are much more conscientious about when they talk to people, it's, you know, it's more like an interview.They'll record it. They'll only kind of quote exactly what they were told. But even that, there's a kind of layer of storytelling, obviously, because they are telling a story, they're telling a narrative, they're cutting certain things out of the frame, and they're including others. They're exaggerating or amplifying certain details that fit the narrative that they're following.I think an answer to your question, I, I'm not sure yet, but I'm hopefully becoming more, more aware. And I think one thing is not hiding it, is not pretending that a place as I see it, that I, by any means, can see the truth, you know, the kind of internal truth of this place. There's awareness that my view is my view and I think the best thing we can do is just not try and hide that to include it as part of the story we tell. Hmm. And I, I noticed for my first book, I did this long walk across Europe that took about seven and a half months. And there were many days when I didn't really want to be doing it.I was tired, sick, didn't want to be this kind of traveling stranger, always looking like the weirdo walking down the street with a big bag and kind of unshaved sunburnt face. And so I noticed that some villages I walked into, I would come away thinking, my God, those people were awful.They were really unfriendly. No one looked at me, no one smiled. I just felt this kind of hostility. And then I'd think, well, the common factor in this is always me. And I must have been walking into that village looking shifty, not really wanting to communicate with anyone, not making any contact, not explaining who I was.And of course they were just reflecting back what I was giving them. So I think, just kind of centering your own mood and the baggage you take with you is very important. [00:15:46] Chris Christou: Yeah. Well, I'd like to focus a little bit more deeply on that book and then those travels that you wrote about anyways, in Walking the Woods and the Water.And just a little bit of a background for our listeners. The book's description is as follows. "In 1933, Patrick Leigh Fermor set out in a pair of hobnail boots to chance and charm his way across Europe. Quote, like a tramp, a pilgrim, or a wandering scholar. From the hook of Holland to Istanbul. 78 years later, I (you) followed in his footsteps.The book recounts a seven month walk through Holland, Germany, Austria, Slovakia, Hungary, Romania, Bulgaria, and Turkey on a quest to discover what remains of hospitality, kindness to strangers, freedom, wildness, adventure, and the deeper occurrence of myth and story that still flow beneath Europe's surface.Now before diving a little bit more deeply into these questions of hospitality and xenophobia or xenophilia, I'd like to ask about this pilgrimage and the others you've undertaken, especially, this possibility that seems to be so much an endangered species in our times, which is our willingness or capacity to proceed on foot as opposed to in vehicles.And so I'm curious how your choice to walk these paths affected your perception, how you experienced each new place, language, culture, and people emerging in front of you. Another way of asking the question would be, what is missed by our urge to travel in vehicles?[00:17:36] Nick Hunt: Well, that first walk, which set off the other ones, I later did. It could only have been a walk because the whole idea was to follow the footsteps of Patrick Leigh Fermor, who was a very celebrated travel writer who set out in 1933 with no ambition or kind of purpose other than he just wanted to walk to Istanbul.And it was his own kind of obsessive thing that he wanted to do. And I was deeply influenced by his book. And I was quite young and always thought I wanted to kind of try. I I was just curious to see the Europe that he saw was, you know, the last of a world that disappeared very shortly afterwards because he saw Germany as this unknown guy called Adolf Hitler, who was just emerging on the scene. He walked through these landscapes that were really feudal in character, you know, with counts living in castles and peasants working in the fields. And he, so he saw the last of this old Europe that was kind of wiped out by, well first the second World War, then communism in Eastern Europe and capitalism, in Western Europe and then everywhere.So it's just had so many very traumatic changes and I just wanted to know if there was any of what he saw left, if there was any of that slightly fairytale magic that he glimpsed. So I had to walk because it, it just wouldn't have worked doing it by any other form of transport. And I mean, initially, even though I'd made up my mind, I was going to go by foot and I knew I wasn't in a hurry. It was amazing how frustrating walking was in the first couple of weeks. It felt almost like the whole culture is, you know, geared around getting away, got to go as quickly as possible.In Holland actually I wasn't walking in remote mountains, I was walkingthrough southern industrial states and cities in which a walker feels, you feel like an outcast in places you shouldn't really be. So, it took a couple of weeks for my mind to really adjust and actually understand that slowness was the whole purpose. And then it became the pleasure.And by halfway through Germany, I hadn't gone on any other form of transport for maybe six weeks, and I stayed with someone who, he said, "I'm going to a New Year's Eve party in the next town." It was New Year's Eve. The next town was on my route. He said, "you know, I'm driving so I might as well take you there."So I said, "great," cuz it'd been a bit weird to kind of go to this town and then come back again. It was on my way. So, I got in a car and the journey took maybe half an hour and I completely panicked, moving at that speed, I was shocked by how much of the world was taken away from me, actually, because by then I'd learned to love spotting these places, you know, taking routes along, along rivers and through bits of woodland.I was able to see them coming and all of these things were flashing past me. We crossed the Rhine, which was this great river that I'd been following for weeks. And it was like a stream, you know, it was a puddle. It was kind of gone under the bridge in two seconds. Wow. And it really felt like I had this, this kind of guilt, to be honest.It was this feeling of what was in that day that I lost, you know, what didn't I see? Who didn't I meet? I've just been sitting in the passenger seat of a car, and I have no sense of direction. The thing about walking is you're completely located at all times. You walk into the center of a city and you've had to have walked through the suburbs.You've seen the outskirts, and it helps, you know, well that's north. Like, you know, I came from that direction. That's south. That's where I'm going. If you take a train or get in a car, unless you're really paying attention, you are kind of catapulted into the middle of this city without any concept of what direction you're going in next.And I didn't realize how disorienting that is because we're so used to it. We do it all the time. And this was only a kind of shadow of what was to come at the very end of my journey, cuz I got to Istanbul after seven and a half months. I was in a very weird place that I've only kind of realized since all that time walking.And I stayed a couple of weeks in Turkey and then I flew home again, partly cuz I had a very patient and tolerant and forgiving girlfriend who I couldn't kind of stretch it out any, any longer. And initially I think I'd been planning to come back on like hitchhiking or buses and trains. But in the end I was like, "you know, whatever, I'll just spend a couple days more in Turkey, then I'll get on a plane."And I think it was something like three hours flying from Istanbul and three hours crossing a continent that you spent seven and a half months walking. And I was looking down and seeing the Carpathian mountains and the Alps and these kind of shapes of these rivers, some of which I recognized as places I'd walked through.And again, this sense of what am I missing, that would've been an extraordinary journey going through that landscape. Coming back. You mentioned pilgrimage earlier, and someone told me once, who was doing lots of work around pilgrimage that, you know, in the old days when people had to walk or take a horse, if you were rich, say you started in England, your destination was Constantinople or Jerusalem or Rome, that Jerusalem or Rome wasn't the end of your journey.That was the exact halfway point, because when you got there, you had to walk back again. And on the way out, you'd go with your questions and your openness about whatever this journey meant to you. And then on the way back, you would be slowly at the pace of walking, trying to incorporate what you'd learnt and what you'd experienced into your everyday life of your village, your family, your community, you know, your land.So by the time you got back, you'd had all of that time to process what happened. So I think with that walk, you know, I, I did half the pilgrimage thinking I'd done all of it, and then was plunged back into, actually went straight back to the life I'd been living before in, in London as if nothing had ever happened.And I think for the year after that walk, my soul hadn't caught up with my body by any means. Mm-hmm. I was kind of living this strange sort of half life that felt very familiar because I recognized everything, but I felt like a very different person, to be honest and it took a long time to actually process that.But I think if I'd, even if I'd come back by, you know, public transport of some sort it would've helped just soften the blow. [00:25:04] Chris Christou: What a context to put it in, softening the blow. Hmm. It reminds me of the etymology of travel as far as I've read is that it used to mean an arduous journey.And that the arduous was the key descriptor in that movement. It reminds me of, again, so many of my travels in my twenties that were just flash flashes of movement on flights and buses. And that I got back to Canada. And the first thing was, okay, well I'm outta money, so I need to get back to work and I need to make as much money as possible.And there just wasn't enough time. And there wasn't perhaps time, period, in order to integrate what rolled out in front of me over those trips. And I'm reminded of a story that David Abram tells in his book Becoming Animal about jet lag. And perhaps a hypothesis that he has around jet lag and that we kind of flippantly use the excuse or context of time zones to explain this relative sense of being in two places at once.To what extent he discussed this, I don't remember very well, but just this understanding of when we had moved over vast distances on foot in the past, that we would've inevitably been open and apt to the emerging geographies languages, foods even cultures as we arrive in new places, and that those things would've rolled out very slowly in front of us, perhaps in the context of language heavily.But in terms of geography, I imagine very slowly, and that there would've been a kind of manner of integration, perhaps, for lack of a better word in which our bodies, our sensing bodies, would've had the ability to confront and contend with those things little by little as we moved. And it also reminds me of this book Rebecca Solnit's R iver of Shadows, where she talks about Edward Muybridge and the invention of the steam engine and the train and train travel.And how similarly to when people first got a glimpse of the big screen cinema that there was a lot of bodily issues. People sometimes would get very nauseous or pass out or have to leave the theater because their bodies weren't used to what was in front of them.And in, on the train, there were similar instances where for the first time at least, you know, as we can imagine historically people could not see the foreground looking out the train window. They could only see the background because the foreground was just flashing by so quickly.Wow, that's interesting. Interesting. And that we've become so used to this. And it's a really beautiful metaphor to, to wonder about what has it done to a people that can no longer see what's right there in front of them in terms of not just the politics, in their place, but the, their home itself, their neighbors, the geography, et cetera.And so I'm yet to read that book in mention, but I'm really looking forward to it because it's given me a lot of inspiration to consider a kind of pilgrimage to the places where my old ones are from there in, in southeastern Europe and also in Southwestern England.[00:28:44] Nick Hunt: Hmm.Yeah. That is a, so I'm still thinking about that metaphor of the train. Yeah. You don't think of that People wouldn't have had that experience of seeing the foreground disappear. And just looking at the distance, that's deeply strange and inhuman experience, isn't it? Hmm.[00:29:07] Chris Christou: Certainly. And, you know, speaking of these, these long pilgrimages and travels, my grandparents made their way from, as I mentioned, southwestern England later Eastern Africa and, and southeastern Europe to Canada in the fifties and sixties. And the peasant side of my family from what today is northern Greece, Southern Macedonia, brought a lot of their old time hospitality with them.And it's something that has always been this beautiful clue and key to these investigations around travel and exile. And so, you know, In terms of this old time hospitality, in preparing for this interview, I was reminded of a story that Ivan Illich once spoke of, or at least once, wrote about of a Jesuit monk living in China who took up a pilgrimage from Peking to Rome just before World War II, perhaps not unlike Patrick Leigh Fermor. Mm-hmm. And Illich recalled the story in his book, Rivers North of the Future as follows. He wrote, quote, "at first it was quite easy, he said (the Jesuit said,) in China, he only had to identify himself as a pilgrim, someone whose walk was oriented to a sacred place and he was given food, a handout, and a place to sleep.This changed a little bit when he entered the territory of Orthodox Christianity. There, they told him to go to the parish house where a place was free or to the priest's house. Then he got to Poland, the first Catholic country, and he found that the Polish Catholics generously gave him money to put himself up in a cheap hotel.And so the Jesuit was recalling the types of local hospitality he received along his path, which we could say diminished the further he went. Now, I'd love it if you could speak perhaps about the kinds of hospitality or, or perhaps the lack there of you experienced on your pilgrimage from the northwest of Europe to the southeast of Europe.And what, if anything, surprised you? [00:31:26] Nick Hunt: Well, that was one of my main interests really, was to see if the extraordinary hospitality that my predecessor had experienced in the 1930s where he'd been accommodated everywhere from, peasants' barns to the castles of Hungarian aristocrats and everything in between. I wanted to see if that generosity still existed. And talking about different ways of offering hospitality when he did his walk, one of the fairly reliable backstops he had was going to a police officer and saying "I'm a student. I'm a traveling student." That was the kind of equivalent to the pilgrim ticket in his day in a lot of parts of Europe. "I'm a student and I'm going from one place to the next," and he would be given a bed in the local police station. You know, they'd open up a cell, sleep there for the night, and then he'd leave in the morning. And I think it sometimes traditionally included like a mug of beer and some bread or soup or something, but even by his time in the thirties, it was a fairly well established thing to ask, I dunno how many people were doing it, but he certainly met in Germany, a student who was on the road going to university and the way he was going was walking for days or weeks.That wasn't there when I did my work. I don't think I ever asked a policeman, but in a couple of German towns, I went to the town hall. You know, the sort of local authority in Germany. They have a lot of authority and power in the community. And I asked a sort of bemused receptionist if I could claim this kind of ancient tradition of hospitality and spend the night in a police station, and they had no idea what I was talking about.Wow. And I think someone in a kind of large village said, "well, that's a nice idea, but I can't do that because we've got a tourist industry and all the guest house owners, you know, they wouldn't be happy if we started offering accommodation for free. It would put them out of business." Wow. And I didn't pay for accommodation much, but I did end up shelling out, you know, 30, 40 euros and sleeping in a, B&B.But having said that, the hospitality has taken on different forms. I started this journey in winter, which was the, when Patrick Leigh Fermor started, in December. So, I kind of wanted to start on the same date to have a similar experience, but it did mean walking through the coldest part of Europe, you know, Germany and Austria in deep snow and arriving in Bulgaria and Turkey when it was mid-summer.So I went from very cold to very hot. And partly for this reason, I was nervous about the beginning, not knowing what this experience was gonna be like. So, I used the couch surfing website, which I think Airbnb these days has probably kind of undercut a lot of it, but it was a free, very informal thing where people would provide a bed or a mattress or a place on the floor, a sofa for people passing through.And I was in the south of Germany before I ran out of couch surfing stops. But I also supplemented that with sleeping out. I slept in some ruined castles on the way. Hmm. I slept in these wooden hunting towers that no hunters were in. It wasn't the season. But they were freezing, but they were dry, you know, and they gave shelter.But I found that the language of hospitality shifted the further I went. In Holland, Germany, and Austria, people were perfectly, perfectly hospitable and perfectly nice and would put me up. But they'd say, when do you have to leave? You know, which is a perfectly reasonable question and normally it was first saying the next morning.And I noticed when I got to Eastern Europe, the question had shifted from when do you want to leave to how long can you stay? And that's when there was always in Hungary and then in Romania in particular and Bulgaria, people were kind of finding excuses to keep me longer. There would be, you know, it's my granddad's birthday, we're gonna bake him a cake and have a party, or we're going on a picnic, or we're going to the mountains, or we're going to our grandmother's house in the countryside. You should see that.And so my stays did get longer, the further southeast I got, partly cuz it was summer and everybody's in a good mood and they're doing things outdoors and they're traveling a bit more. But yeah, I mean the hospitality did shift and I got passed along as Patrick Leigh Fermor had done. So someone would say, you're going this way.They look at my map, you're going through this town. I've got a cousin, or I know a school teacher. Maybe you can sleep in the school and give a talk to the students the next day. So, all of these things happened and I kind of got accommodated in a greater variety of places, a nunnery where I was fed until I'd hardly move, by these nuns, just plain, homemade food and rakia and wine. And I stayed at a short stay in a psychiatric hospital in France, Sylvania. Talking of the changes that have happened to Europe, when Patrick Leigh Fermor stayed there it was a country house owned by a Hungarian count. His assets had since been liquidated, you know, his family dispossessed in this huge building given to the Romanian State to use as a hospital, and it was still being run that way.But the family had kind of made contact, again, having kept their heads down under communism, but realized they had no use for a huge mansion with extensive grounds. There was no way they could fill it or maintain it. And so it was continued to be used as a hospital, but they had a room where they were able to stay when they passed through.So I spent a few nights there. So everything slowed down was my experience, the further southeast I got. And going back actually to one of your first questions about, why walk? And what do you notice from walking? One of the things you really notice is the incremental changes by which, culture changes as well as landscape.You see the crossovers. You see that people in this part of Holland are a bit like this people in this part of Germany over the border. You know, borders kind of matter less because you see one culture merging into another. Languages and accents changing. And sometimes those changes are quite abrupt, but often they're all quite organic and the food changes, the beer changes, the wine changes, the local cheese or delicacies change.And so that was one of the great pleasures of it was just kind of understanding these many different cultures in Europe as part of a continuum rather than these kind of separate entities that just happen to be next door to each other. [00:38:50] Chris Christou: Right. That's so often constructed in the western imagination through borders, through state borders.[00:38:58] Nick Hunt: Just talking of borders, they've only become harder, well for everyone in the places I walk through. And I do wonder what it would be like making this journey today after Brexit. I wouldn't be able to do it just quite simply. It's no longer possible for a British person to spend more than three months in the EU, as a visitor, as a tourist.So I think I could have walked to possibly Salzburg or possibly Vienna, and then had to come back and wait three months before continuing the journey. So I was lucky, you know, I was lucky to do it in the time I did. Mm-hmm. [00:39:38] Chris Christou: Mm-hmm. I'm very much reminded through these stories and your reflections of this essay that Ivan Illich wrote towards the end of his life called "Hospitality and Pain."And you know, I highly, highly recommend it for anyone who's curious about how hospitality has changed, has been commodified and co-opted over the centuries, over the millennia. You know, he talks very briefly, but very in depth about how the church essentially took over that role for local people, that in the Abrahamic worldview that there was generally a rule that you could and should be offering three days and nights of sanctuary to the stranger for anyone who'd come passing by and in part because in the Christian world in another religious worldviews that the stranger could very well be a God in disguise, the divine coming to your doorstep. We're talking of course, about the fourth and fifth centuries.About how the church ended up saying, no, no, no, don't worry, don't worry. We got this. You, you guys, the people in the village, you don't have to do this anymore. They can come to the church and we'll give them hospitality. And of course, you know, there's the hidden cost, which is the, the attempt at conversion, I'm sure.Yeah. But that later on the church instituted hospitals, that word that comes directly from hospitality as these places where people could stay, hospitals and later hostels and hotels and in Spanish, hospedaje and that by Patrick Lee firm's time we're talking about police stations.Right. and then, you know, in your time to some degree asylums. It also reminded me of that kind of rule, for lack of a better word of the willingness or duty of people to offer three days and nights to the stranger.And that when the stranger came upon the doorstep of a local person, that the local person could not ask them what they were doing there until they had eaten and often until they had slept a full night. But it's interesting, I mean, I, I don't know how far deep we can go with this, but the rule of this notion, as you were kind of saying, how the relative degree of hospitality shifted from [00:42:01] Nick Hunt: when do you have to leave to how long how long can you stay? [00:42:05] Chris Christou: Right. Right. That Within that kind of three day structure or rule that there was also this, this notion that it wasn't just in instituted or implemented or suggested as a way of putting limits on allowing a sense of agency or autonomy for the people who are hosting, but also limiting their hospitality.Kind of putting this, this notion on the table that you might want to offer a hundred days of hospitality, but you're not allowed. Right. And what and where that would come from and why that there would be this necessity within the culture or cultures to actually limit someone's want to serve the stranger.[00:42:54] Nick Hunt: Yeah, that's very interesting. Yeah. Mm-hmm. Yeah. I wonder where that came from. I mean, three is always a bit of a magic number, isn't it? Mm-hmm. But yeah, it sounds like that maybe comes from an impulse from both sides somehow. [00:43:09] Chris Christou: Mm-hmm. Nick, I'd like to come back to this question of learning and learning with the other of, of interculturality and tourism. And I'd like to return to your essay, Bulls and Scars, momentarily with this excerpt. And it absolutely deserves the title of being one of the best travel writing pieces of the 21st century. And so in that essay you write, "if we stay within our horizons surrounded by people who are the same as us, it precludes all hope. We shut off any possibility of having our automatic beliefs, whether good or bad, right or wrong, smashed so their rubble can make new shapes. We will never be forced to understand that there are different ways to be human, different ways to be ourselves, and we desperately need that knowledge, even if we don't know it yet."Hmm. And now I don't disagree at all. I think we are desperately in need of deeper understandings of what it means to be human and what it means to be human together. The argument will continue to arise, however, at what cost? How might we measure the extent of our presence in foreign places and among foreign people, assuming that such a thing is even possible.[00:44:32] Nick Hunt: Yeah, that's a question that's at the heart of that essay, which I don't think we've said is set in the South Omo Valley in Ethiopia. And part of it is about this phenomenon of tribal safaris, you know, which is as gross as it sounds, and it's rich western people driving in fleets of four by fours to indigenous tribal villages and, you know, taking pictures and watching a dance and then going to the next village.And the examples of this that I saw when I was there, I said, when I said in the essay, you couldn't invent a better parody of tourists. It was almost unbelievable. It was all of the obnoxious stereotypes about the very worst kind of tourists behaving in the very worst possible way, seemingly just no self reflection whatsoever, which was disheartening.And that's an extreme example and it's easy to parody because it was so extreme. But I guess what maybe you're asking more is what about the other people? What about those of us who do famously think of ourselves as as travelers rather than tourists? There's always that distinction I certainly made when I was doing it in my twenties.So I'm not a tourist, I'm a traveler. It's like a rich westerner saying that they're an "expat" rather than an immigrant when they go and live in a foreign country that's normally cheaper than where they came from. Yeah, that's a question again, like the great secret, I don't think I answer in that essay.What I did discover was that, it was much more nuanced than I thought it was originally. Certainly on a surface, looking at the scenes that I saw, what I saw as people who were completely out of their depth, out of their world, out of their landscape, looking like idiots and being mocked fairly openly by these tribal people who they were, in my view, exploiting. They didn't look like they were better off in a lot of ways, even though they had the, thousand dollars cameras and all the expensive clothes and the vehicles and the money and obviously had a certain amount of power cuz they were the ones shelling out money and kind of getting what they wanted.But it wasn't as clear cut as I thought. And I know that's only a kind of anecdote. It's not anything like a study of how people going to remote communities, the damage they do and the impact they have. I've got another another example maybe, or something that I've been working on more recently, which comes from a journey that I haven't not written anything about it yet.But in March of this year, I was in Columbia and Northern Columbia. The first time for a long time that I've, gone so far. All of my work has been sort of around Europe, been taking trains. I mean, I got on a plane and left my soul behind in lots of ways, got to Columbia and there were various reasons for my going, but one of the interests I had was I had a contact who'd worked with the Kogi people who live in the Sierra Nevada des Santa Marta Mountains on the Caribbean coast.An extraordinary place, an extraordinary people who have really been isolated at their own instigation, since the Spanish came, and survived the conquest with a culture and religion and economy, really more or less intact, just by quietly retreating up the mountain and not really making a lot of fuss for hundreds of years, so effectively that until the 1960s, outsiders didn't really know they were there. And since then there has been contact made from what I learned really by the Kogi rather than the other way around. Or they realized that they couldn't remain up there isolated forever.Maybe now because people were starting to encroach upon the land and settle and cut down forests. And there was obviously decades of warfare and conflict and drug trafficking and a very dangerous world they saw outside the mountains. And this journey was very paradoxical and strange and difficult because they do not want people to visit them.You know, they're very clear about that. They made a couple of documentary films or collaborated in a couple of documentary films in the late nineties and sort of early two thousands where they sent this message to the world about telling the younger brothers as they call us, where they're going wrong, where we are going wrong, all the damage we're doing.And then after that film, it was really, that's it. "We don't wanna communicate with you anymore. We've said what we have to say, leave us alone." You know, "we're fine. We'll get on with it." But they, the contact I had I arranged to meet a sort of spokesman for this community, for this tribe in Santa Marta.Kind of like an, a sort of indigenous embassy in a way. And he was a real intermediary between these two worlds. He was dressed in traditional clothes, lived in the mountains but came down to work in this city and was as conversant with that tribal and spiritual life as he was with a smartphone and a laptop.So he was really this kind of very interesting bridge character who was maintaining a balance, which really must have been very difficult between these two entirely different worldviews and systems. And in a series of conversations with him and with his brother, who also acts as a spokesman, I was able to talk to them about the culture and about the life that was up there, or the knowledge they wanted to share with me.And when it came time for me to ask without really thinking that it would work, could I have permission to go into the Sierra any further because I know that, you know, academics and anthropologists have been welcomed there in the past. And it was, it was actually great. It was a wonderful relief to be told politely, but firmly, no.Hmm. No. Mm. You know, it's been nice meeting you. If you wanted to go further into the mountains. You could write a, a detailed proposal, and I thought this was very interesting. They said you'd need to explain what knowledge you are seeking to gain, what you're going to do with that knowledge and who you will share that knowledge with.Like, what do you want to know? And then we would consider that, the elders, the priests, the mammos would consider that up in the mountains. And you might get an answer, but it might take weeks. It could take months because everything's very, very slow, you know? and you probably wouldn't be their priority.Right. And so I didn't get to the Sierra, and I'm writing a piece now about not getting to the place where you kind of dream of going, because, to be completely honest, and I know how, how kind of naive and possibly colonial, I sound by saying this, but I think it's important to recognize part of that idea of finding the great secret.Of course, I wanted to go to this place where a few Westerners had been and meet people who are presented or present themselves as having deep, ecological, ancestral spiritual knowledge, that they know how to live in better harmony with the earth. You know, whether that's true or not, that in itself is a simplified, probably naive view, but that's the kind of main story of these people.Why wouldn't I want to meet them? You know, just the thought that not 50 miles away from this bustling, polluted city, there's a mountain range. It's one of the most biodiverse places on the planet that has people who have kept knowledge against all odds, have kept knowledge for 500 years and have not been conquered and have not been wiped out, and have not given in.You know, obviously I wanted to go there, but it was wonderful to know that I couldn't because I'm not welcome. Mm. And so I'm in the middle of writing a piece that's a, it's a kind of non-travel piece. It's an anti travel piece or a piece examining, critically examining that, that on edge within myself to know what's around the next corner.To look over the horizon to get to the top of the mountain, you know, and, and, and explore and discover all of that stuff. But recognizing that, it is teasing out which parts of that are a genuine and healthy human curiosity. And a genuine love of experiencing new things and meeting new people and learning new things and what's more of a colonial, "I want to discover this place, record what I find and take knowledge out."And that was one thing that I found very interestingly. They spoke very explicitly about seeking knowledge as a form of extraction. For hundreds of years they've had westerners extracting the obvious stuff, the coal, the gold, the oil, the timber, all the material goods. While indigenous knowledge was discounted as completely useless.And now people are going there looking for this knowledge. And so for very understandable reasons, these people are highly suspicious of these people turning up, wanting to know things. What will you do with the knowledge? Why do you want this knowledge? And they spoke about knowledge being removed in the past, unscrupulously taken from its proper owners, which is a form of theft.So, yeah, talking about is appropriate to be talking about this on the end of tourism podcast. Cause yeah, it's very much a journey that wasn't a journey not hacking away through the jungle with the machete, not getting the top of the mountain, you know, not seeing the things that no one else has seen.Wow. And that being a good thing. [00:54:59] Chris Christou: Yeah. It brings me back to that question of why would either within a culture or from some kind of authoritative part of it, why would a people place limits to protect themselves in regards to those three days of allowing people to stay?Right. And not for longer. Yes. [00:55:20] Nick Hunt: Yeah, that's very true. Mm-hmm. Because people change, the people that come do change things. They change your world in ways big and small, good and bad. [00:55:31] Chris Christou: You know, I had a maybe not a similar experience, but I was actually in the Sierra Nevadas maybe 12 years ago now, and doing a backpacking trip with an ex-girlfriend there.And the Columbian government had opened a certain part of the Sierra Nevadas for ecotourism just a few years earlier. And I'm sure it's still very much open and available in those terms. And it was more or less a a six day hike. And because this is an area as well where there were previous civilizations living there, so ruins as well.And so that that trip is a guided trek. So you would go with a local guide who is not just certified as a tour guide, but also a part of the government program. And you would hike three days and hike back three days. And there was one lunch where there was a Kogi man and his son also dressed in traditional clothing. And for our listeners, from what I understand anyways, there are certain degrees of inclusion in Kogi society. So the higher up the mountain you go, the more exclusive it is in terms of foreigners are not allowed in, in certain places.And then the lower down the mountain and you go, there are some places where there are Kogi settlements, but they are now intermingling with for example, these tourists groups. And so that lunch was an opportunity for this Kogi man to explain a little bit about his culture, the history there and of course the geography.And as we were arriving to that little lunch outpost his son was there maybe 10, 15 feet away, a few meters away. And we kind of locked eyes and I had these, very western plastic sunglasses on my head. And the Kogi boy, again, dressed in traditional clothing, he couldn't speak any English and couldn't speak any Spanish from what I could tell.And so his manner of communicating was with his hands. And he subtly but somewhat relentlessly was pointing at my sunglasses. And I didn't know what to do, of course. And he wanted my sunglasses. And there's this, this moment, and in that moment so much can come to pass.But of course afterwards there was so much reflection to be taken in regards to, if I gave him my sunglasses, what would be the consequence of that, that simple action rolling out over the course of time in that place. And does it even matter that I didn't give him my sunglasses, that I just showed up there and had this shiny object that, that perhaps also had its consequence rolling out over the course of this young man's life because, I was one of 10 or 12 people that day in that moment to pass by.But there were countless other groups. I mean, the outposts that we slept in held like a hundred people at a time. Oh, wow. And so we would, we would pass people who were coming down from the mountain and that same trek or trip and you know, so there was probably, I would say close to a hundred people per day passing there.Right. And what that consequence would look like rolling out over the course of, of his life. [00:59:11] Nick Hunt: Yeah. You could almost follow the story of a pair of plastic sunglasses as they drop into a community and have sort of unknown consequences or, or not. But you don't know, do you? Yeah. Yeah. I'm, it was fascinating knowing that you've been to the same, that same area as well. Appreciated that. What's, what's your, what's your last question? Hmm. [00:59:34] Chris Christou: Well, it has to do with with the end of tourism, surprisingly.And so one last time, coming back to your essay, Bulls and Scars, you write, " a friend of mine refuses to travel to countries poor than his own. Not because he is scared of robbery or disease, but because the inequality implicit in every human exchange induces a squirming, awkwardness and corrosive sense of guilt.For him, the power disparity overshadows everything. Every conversation, every handshake, every smile and gesture. He would rather not travel than be in that situation." And you say, "I have always argued against this view because the see all human interactions as a function of economics means accepting capitalism in its totality, denying that people are driven by forces other than power and greed, excluding the possibility of there being anything else.The grotesque display of these photographic trophy hunters makes me think of him now." Now I've received a good amount of writing and messages from people speaking of their consternation and guilt in terms of "do I travel, do I not travel? What are the consequences?" Et cetera. In one of the first episodes of the podcast with Stephen Jenkinson, he declared that we have to find a way of being in the world that isn't guilt delivered or escapist, which I think bears an affinity to what you've written.Hmm. Finally, you wrote that your friend's perspective excludes "the possibility of there being anything else." Now I relentlessly return on the pod to the understanding that we live in a time in which our imaginations, our capacity to dream the world anew, is constantly under attack, if not ignored altogether.My question, this last question for you, Nick, is what does the possibility of anything else look like for you?[01:01:44] Nick Hunt: I think in a way I come back to that idea of being told we can't give you free accommodation here because, what about the tourist industry? And I think that it's become, you know, everything has become monetized and I get the, you know, the fact that that money does rule the world in lots of ways.And I'd be a huge hypocrite if I'd said that money wasn't deeply important to me. As much as I like to think it, much as I want to wish it away, it's obviously something that dictates a very large amount of what I do with my life, what I do with my time. But that everything else, well, it's some, it's friendship and hospitality and openness I think.It's learning and it's genuine exchange, not exchange, not of money and goods and services, but an actual human interaction for the pleasure and the curiosity of it. Those sound like very simple answers and I guess they are, but that is what I feel gets excluded when everything is just seen as a byproduct of economics.And that friend who, you know, I talked about then, I understand. I've had the experience as I'm sure you have of the kind of meeting someone often in a culture or community that is a lot poorer, who is kind, friendly, hospitable, helpful, and this nagging feeling of like, When does the money question come?Mm-hmm. And sometimes it doesn't, but often it does. And sometimes it's fine that it does. But it's difficult to kind of place yourself in this, I think, because it does instantly bring up all this kind of very useless western guilt that, you know, Steven Jenkinson talked about. It's not good to go through the world feeling guilty and suspicious of people, you know. 'When am I gonna be asked for money?' Is a terrible way of interacting with anyone to have that at the back of your, your mind.And I've been in situations where I've said can I give you some money? And people have been quite offended or thought it was ridiculous or laughed at me. So, it's very hard to get right. But like I say, it's a bad way of being in the world, thinking that the worst of people in that they're always, there's always some economic motive for exchange.And it does seem to be a kind of victory of capitalism in that we do think that all the time, you know, but what does this cost? What's the price? What's the price of this friendliness that I'm receiving? The interesting thing about it, I think, it is quite corrosive on both sites because things are neither offered nor received freely.If there's always this question of what's this worth economically. But I like that framing. What was it that Steven Jenkinson said? It was guilt on one side and what was the other side of the pole? [01:05:07] Chris Christou: Yeah. Neither guilt delivered or escapist. [01:05:11] Nick Hunt: Yeah. That's really interesting. Guilt and escapism. Because that is the other side, isn't it?Is that often traveling is this escape? And I think we can both relate to it. We both experience that as a very simple, it can be a very simple form of therapy or it seems simple that you just keep going and keep traveling and you run away from things. And also that isn't a helpful way of being in the world either, although it feels great, at the time for parts of your life when you do that.But what is the space between guilt and escapism? I think it really, the main thing for me, and again, this is a kind of, it sounds like a, just a terrible cliche, but I guess there's a often things do is I do think if you go and if you travel. And also if you stay at home with as open a mind as you can it does seem to kind of shape the way the world works.It shapes the way people interact with you, the way you interact with people. And just always keeping in mind the possibility that that things encounters, exchanges, will turn out for the best rather than the worst. Mm-hmm. You develop a slight sixth sense I think when traveling where you often have to make very quick decisions about people.You know, do I trust this person? Do I not trust this person? And you're not aware you're doing it, but obviously you can get it wrong. But not allowing that to always become this kind of suspicion of "what does this person want from me?" Hmm. I feel like I've just delivered a lot of sort of platitudes and cliches at the end of this talk.Just be nice, be, be open. Try to be respectful. Do no harm, also don't be wracked with guilt every exchange, because who wants to meet you if you are walking around, ringing your hands and kind of punching yourself in the face. Another important part of being a traveler is being a good traveler.Being somebody who people want coming to their community, village, town, city and benefit from that exchange as well. It's not just about you bringing something back. There's the art of being a good guest, which Patrick Leigh Fermor, to come back to him, was a master at. He would speak three or four different languages, know classical Greek poetry, be able to talk about any subject.Dance on the table, you know, drink all night. He was that kind of guest. He was the guest that people wanted to have around and have fun with mostly, or that's the way he presented himself, certainly. In the same way, you can be a good, same way, you can be a good host, you can be a good guest, and you can be a good traveler in terms of what you, what you bring, what you give.[01:08:20] Chris Christou: Mm-hmm. Yeah. I think what it comes down to is that relationship and that hospitality that has for, at least for people in Europe and, and the UK and and Western people, descendants, culturally, is that when we look at, for example, what Illich kind of whispered towards, how these traditions have been robbed of us.And when you talk about other cliches and platitudes and this and that, that, we feel the need to not let them fall by the wayside, in part because we're so impoverished by the lack of them in our times. And so, I think, that's where we might be able to find something of an answer, is in that relationship of hospitality that, still exists in the world, thankfully in little corners.And, and those corners can also be found in the places that we live in.[01:09:21] Nick Hunt: I think it exists that desire for hospitality because it's a very deep human need. When I was a kid, I, I was always, for some reason I would hate receiving presents.There was something about the weight of expectation and I would always find it very difficult to receive presents and would rather not be given a lot of stuff to do with various complex family dynamics. But it really helped when someone said, you know, when someone gives you a present, it's not just for you, it's also for them. You know, they're doing it cuz they want to and to have a present refused is not a nice thing to do.It, it, that doesn't feel good for the person doing it. Their need is kind of being thrown back at them. And I think it's like that with hospitality as well. We kind of often frame it as the person receiving the hospitality has all the good stuff and the host is just kind of giving, giving, giving, but actually the host is, is getting a lot back. And that's often why they do it. It's like those people wanting, people to stay for three days is not just an act of kindness and selflessness. It's also, it feeds them and benefits them and improves their life. I think that's a really important thing to remember with the concept of hospitality and hosting.[01:10:49] Chris Christou: May we all be able to be fed in that way. Thank you so much, Nick, on behalf of our listeners for joining us today and I feel like we've started to unpack so much and there's so much more to consider and to wrestle with. But perhaps there'll be another opportunity someday.[01:11:06] Nick Hunt: Yeah, I hope so. Thank you, Chris. It was great speaking to you. [01:11:12] Chris Christou: Likewise, Nick. Before we finish off, I'd just like to ask, you know, on behalf of our listeners as well how might people be able to read and, and purchase your writing and your books? How might they be able to find you and follow you online?[01:11:26] Nick Hunt: So if you just look up my, my name Nick Hunt. My book should, should come up. I have a website. Nick hunt scrutiny.com. I have a, a book, a novel actually out in July next month, 6th of July called "Red Smoking Mirror."So that's the thing that I will be kind of focusing on for the next bit of time. You can also find me as Chris and I met each other through the Dark Mountain Project, which is a loose network of writers and artists and thinkers who are concerned with the times we're in and how to be human in times of crisis and collapse and change.So you can find me through any of those routes. Hmm. [01:12:17] Chris Christou: Beautiful. Well, I'll make sure that all those links are on the homework section on the end of tourism podcast when it launches. And this episode will be released after the release of your new, your book, your first novel. So, listeners will be able to find it then as well.[01:12:34] Nick Hunt: It will be in local shops. Independent bookshops are the best. [01:12:40] Chris Christou: Once again, thank you, Nick, for your time. [01:12:42] Nick Hunt: Thank you. Get full access to ⌘ Chris Christou ⌘ at chrischristou.substack.com/subscribe
En el episodio de hoy hablamos de uno de esos lugares mágicos a los que hay que ir, por lo menos, una vez en la vida: Innisfree. Y es que hay lugares que uno busca siempre que la vida aprieta y siente esa necesidad de cerrar los ojos y huir. Suelen ser lugares de infancia, de felicidad, de tranquilidad, de paz. Lugares, en fin, llenos de recuerdos. El lugar a donde nos lleva la película de la que en este episodio hablamos, «El hombre tranquilo», tiene mucho de esa Arcadia o lugar soñado, tiene mucho de felicidad, pero también de enfrentamiento y batalla. Por John Ford era un maestro y nosotros hablamos de él, del cine y de la vida, valga la redundancia. RECOMENDACIONES LIBÉRRIMAS: —«El tiempo de los regalos y Entre los bosques y el agua», de Patrick Leigh Fermor. —«La Gracia de Cristo. Sonrisa de los evangelios», de Enrique García-Máiquez, editado en Ediciones Monóculo. —«Un banquito de madera», de Jesús Montiel, editado en PPC. —Escuchar a “The Chieftains” y a James MacMillan. —«Libres», de Santos Blanco. —Una velada de pesca, un día en un hipódromo, una velada en un pub e ir a Misa. —Revista Nickel Odeon, n.º 26, Monográfico sobre John Ford. —Visita a la biblioteca del Edificio Histórico de la Universidad de Oviedo en la calle San Francisco de Oviedo. —Serie documental «Los secretos de las ballenas», disponible en Disney +. —«Siguiendo mi camino», (1944), de Leo McCarey. Intervienen: Fr. Vicente Niño, OP (@vicenior) e Iñako Rozas (@inakorozas). Control técnico: Marcos Machado.
When we talk about rare books, we speak of books that have a limited supply. There's no single determinant for scarcity. Some books are unique works, like original manuscripts or association copies. Others are considered scarce because the number of interested collectors exceeds the number of copies available on the market. About Florina Jenkins Florina Jenkins is a bookseller based in Buckinghamshire, England. She owns Chase Rare Books, an online boutique specializing in American, British and European literature, and related arts. Florina has a great interest in modern literature, and its influence on the graphic arts, cinema, television, the performing arts, and fashion. Florina launched Chase Rare Books in 2022. The website features first and rare editions by Christopher Isherwood, Truman Capote, Nancy and Jessica Mitford, Patrick Leigh Fermor, Marcel Proust, Olivia Manning, Elsa Schiaparelli, Ernest Hemingway, and Joan Didion. Florina likes to source books with attractive dust jackets, bindings, cover art, books with provenance, and books bearing the author's touch, such as signed and inscribed copies. --- Support this podcast: https://podcasters.spotify.com/pod/show/tbcy/support
Diesmal geht's um Bücher, die in die Natur schauen, darunter eine Geschichte der Werra, John Fowles Essay "Der Baum", Tina Pruschmanns Roman "Bittere Wasser" und Patrick Leigh Fermors Reisebuch "Eine Zeit der Stille".
A conversation between two very accomplished writers and thinkers: Pico Iyer & Father Cyprian Consiglio.The two of them, with the help of the audience, touch on the meaning of life and what happens after death (!), Narcissus and Goldmund, Henry Miller, Thomas Merton, the Trappist's life, Silence, the Monastic Life, the Apophatic tradition, Leonard Cohen, Vaclav Havel, Patrick Leigh Fermor, Annie Dillard, Emily Dickinson, the Camaldoli Hermitage, Henry Miller (yes! again!), EROS as pre sexual and post genital, and much, much more...Books by Pico IyerFalling Off the Map: Some Lonely Places of The WorldThe Art of Stillness: Adventures in Going NowhereThe Open Road: The Global Journey of the Fourteenth Dalai LamaBooks by Father Cyprian ConsiglioThe God Who Gave You Birth: A Spirituality of KenosisSpirit, Soul, Body: Toward an Integral Christian SpiritualityPrayer in the Cave of the Heart: The Universal Call to ContemplationMusic by Father Cyprian ConsiglioOn SpotifyOn YouTubeIf you want to read/buy any of these books we prefer you come for a visit to either the Camaldoli Hermitage bookstore or the Henry Miller Library bookstore. As much as Amazon, with their fast delivery and reduced price, helps to spread the word, small bookstores provide a service worth supporting! Thank you!Support the show
Paddy Leigh Fermor was just 18 when he set forth from the Hook of Holland, bound for the Golden Horn . . . Artemis Cooper, Paddy's biographer, and Nick Hunt, author of Walking the Woods and the Water, join the Slightly Foxed team to explore the life and literary work of Patrick Leigh Fermor. Equipped with a gift for languages, a love of Byron and a rucksack full of notebooks, in December 1933 Paddy set off on foot to follow the course of the Rhine and the Danube, walking hundreds of miles. Years later he recorded much of the journey in A Time of Gifts and Between the Woods and the Water. In these books Baroque architecture and noble bloodlines abound, but adventure is at the heart of his writing. There was to have been a third volume, but for years Paddy struggled with it. Only after his death were Artemis and Colin Thubron able to see The Broken Road into print. The trilogy inspired Nick Hunt to follow in Paddy's footsteps. What were country lanes are now highways, and many names have changed, but Nick found places that Paddy had visited, with their echoes of times past. Following discussions of a love affair with a Romanian princess, Paddy's role in the Cretan resistance in the Second World War and Caribbean volcanoes in The Violins of Saint-Jacques, we turn our focus to his books on the Greek regions of Roumeli and the Mani, and the beautiful house that Paddy and his wife Joan built in the latter, Kardamyli. And via our reading recommendations we travel from Calcutta to Kabul In a Land Far from Home, to William Trevor's Ireland and to Cal Flynn's Islands of Abandonment. Books Mentioned We may be able to get hold of second-hand copies of the out-of-print titles listed below. Please get in touch with Jess in the Slightly Foxed office for more information. Nella Last's War, Slightly Foxed Edition No. 60 (1:12) Graham Greene, A Sort of Life, Plain Foxed Edition (1:18) Artemis Cooper, Patrick Leigh Fermor: An Adventure (2:32) Patrick Leigh Fermor, A Time of Gifts and Between the Woods and the Water (4:15) Nick Hunt, Walking the Woods and the Water (6:52) Patrick Leigh Fermor, The Broken Road, edited by Artemis Cooper and Colin Thubron (23:05) Patrick Leigh Fermor, Three Letters from the Andes (24:23) W. Stanley Moss, Ill Met by Moonlight (34:31) George Psychoundakis, The Cretan Runner (38:25) Patrick Leigh Fermor, The Traveller's Tree is out of print (40:06) Simon Fenwick, Joan: Beauty, Rebel, Muse: The Remarkable Life of Joan Leigh Fermor (41:11) Patrick Leigh Fermor, A Time to Keep Silence (43:24) Patrick Leigh Fermor, The Violins of Saint-Jacques (43:27) Patrick Leigh Fermor, Mani (46:27) Patrick Leigh Fermor, Roumeli (46:31) Robert Macfarlane, The Gifts of Reading, inspired by A Time of Gifts Syed Mujtaba Ali, In a Land Far from Home (49:05) Taran Khan, Shadow City (51:21) Eugenie Fraser, The House by the Dvina (51:44) Cal Flynn, Islands of Abandonment (53:49) William Trevor, Fools of Fortune (55:33) Elizabeth Bowen, The Last September (56:10) Related Slightly Foxed Articles A Great Adventure, Andy Merrills on Patrick Leigh Fermor, A Time of Gifts; Between the Woods and the Water, Issue 38 (4:15) Off All the Standard Maps, Tim Mackintosh-Smith on Patrick Leigh Fermor, Roumeli, Issue 2 (46:31) Other Links Artemis Cooper's website: www.artemiscooper.com Nick Hunt's website: www.nickhuntscrutiny.com Siân Phillips reads from A Time of Gifts Read two extracts from A Time of Gifts: Dropping anchor at the Hook of Holland and The largest Gothic cathedral in Northern Europe ‘When I first read A Time of Gifts I felt it in my feet': Robert Macfarlane reads from The Gifts of Reading The Leigh Fermor House in Kardamyli, Greece – Benaki Museum Artemis Cooper on the Leigh Fermor House, Condé Nast Traveller Opening music: Preludio from Violin Partita No.3 in E Major by Bach The Slightly Foxed Podcast is hosted by Philippa Lamb and produced by Podcastable
Dominic West reads Patrick Leigh Fermor's piece about the olive harvest on the Mani peninsula, written in the 1950s but first published in 2021 in the LRB.Read it here: https://lrb.me/leighfermorpodSubscribe to the LRB from just £1 per issue: https://lrb.me/travel See acast.com/privacy for privacy and opt-out information.
El programa lo iniciamos con nuestros colaboradores habituales, Alex Galán, el viajero empedernido de Un buen día para viajar, que nos lleva en moto o a bañarse con elefantes en Laos. Y Laureano García en sus magníficas explicaciones del Camino de Santiago Primitivo, donde será protagonista La Puela, Pola de Allande. Y en nuestras salidas de Asturias, vamos a hacer con Noelia Alonso, guía oficial en Burgos, la ruta del Cid. La Tizona, la tumba de Babieca, Santa Gadea o el cofre del Cid nos harán viajar al medievo. El gran escritor jienense, Emilio Lara, nos trae en Grandes viajeros de la Historia, la apasionante vida de Patrick Leigh Fermor. Absolutamente impresionante! Juan Luis Álvarez del Busto, cronista oficial de Cudillero, nos habla de una de nuestras perlas turísticas. Y es que Cudillero es visita obligatoria en la costa astur. Y cerramos con María García, al frente de Naturaller, nos trae una ruta de montaña entre Bezanes y el Puerto de San Isidro. Naturaleza, arte, historia y mucho viaje en Rpa.
El programa lo iniciamos con nuestros colaboradores habituales, Alex Galán, el viajero empedernido de Un buen día para viajar, que nos lleva en moto o a bañarse con elefantes en Laos. Y Laureano García en sus magníficas explicaciones del Camino de Santiago Primitivo, donde será protagonista La Puela, Pola de Allande. Y en nuestras salidas de Asturias, vamos a hacer con Noelia Alonso, guía oficial en Burgos, la ruta del Cid. La Tizona, la tumba de Babieca, Santa Gadea o el cofre del Cid nos harán viajar al medievo. El gran escritor jienense, Emilio Lara, nos trae en Grandes viajeros de la Historia, la apasionante vida de Patrick Leigh Fermor. Absolutamente impresionante! Juan Luis Álvarez del Busto, cronista oficial de Cudillero, nos habla de una de nuestras perlas turísticas. Y es que Cudillero es visita obligatoria en la costa astur. Y cerramos con María García, al frente de Naturaller, nos trae una ruta de montaña entre Bezanes y el Puerto de San Isidro. Naturaleza, arte, historia y mucho viaje en Rpa.
El programa lo iniciamos con nuestros colaboradores habituales, Alex Galán, el viajero empedernido de Un buen día para viajar, que nos lleva en moto o a bañarse con elefantes en Laos. Y Laureano García en sus magníficas explicaciones del Camino de Santiago Primitivo, donde será protagonista La Puela, Pola de Allande. Y en nuestras salidas de Asturias, vamos a hacer con Noelia Alonso, guía oficial en Burgos, la ruta del Cid. La Tizona, la tumba de Babieca, Santa Gadea o el cofre del Cid nos harán viajar al medievo. El gran escritor jienense, Emilio Lara, nos trae en Grandes viajeros de la Historia, la apasionante vida de Patrick Leigh Fermor. Absolutamente impresionante! Juan Luis Álvarez del Busto, cronista oficial de Cudillero, nos habla de una de nuestras perlas turísticas. Y es que Cudillero es visita obligatoria en la costa astur. Y cerramos con María García, al frente de Naturaller, nos trae una ruta de montaña entre Bezanes y el Puerto de San Isidro. Naturaleza, arte, historia y mucho viaje en Rpa.
El programa lo iniciamos con nuestros colaboradores habituales, Alex Galán, el viajero empedernido de Un buen día para viajar, que nos lleva en moto o a bañarse con elefantes en Laos. Y Laureano García en sus magníficas explicaciones del Camino de Santiago Primitivo, donde será protagonista La Puela, Pola de Allande. Y en nuestras salidas de Asturias, vamos a hacer con Noelia Alonso, guía oficial en Burgos, la ruta del Cid. La Tizona, la tumba de Babieca, Santa Gadea o el cofre del Cid nos harán viajar al medievo. El gran escritor jienense, Emilio Lara, nos trae en Grandes viajeros de la Historia, la apasionante vida de Patrick Leigh Fermor. Absolutamente impresionante! Juan Luis Álvarez del Busto, cronista oficial de Cudillero, nos habla de una de nuestras perlas turísticas. Y es que Cudillero es visita obligatoria en la costa astur. Y cerramos con María García, al frente de Naturaller, nos trae una ruta de montaña entre Bezanes y el Puerto de San Isidro. Naturaleza, arte, historia y mucho viaje en Rpa.
Dune Pod: your one stop shop to get fully prepared for the new Dune movie by delving into the books, as well as the films directed by Denis Villeneuve and featuring the cast and crew of the new film. In our Season 2 Finale, regular hosts Haitch and Jason are joined by internet publishing pioneer and author of two Frank Herbert Biographies, Tim O’Reilly. We cover the deeper meaning of Frank’s works, coming of age during the human potential movement, and what Frank was like at home. Chapters Introduction (00:00:00) Dune News (00:06:33) Roundtable Discussion (00:10:43) Your Letters (01:12:12) Notes and Links Hans Zimmer is done with the Dune score. @dunenewsnet flagged this from a GQ interview Zendaya is interviewed by Timothee and wearing Nike Dunk Highs on the cover of Elle Magazine Dune Pod Holiday artwork. Get a special piece of original Dune Pod art by the great Eugene Smith (Pride and Prejudice and Zombies). Sign up for this gorgeous artwork and other goodies completely free here Tim O’Reilly is ridiculously well read. From the episode: Tim’s favorite sci-fi as a kid, Andre Norton’s The Stars are Ours! and Heinlein’s Have Spacesuit, Will Travel, and the books of EE ‘Doc’ Smith He liked the crazy consequences of relativistic travel in F.M. Busby’s Rissa Kerguelen He thinks we can learn about the futility of our struggles by reading The Man Watching by Rainer Maria Rilke as translated by Robert Bly Tim appreciated that Dune was more complicated than other sci-fi stories like The World of Null A by A. E. Van Voght Tim quoted an amazing line from Elizabeth Barrett Browning's Sonnets from the Portuguese, ‘what I do and dream must include thee as the wine must taste of its own grapes’ Tim interviewed one of his heroes, Albert Lord, who wrote The Singer of Tales, about oral formulaic epics He enjoyed the historical novel about Harold, last of the Saxon kings, The Golden Warrior He's reading the travel writing of Patrick Leigh Fermor, who in a trilogy written over 70 years(!) tells his story of walking from England to Constantinople in A Time of Gifts, Between the Woods and the Water, and The Broken Road Tim O’Reilly’s 1977 biography Frank Herbert See the movies we’ve watched and are going to watch on our Dune Pod Set List on Letterboxd Dune Pod’s Breaking Dune News Twitter list Rate and review the podcast to help others discover it, and let us know what you think of the show at letters@dunepod.com or leave us a voicemail at +1-415-534-5211. Dune neophytes and historians alike are welcome to join our tribe. Follow @dunepod on Twitter and InstagramMusic by Tobey Forsman of Whipsong Music Cover art by @ctcher
ESSAY - Menno Hartman leest voor: 'De kameleons van de Peloponnesos' uit De Gids 2020/3. Een essay over het geheim achter de benijdenswaardige levenshouding van de Engelse reisboekenschrijver Patrick Leigh Fermor, wiens oude huis Hartman bezoekt op de Peloponnesos. Lees 'De kameleons van de Peloponnesos'.Word abonnee van De Gids.
"No man is an island," wrote John Donne... but many of us feel like we've been stranded on one in recent months. One potential remedy for this condition? Reading! For our tenth episode, the BXC brothers take on "isolation" as a literary theme. Books that explore, describe or portray subjects dealing with some form of isolation or solitude - how it challenges us, helps us to grow or forces us to confront the boundless mystery of ourselves. This discussion took us far and wide into many different genres: thrillers, travel books, mysteries, adventure stories and cultural satire. We hope you'll enjoy the diversity, and thanks again to all of you continue to download, stream and listen to our show! BOOKS DISCUSSED/MENTIONED/RECOMMENDED IN THIS EPISODE: From a listener (voice mail) 'Wuthering Heights,' Emily Bronte; 'Tom Sawyer,' Mark Twain; 'Cold Mountain,' Charles Frazier From John Recent read: 'Founding Brothers: The Revolutionary Generation,' Joseph J. Ellis Recommended Titles: 'Darkness at Noon,' Arthur Koestler; 'To the White Sea,' James Dickey; 'The Mysterious Island,' Jules Verne; 'Robinson Crusoe,' Daniel Defoe; 'The Andromeda Strain,' Michael Crichton; 'The Yellow Wallpaper,' Charlotte Perkins Gilman; 'A Time to Keep Silence,' Patrick Leigh Fermor; 'Into the Wild,' Jon Krakauer; 'Sun Dancing: A Vision of Medieval Ireland,' Geoffrey Moorhouse; 'A Time to Keep Silence,' Patrick Leigh Fermor; 'To the Lighthouse,' Virginia Woolf; 'Wittgenstein's Mistress,' David Markson Next read: 'And Then There Were None,' Agatha Christie From Jude Current read: 'The Mirror and the Light,' Hilary Mantel Recommended Titles: 'The Wisdom of the Desert,' Thomas Merton; 'The Shepherd's Hut,' Tim Winton; 'Drop City,' T. C. Boyle; 'The Temptation of St. Anthony,' Gustave Flaubert Next read: Our co-host declined to reveal what he is reading next!
durée : 00:09:16 - Un voyage : la Seine et nos amours - par : François Sureau - Nous sommes devant l'abbaye de Saint-Wandrille, avec son style grand siècle caractéristique. Nous sillonnerons au travers du patrimoine architectural et culturel : ce sera aussi l'occasion d'évoquer l'écrivain voyageur Patrick Leigh Fermor. En 2004, il est anobli par la couronne britannique. - réalisation : Vincent Decque
Patrick Leigh Fermor zählt zu den bedeutendsten englischsprachigen Reiseschriftstellern. Seine Briefe in "Flugs in die Post!" sind so abenteuerlich wie seine Reisen. Grit Friedrich stellt das Buch vor.
Fremdes Licht - Mix mit Eisplanet und Massenmörder vom Genre-Schütteler Michael Stavaric (Luchterhand). Von Günter Kaindlstorfer / Das Landleben - Alpenforscher Werner Bätzing ruft zur Rettung einer gefährdeten Lebensform (Beck). Der Autor im Gespräch mit Judith Heitkamp / Eine Frau in New York - Vivian Gornick flaniert feministisch durch ihre Lieblingsstadt. Vor Corona, versteht sich (Penguin). Von Sigrid Brinkmann / Hörbuch: Die Unbeugsame - Die Widerstandskämpferin Olga Benario in ihren Briefen und in den Akten der Gestapo (Nemu-Records). Von Annegret Arnold / Erwachen - Nis Baram erzählt von Freundschaft, Familie, Tod und von dem, was schief laufen kann (Hanser). Von Laura Freisberg / Flugs in die Post! - Das abenteuerliche Leben des Patrick Leigh Fermor in Briefen. Wenn auch nur in 174 aus tausenden (Dörlemann). Von Stefan Berkholz / Das literarische Rätsel - Wunschbuch zu gewinnen. Wer ist zu Gast bei Solomon Buk? / Von Thomas Kastura / Moderation und Redaktion: Judith Heitkamp
Hazel, Jennie and host Philippa explore the art of travel writing with the acclaimed author and biographer Sara Wheeler, and Barnaby Rogerson of the well-loved independent publisher Eland Books. Buckle-up and join us on an audio adventure that takes in a coach trip around England, an Antarctic sojourn, a hairy incident involving a Victorian lady and her trusty tweed skirt and a journey across Russia in the footprints of its literary greats, with nods to Bruce Chatwin, Isabella Bird, Norman Lewis, Martha Gellhorn and Patrick Leigh Fermor along the way. And to bring us back down to earth, there’s the usual round-up of news from back home in Hoxton Square and plenty of recommendations for reading off the beaten track. The digits in brackets following each listing refer to the minute and second they are mentioned. (Episode duration: 39 minutes; 01 seconds) Books Mentioned Slightly Foxed Issue 62 (https://foxedquarterly.com/shop/slightly-foxed-issue-62-published-1-june-2019/) (2:05) The Fountain Overflows (https://foxedquarterly.com/shop/rebecca-west-the-fountain-overflows/) , Volume I of Rebecca West’s ‘Saga of the Century’ (2:36) Something Wholesale (https://foxedquarterly.com/shop/something-wholesale-no-41/) , Eric Newby (4:20) Love and War in the Apennines (https://foxedquarterly.com/shop/eric-newby-love-and-war-in-the-apennines/) , Eric Newby (4:24) Terra Incognita: Travels in Antarctica (https://foxedquarterly.com/shop/sara-wheeler-terra-incognita/) , Sara Wheeler (8:00) A Dragon Apparent (https://foxedquarterly.com/shop/norman-lewis-dragon-apparent/) , Norman Lewis (11:49) In Patagonia (https://foxedquarterly.com/shop/bruce-chatwin-in-patagonia/) , Bruce Chatwin. Sara Wheeler abbreviates the opening line, which reads in full: ‘In my grandmother’s dining-room there was a glass-fronted cabinet and in the cabinet was a piece of skin.’ (18:39) Growing: Seven Years in Ceylon (https://foxedquarterly.com/shop/leonard-woolf-growing/) and The Village in the Jungle (https://foxedquarterly.com/shop/leonard-woolf-village-in-the-jungle/) , Leonard Woolf (19:50) Travels with Charley (https://foxedquarterly.com/shop/steinbeck-travels-with-charley/) , John Steinbeck (20:35) Semi Invisible Man: The Life of Norman Lewis (https://www.panmacmillan.com/authors/julian-evans/semi-invisible-man/9780330427081) , Julian Evans (21:09) Naples ‘44 (https://foxedquarterly.com/shop/naples-44-norman-lewis/) , Norman Lewis (21:31) Passage to Juneau (https://foxedquarterly.com/shop/jonathan-raban-passage-to-juneau/) , Jonathan Raban (22:24) Mud and Stars (https://foxedquarterly.com/shop/sara-wheeler-mud-and-stars/) , Sara Wheeler, published 4 July 2019 (23:27) The Saddest Pleasure (https://foxedquarterly.com/shop/moritz-thomsen-saddest-pleasure/) , Moritz Thomsen (24:29) A Time of Gifts (https://foxedquarterly.com/shop/leigh-fermor-patrick-time-gifts-adventures-harriet/) and Between the Woods and the Water (https://foxedquarterly.com/shop/leigh-fermor-patrick-woods-water-adventures-harriet/) , Patrick Leigh Fermor (25:16) Arabs (https://foxedquarterly.com/shop/tim-mackintosh-smith-arabs/) , Tim Mackintosh-Smith (33:32) Lost in Translation (https://foxedquarterly.com/shop/eva-hoffman-lost-translation/) , Eva Hoffman (34:31) A Woman in the Polar Night, Christiane Ritter is currently out of print. The edition with an introduction by Sara Wheeler will be published by Pushkin Press (https://www.pushkinpress.com/) in November 2019 (35:52) Related Slightly Foxed Articles & Illustrations Mood Music (https://foxedquarterly.com/rebecca-west-saga-of-the-century-literary-review/) , Rebecca Willis on Rebecca West’s ‘Saga of the Century’, Issue 62 (2:22) Ire and Irritability (https://foxedquarterly.com/jane-austen-sense-and-sensibility-literary-review/) , Pauline Melville on Sense and Sensibility, Issue 62 (2:56) Travelling Fearlessly (https://foxedquarterly.com/colin-thubron-travel-writing-literary-review/) , Maggie Fergusson interviews Colin Thubron in Issue 58 (20:26) A Great Adventure (https://foxedquarterly.com/patrick-leigh-fermor-great-adventure/) , Andy Merrills on Patrick Leigh Fermor, A Time of Gifts and Between the Woods and the Water, Issue 38 (25:24) In Search of Home (https://foxedquarterly.com/eva-hoffman-lost-translation-literary-review/) , Sue Gee on Lost in Translation in Issue 55 (34:31) Other Links The Slightly Foxed Podcast website page of episodes and reviews (https://foxedquarterly.com/category/podcast/) (1:00) Independent Bookshop Week 2019 (https://indiebookshopweek.org.uk/) , 15-22 June. Follow #IndieBookshopWeek and @booksaremybag online (3:38) Eland Books (https://www.travelbooks.co.uk/) (11:39) Katy MacMillan-Scott, Adventures for Harriet (https://www.adventuresforharriet.co.uk/) : Travelling from the Hook of Holland to Istanbul (31:45) Lodestars Anthology (https://www.lodestarsanthology.co.uk/) , selected issues available to buy from Slightly Foxed here (https://foxedquarterly.com/products/lodestars-anthology-travel-magazine/) (37:41) Rucksack Magazine (https://rucksackmag.com/) (37:58) Music and sound effects Opening music: Preludio from Violin Partita No.3 in E Major by Bach Reading music: Lost Memories courtesy of FreeSfx.co.uk (http://www.freesfx.co.uk) The Slightly Foxed Podcast is hosted by Philippa Lamb and produced by Podcastable (https://www.podcastable.co.uk/)
“It’s a terrible thing being a biographer,” Artemis Cooper has said. “One is such a rat.” A consummate inquisitor of the talented, Cooper’s subjects have included food guru Elizabeth David,novelist Elizabeth Jane Howard, and travel writer Patrick Leigh Fermor, whose last book she co-edited with Colin Thubron. She is also the author of Cairo in the War, 1939-1945, co-author with her husband Antony Beevor of Paris After the Liberation, 1944-1949, and editor of two collections of her grandmother Lady Diana Cooper’s letters, to her husband Duff and to her friend Evelyn Waugh. Cooper delivers an hour of conversation with Owen Scott discussing the concept of memory, and telling tales of the 20th-century. Supported by Heartland Bank.
Join Mariella as she visits the rural retreat of Dominic West, star of The Wire and Les Misérables, to unveil his secret hopes and fears through the books he loves. You’ll discover his favourite story to read his children, the travel classic that sent him on his way and the surprising autobiography he highly rates. Stick around and you’ll even witness him reading aloud his most treasured graphic erotic poetry. Mariella learns how these books have inspired and guided him throughout his life - to connect with his Irish roots, to fear nationalism, and even learn how to persuade a chimp to let go of a penis! Along the way you’ll also hear why libraries are the sexiest places on earth and discover the common themes underlying Dominic’s choices – sex and death. Perhaps you’ll join them in concluding that intensive therapy is needed! Dominic’s book choices: The book that… … He reads to his children: ‘Big Ugly Monster and Little Stone Rabbit’ by Christopher Wormell, 2004 … He remembers reading as a teen: ‘A Time of Gifts’ by Patrick Leigh Fermor, 1977 … Mirrors our current political landscape: ‘The World of Yesterday: Memoirs of a European’ by Stefen Zweig, 1942 … Is a written by a larger than life friend: ‘A Lion in the Bedroom: The Fabulous High Life of an Heiress Who Couldn’t Say No’ by Pat Cavendish O'Neil, 2004 … Contains the most gripping erotic poetry: ‘The Platonic Blow’ by W. H. Auden, 1965 (poem) … Reminds him of his Mum: Unspecified poems of Thomas Hardy, written 1989-1928 Presenter and Executive Producer: Mariella Frostrup Producers: Sera Baker and Milly Chowles Researcher: Judy Elliot Music: Matt Clifford at Music and Voices TBI Media Production for BBC Sounds
After several editing and technical hiccups, we're happy to present episode 34 on beloved travel writer Patrick Leigh Fermor and his only novel. A soldier who led the resistance in Crete during WWII, a spy posing as a shepherd who captured a German general, an insatiable traveler (lest we forget heartthrob), Fermor was a jack-of-all-trades whose travel writing is known the world over. His novel "The Violins of Saint-Jacques," however, presents a West Indies that both gilds and destroys a European presence that reflects, perhaps, more the devastation caused by WWII than decolonization. Check out our discussion on art and context, WWII and British Literature, and the work travel writing does in the wake of quickly disappearing cultures. Happy Listening Alex & Jake Music credits for this episode: "Lost Frontier" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ "Magic Forest" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/
Today on Tea & Tattle, I’m in conversation with the author and art critic, Laura Freeman, who recently published the incredible bibliomemoir, The Reading Cure: How Books Restored My Appetite. In her book, Laura describes her diagnosis of anorexia as a teenager, and how her insatiable hunger for books gradually helped restore her to health and happiness. In today's interview, Laura explains how Dickens's novels awakened her to the pleasures of eating and the associative powers of food. Emboldened by a A Christmas Carol, one December she tasted her first spoonful of Christmas pudding since her diagnosis. It was the travel memoirs of Patrick Leigh Fermor and Laurie Lee that encouraged Laura to be braver when traveling and opened her up to the excitements of tasting local cuisines. Some of my favourite passages from the book were Laura's descriptions of discovering the food writer M.F.K. Fisher, who wrote so memorably about her adventures as an American woman in France, and I was delighted when Laura chose a section about Fisher to read aloud during our interview. I'm sure Laura's book will be one of my top 5 favourites from 2018, not only because it speaks so eloquently and honestly on a subject that affects so many women, but also because it whetted my own appetite for so many of the novels that Laura credits on her road to recovery. I nodded along in agreement over her appreciation for Little Women and Cider With Rosie, but Laura's pages on Memoirs of a Fox-Hunting Man, A Month in the Country, and so many others, had me rushing to Daunt Books to purchase my own copies. I so enjoyed my conversation with Laura, and I know this episode will be a brilliant listen for anyone who has ever experienced the restorative power of great literature. Listen to learn more about Laura's book, The Reading Cure. Read the show notes and get all the links: teaandtattlepodcast.com/home/71 Get in touch! Email: teaandtattlepodcast@gmail.com Instagram: Find Miranda at @mirandasnotebook and @mirandasbookcase If you enjoy the show, please do leave a rating and review in iTunes, as good ratings really help other people to find the podcast. Thank you!
On the eve of a retrospective exhibition at the British Museum, John Julius Norwich recalls the remarkable life and tremendous spirit of his friend Patrick Leigh Fermor, the man whom John Julius credits with opening up the Byzantine world to him – the subject of his subsequent book on the subject Byzantium: The Early Centuries. John Julius talks about Paddy's incredible intellectual curiosity and lightness of touch: ‘All the time you were aware of being in touch with perhaps the most extraordinary man you'd ever met.' 'Ghika, Craxton, Leigh Fermor – Charmed Lives in Greece', the British Museum, 8th March to 15th July
Intrepid Times interviews Nick Hunt about his 9 month, 4000 kilometer walk across Europe in the footsteps of Patrick Leigh Fermor. Read more at: http://intrepidtimes.com/2016/08/nick-hunt/
1-”Laudato si “: pubblicata l'enciclica verde di papa Francesco. Il punto di Esteri. ..2-Debito greco: vertice dell'Eurogruppo per trovare un accordo. Monito del fondo monetario a Tsipras...3-I dannati della guerra: 60 milioni di persone costretti a lasciare la propria casa secondo il rapporto dell'Onu...4-Hong Kong: il parlamento sfida Pechino. ..Bocciata la riforma elettorale che era stata osteggiata dal movimento Occupy. ..5-Land Grabbing e deforestazione: gli effetti devastanti ..della produzione dell'olio di palma. 6-le recensioni di Vincenzo Mantovani: La strada interrotta di , ..Patrick Leigh Fermor.
1-”Laudato si “: pubblicata l'enciclica verde di papa Francesco. Il punto di Esteri. ..2-Debito greco: vertice dell'Eurogruppo per trovare un accordo. Monito del fondo monetario a Tsipras...3-I dannati della guerra: 60 milioni di persone costretti a lasciare la propria casa secondo il rapporto dell'Onu...4-Hong Kong: il parlamento sfida Pechino. ..Bocciata la riforma elettorale che era stata osteggiata dal movimento Occupy. ..5-Land Grabbing e deforestazione: gli effetti devastanti ..della produzione dell'olio di palma. 6-le recensioni di Vincenzo Mantovani: La strada interrotta di , ..Patrick Leigh Fermor.
1-”Laudato si “: pubblicata l'enciclica verde di papa Francesco. Il punto di Esteri. ..2-Debito greco: vertice dell'Eurogruppo per trovare un accordo. Monito del fondo monetario a Tsipras...3-I dannati della guerra: 60 milioni di persone costretti a lasciare la propria casa secondo il rapporto dell'Onu...4-Hong Kong: il parlamento sfida Pechino. ..Bocciata la riforma elettorale che era stata osteggiata dal movimento Occupy. ..5-Land Grabbing e deforestazione: gli effetti devastanti ..della produzione dell'olio di palma. 6-le recensioni di Vincenzo Mantovani: La strada interrotta di , ..Patrick Leigh Fermor.
Libby Purves meets concert pianist Janina Fialkowska; tailor Edward Sexton; Dolores Payas who translated books written by the travel writer Patrick Leigh Fermor and voice coach Gary Catona. Edward Sexton has been designing and making suits for over 40 years. In 1969 he and Tommy Nutter opened Nutters, the first new establishment on Savile Row for 120 years. Nutters' suits for men and women appealed to the celebrities of the day including the Beatles, Mick and Bianca Jagger, Twiggy and Elton John. Edward, who trained as a master cutter, continues to design stylish and sharply tailored suits from his Knightsbridge studio. Dolores Payás met the late writer and adventurer Patrick Leigh Fermor in 2009 and translated three of his books into Spanish. The two became great friends and in her book Drink Time! Dolores remembers the days they spent together at his house in Greece towards the end of his life. Drink Time! In the Company of Patrick Leigh Fermor by Dolores Payás is published by Bene Factum Publishing. Janina Fialkowska is an award-winning concert pianist who is regarded as one of the world's foremost interpreters of Chopin. She started to study the piano as a child and her career was launched after she won Arthur Rubinstein's inaugural Master Piano Competition in 1974. In 2002 she was diagnosed with a cancerous tumour in her left shoulder which left her unable to move her left limb. She proceeded to learn the concertos and works originally written for the left hand only and transcribed them for her right hand. Her new CD, Chopin Complete Mazurkas, is released on ATMA Classique. She is performing at Wigmore Hall and is touring with the Royal Philharmonic Orchestra. Gary Catona describes himself as a vocal builder. He has worked with a range of performers including Andrea Bocelli, Whitney Houston and Seal. His technique involves working the voice muscles to help build a stronger singing and speaking voice. His new show, the Maestro Presents: The Ultimate Diva, is an online talent show which aims to find and train the next great diva. The Ultimate Diva goes online in 2015. Producer: Annette Wells.
Richard Coles in London and Suzy Klein in Bristol from the Bristol Food Connections Festival with food writer Jay Rayner, The Inheritance Tracks of Julian Lloyd Webber, Nick Hunt following in the footsteps of Patrick Leigh Fermor on his 2,500 mile walk from Rotterdam to Istanbul, JP Devlin meeting urban gull expert Peter Rock on a Bristol rooftop, poetry from Elvis McGonagall, Vicky Harrison who is knitting Bristol in miniature and Romy Gill, chef and restaurant owner on the immeasurable joys of modern Indian food.Jay Rayner, food critic, author and jazz pianist joins Richard in the studio. 'Kitchen Cabinet' starts on BBC Radio 4 on 10 May.Richard Smith aka Elvis McGonagall performs poems on Bristol and food. Elvis McGonagall is on Radio 4 on Wednesday nights at 2300 with a new show 'Elvis McGonagall Looks on the Bright Side'.Romy Gill runs Romy's kitchen in Thornbury (near Bristol) and is a chef/owner. Brought up in West Bengal she talks to Suzy about her early life, running a small business and why Bristol is so interesting for food. JP Devlin roams the streets of Bristol to record a crowdscape.Nick Hunt took Patrick Leigh Fermor's epic walk to Istanbul in the early 1930's to heart and followed, pretty much, in his exact footsteps in about half the time. 'Walking the Woods and the Water: in Patrick Leigh Fermor's footsteps from the Hook of Holland to the Golden Horn' by Nick Hunt (Nicholas Brealey Publishing) is out now.JP meets Peter Rock, the UK's leading urban gull expert, on a Bristol roof with some breeding pairs. Vicky Harrison and a team of merry crafters have been knitting the city of Bristol. Vicky talks to Suzy about 'Briswool' and how communities can come together creatively.Julian Lloyd-Webber's Inheritance Tracks are The March from the Love For Three Oranges by Prokofiev and The Little Beggar Boy by Piazzolla played by Julian and Jiaxin Lloyd-Webber.Producer: Chris Wilson.
William Dalrymple celebrates the writing of Peter Matthiessen who died this month, comparing him with another of his favourite travel writers, Patrick Leigh Fermor. "Both were footloose scholars who left their studies and libraries to walk in the wild places of the world, erudite and bookish wanderers, scrambling through remote mountains, notebooks in hand, rucksacks full of good books on their shoulders." Producer: Sheila Cook.
In 2010 Nick Hunt set out on an epic walk in the footsteps of Patrick Leigh Fermor, across the whole European continent ‘from the Hook of Holland to the Golden Horn.’ Relying, like his hero, on the hospitality of strangers and using Patrick Leigh Fermor’s writings as his only guide, Hunt crossed Holland, Germany, Austria, Slovakia, Hungary, Romania and Bulgaria, partly to see how much had changed, and how much hadn’t, but mainly in order to have a ‘good old-fashioned adventure.’ His account of his journey Walking the Woods and the Water is published by Nicholas Brealey. Nick Hunt was in conversation with Patrick Leigh Fermor’s friend and biographer Artemis Cooper, who in 2013 worked with Colin Thubron to complete Paddy’s final work The Broken Road. See acast.com/privacy for privacy and opt-out information.
Comedian Lee Evans; the Man Booker Prize shortlist; Nicky Wire from Manic Street Preachers; Cillian Murphy on TV drama Peaky Blinders; the final book in Patrick Leigh Fermor's travel trilogy; Dennis Kelly who wrote the book for the hit musical Matilda and created the cult Channel 4 series Utopia.
With Mark Lawson, including news of the shortlist for the Barclaycard Mercury Prize for album of the year, announced today. Travel writer Patrick Leigh Fermor, who died in 2011, walked from the Hook of Holland to Constantinople in the early 1930s. This resulted in two best-selling books, A Time of Gifts and Between the Woods and the Water. Colin Thubron and biographer Artemis Cooper discuss how they pieced together Leigh Fermor's unfinished manuscript and diaries to produce the final part of the trilogy, The Broken Road: From the Iron Gates to Mount Athos. And Dennis Kelly, who wrote the book for the hit musical Matilda and created the cult Channel 4 series Utopia, on his debut play for the Royal Court Theatre in London. The Ritual Slaughter of Gorge Mastromas is about a man who tries to make his fortune by telling lies. Producer Tim Prosser.
Rana Mitter assesses the shortlist for this year's Booker prize and speaks to nominee Jhumpa Lahiri. Joanna Bourke and Paul Schulte examines the history of chemical warfare and our ambivalence to it. Plus Colin Thubron and Artemis Cooper celebrate the publication of the long awaited final instalment of Patrick Leigh Fermor's account of his journey from the Hook of Holland to the Bosphorus and beyond.
Weekly JourneywithJesus.net postings, read by Daniel B. Clendenin. Essay: *A Staggering Difference and a Profound Transformation* for Sunday, 4 March 2012; book review: *A Time to Keep Silence* by Patrick Leigh Fermor (1957, 1982, 2007); film review: *If a Tree Falls* (2011); poem review: *The Peace Prayer* by St. Francis of Assisi.
© 2020-2025 Ivy Podcast Discovery LLC
