Light in the Darkness

Flooded Fields (Liz Kelleher).

THERE is something intrinsically moody and yet honestly beautiful at the same time in the evocative sky and landscape paintings of Lincolnshire artist Liz Kelleher.

If you are familiar with the county’s big, sometimes disconcerting, skies and giant panoramas of flat land stretching from horizon to horizon, you will know instinctively what I mean.

Much of Kelleher’s work is giant in physical size too, reflecting the enormity of the natural landscape and offering the viewer a sense of presence and immersion.

Her paintings can easily take up a wall or two of any regular sized home - but the size and commanding play of light and dark only serve to draw you into the landscape, as if somehow you are standing right within it.

I viewed a collection of her emotive paintings on display during a week-long solo exhibition at the small but highly regarded Carre Gallery in the Lincolnshire market town of Sleaford. It regularly supports new and local artists, often showcasing their first ever public exhibition.

Kelleher is no newcomer to art or indeed the Lincolnshire landscapes which she walks daily for solace and inspiration. In 2023 she gave up her 15-year role as art teacher at Spalding High School in favour of a wholehearted pursuit of her passion for painting.

But first, as a kind of demarcation line between the old and the new, she undertook a 300-mile solo pilgrimage, trekking from Iona on the Scottish west coast to Lindisfarne in Northumbria, a truly spiritual walk in every sense.

Kelleher describes it as a “life-changing” experience which challenged her physically, emotionally and spiritually.

She emerged with a fresh vision for the way forward, not to mention a stunning portrayal of the Holy Island and Lindisfarne seascape, 10 feet wide and 4 feet high, a diptych called simply ‘Outlook on Lindisfarne’.

Her exhibition at the Carre Galley was fittingly named ‘Light in the Darkness’, a title enshrined in the paintings themselves but also an acknowledgement of her strong Christian faith.

“As an artist my practise involves daily walking, predominantly in the agricultural plains of South Lincolnshire,” she explained. “This fuels my connection, curiosity and profound appreciation of the magnificent sky filled places I inhabit.”

Kelleher says her work encompasses a range of processes which include walking, collecting, drawing, printmaking, photography and writing, all of which often culminate in her trademark large-scale oil paintings.

“The ephemeral contrasting light, colour, atmosphere and spontaneous, fast-paced fluctuations in weather experienced in the open landscape, especially during dawn and dusk, are awe inspiring. Such beauty takes my breath away and I feel a deep sense of intimacy.”

Kelleher’s landscape walks are not only visual, fact-finding missions but provide time to reflect on life and to pray.

“In my paintings I seek to explore and express the emotional intensity and connection I feel in my walk with God, which is the foundation of all I do. I’m thankful for the ‘light’ I experience through Jesus in what can often be a very challenging and dark world.”

Yorkshire-born Kelleher, who lived and worked in Essex before moving to Lincolnshire, says she naturally finds herself drawn to abstract with more figurative works before creating a sense of structure out of chaos.

She is also Creative Director for the Old Hospital Trust and A&E collaborative, which seeks to transform communities through arts and well-being projects, as well as provide opportunities and spaces for creatives.

“I love being immersed in the landscape and harnessing its energy,” Keheller adds. “It is a continuous sense of discovery and I want people to feel involved in my paintings in the same way.”  

Artist Liz Kelleher at the Carre Gallery, Sleaford.

Carre Gallery was opened in 2010 as a result of collaboration between a local businessman and the late Windham Hime, a professional artist and photographer. It is now operated by the Sleaford Gallery Arts Trust, a registered charity, and everyone involved in the gallery’s operation and management is a volunteer.   

A writer's imaginative eye

IT WAS an ordinary autumn weekend afternoon spent wandering the streets of Milan ahead of the start of my attending an international space conference in the city. 

After vying with the crowds in several bustling tourist areas, it was with much relief that I turned into a quieter street away from the hordes. 

The buildings, compared to the majesty of the Duomo Cathedral nearby, were plainer though still exuded an under-stated Italian style. 

Then, rounding a corner, I took an unexpected and sudden leap into the future! Above a deep shop window were three captivating words - ‘The Longevity Suite’.

Bullet points etched into the sign beneath listed a ‘Cryosuite’ and the services of ‘Advanced Bio-hacking’, each of which only exercised my fertile imagination further. 

Behind the semi-obscured glass were two female receptionists, identically dressed and each with long, dark hair, chatting across the counter to a potential new client.

For a few moments ‘The Longevity Suite’ and its setting in the back streets of Milan spun a tale of the future where the dream of extending the natural lifespan of humans had become reality.

In the dimming light of late afternoon, I realised the sign was really nothing more than over-hyped marketing cleverly designed to give the wealthy something to spend their money on.

But in this writer’s mind my short Italian sojourn had, if nothing else, sown the seeds for a futuristic story of morality, a doorway in time perhaps through which the Holy Grail of eternal life beckoned.    

Spacesuits are not merely uniforms

Boeing (left) and SpaceX flight suits - a question of compatability?

IN THE realm of space exploration, where innovation is often celebrated as much as discovery, one might expect that companies would prioritise the pursuit of standardisation, especially in safety-critical systems. 

Yet recent events have highlighted a glaring oversight: a lack of compatibility between spacesuits designed for different spacecraft.  

This summer, the issue came into focus when NASA encountered an unexpected challenge during the first crewed test flight of Boeing’s Starliner spacecraft. 

Helium leaks and the failure of several thrusters during the docking phase marred the mission, which transported astronauts ‘Butch’ Wilmore and Suni Williams to the International Space Station (ISS). 

The resulting uncertainty surrounding Starliner’s ability to return safely raised a critical question: what if they had to return to Earth on a different spacecraft? Could the astronauts use their Boeing-designed spacesuits in a SpaceX Dragon capsule?

The answer, unfortunately, was no. SpaceX and Boeing, two of NASA’s primary commercial partners, developed spacesuits that are incompatible with each other’s spacecraft. 

This is not merely a matter of corporate identity or aesthetic preference; it represents a significant and potentially life-threatening oversight.

In a broader context, users in the consumer electronics industry have long been frustrated by a lack of standardisation. An ongoing debate over charging cables for smartphones is one example. 

Apple and Android devices operate on different systems, and while this is accepted as a technological difference, many people criticise the incompatibility of charging cables. 

The EU has even intervened to push for a standardised charging port, recognising that such differences create unnecessary waste too.

However, unlike the inconvenience of incompatible phone chargers, spacesuit incompatibility could have dire consequences. Astronauts depend on their equipment so the lack of a standardised spacesuit for use across different spacecraft complicates emergency procedures and increases error margins.

On this occasion time was on NASA’s side, but in an actual emergency astronauts finding themselves with the wrong suit for a spacecraft they need urgently to board could prove critical. 

NASA’s management of its commercial crew programme provided the perfect opportunity to enforce compatibility standards. 

The root of the problem lies in the space industry’s fragmented approach. Commercial entities often develop technologies and systems with little regard for interoperability, seemingly at odds with the spirit of international cooperation that the space industry often prides itself on.

Spacesuits are not merely uniforms; they are critical safety systems and an astronaut’s last line of defence, particularly during launch and re-entry when the risk of cabin depressurisation is highest. 

Is it not imperative, therefore, that the industry moves towards a standardised design that can be connected across different spacecraft?

Such arguments are not about stifling innovation or competition, they are about prioritising astronaut safety. 

By establishing common standards, similar to those developed by the International Organization for Standardization (ISO) in other industries, the space sector can ensure that astronauts, regardless of the spacecraft they board, have the best possible protection.

The Starliner mission has perhaps unwittingly exposed a critical gap in the industry’s approach. Non-standardised spacesuits are not just a logistical oversight; they are a risk that could jeopardise astronauts’ lives. 

As the space industry continues to develop, it is crucial that cooperation extends to the standardisation of safety systems. The small price of compatibility could very well be the difference between life and death in the unforgiving environment of space.

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Editor's note: This commentary by Clive Simpson on spacesuit incompatbility was first published as the Editorial in ROOM Space Journal, issue #35, September 2024. It is republished here with permission.

NASA plays it cool over leaky spacecraft

 

NASA and Boeing managers have again extended the stay of Starliner at the International Space Station (ISS) this time into July, raising questions among more outspoken commentators as to whether its crew of two Butch Wilmore and Suni Williams will need to be offered an alternative means of returning to Earth.

It was revealed in a statement at the weekend that NASA wants more time for analysis to ensure helium leaks and faulty thruster are fully understood before risking the capsule’s first ever return flight with a crew.

The fact that the date has been pushed into July takes it closer to it’s 45-day on orbit limit following lift-off on 5 June. The return flight was originally scheduled for 14 June and then 26 June before the latest decision.

“Mission managers are evaluating future return opportunities which will follow the Space Station’s two planned spacewalks on June 24 and July 2,” said Steve Stich, NASA's commercial crew programme manager. “We are taking our time and following our standard mission management team process.”

The crewed test of the spacecraft, previously test-flown in space twice since 2019 without crew on board, has encountered five failures of its 28 manoeuvring thrusters, five leaks of helium gas meant to pressurize those thrusters, and a slow-moving propellant valve that signalled unfixed past issues.

The issues and the additional tests run by NASA and Boeing call into question when exactly Starliner's crew will be able to make the roughly six-hour return journey home, and in the process add to the programme's broader problems mand delays.

NASA wants Starliner to become a second US spacecraft capable of ferrying astronauts with the ISS and Boeing has already spent $1.5 billion in cost overruns beyond its $4.5-billion development contract.

Already running four years behind schedule, the Starliner crewed launch was a month later than planned due to minor problems with its Atlas 5 rocket, trouble with a countdown computer and because of an initial helium leak in the system used to pressurize the capsule’s thrusters.

NASA and Boeing managers decided the leak was too small to pose a safety threat and Starliner was cleared for launch but once in orbit further helium leaks developed and the Starliner’s flight computer took seven manoeuvring jets off-line when the telemetry did not match pre-launch expectations.

Starliner's undocking from the ISS and return to Earth is one of most complicated phases of its test mission. Most of the craft’s 28 thrusters are backups but at least 12 (six for control and six for backup) are required to meet flight safety rules.

NASA’s weekend update provided no further details but it is clear that managers were unhappy with all contingencies that Wilmore and Williams might encounter during a return flight to Earth, including safely undocking from the Space Station, manoeuvring away, performing a de-orbit burn, separating the crew capsule from the service module, and then flying through the atmosphere before landing under parachutes in a New Mexico desert.

It is not ideal that on such a high profile mission NASA is having to continue delaying the vehicle’s return. Officials have downplayed the overall seriousness of the situation saying Starliner is cleared to come home “in case of an emergency” though have not clarified why they are not ready to release Starliner to fly back to Earth with crew under "normal circumstances".

The situation has promoted many comments and much concern on social media, including some suggesting the Starliner crew is stranded in space. But this is far from true because in the event that NASA decided not to risk a crewed return flight they would have the option of commissioning a dedicated SpaceX Dragon mission to pick them up from the ISS.

Such a move would not look good from a PR perspective for either NASA or Boeing but it would be infinitely preferable to risking the lives of astronauts in a capsule returning to Earth with unresolved or uncertain technical issues. 

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Editor's note: first published by ROOM Space Journal under heading 'NASA postpones Starliner's crew return amid thruster concerns' on Sunday, 23 June 2024.

Looming catastrophe of climate change

Fossil-fuel companies have become the “godfathers of climate chaos” and should be banned from advertising in every country, the secretary general of the United Nations stated while delivering dire new scientific warnings of global heating.

Speaking in New York this week, António Guterres called on all media to stop enabling “planetary destruction” by taking fossil-fuel advertising money as he warned the world faces “climate crunch time” in its faltering attempts to stem the crisis.

“Many governments restrict or prohibit advertising for products that harm human health,” he said. “I urge every country to ban advertising from fossil-fuel companies. And I urge news media and tech companies to stop taking fossil-fuel advertising.”

In his speech, Guterres announced new data from the World Meteorological Organization (WMO) showing there is an 80 percent chance Earth will breach 1.5C in warming above pre-industrial times in the next five calendar years. 

The WMO says there is a already a 50-50 chance that the global average in the period between 2024 to 2028 will be above 1.5C in warming.

“We are playing Russian roulette with our planet,” he said. “We need an exit ramp off the highway to climate hell.”

According to the European Union’s Copernicus monitoring system, the past 12 months (from June 2023 to May of this year) have already breached this target following a string of months with record-breaking heat, with the average global temperature being 1.63C higher than the pre-industrial average.

Guterres likened the looming catastrophe to the meteor that wiped out the dinosaurs. “We’re having an outsized impact and, in the case of climate, we are not the dinosaurs - we are the meteor. We are not only in danger - we are the danger.”

He admitted that the 1.5C target was “still just about possible” but said there needed to be far greater effort from countries to slash carbon emissions, to boost climate finance to poorer countries, and for the fossil-fuel industry to be made pariahs by governments, the media and other businesses.

“The godfathers of climate chaos - the fossil-fuel industry - rake in record profits and feast off trillions in taxpayer-funded subsidies,” he said. “It is a disgrace that the most vulnerable are being left stranded, struggling desperately to deal with a climate crisis they did nothing to create.

“We cannot accept a future where the rich are protected in air-conditioned bubbles, while the rest of humanity is lashed by lethal weather in unlivable lands.”

Guterres attacked fossil-fuel firms for their meagre investments in cleaner forms of energy and for “distorting the truth, deceiving the public and sowing doubt” about climate science.

He called for global bans on fossil-fuel advertising and for public relations and media companies to cut ties with oil, gas and coal interests.

“These companies should stop acting as enablers to planetary destruction. Stop taking on new fossil-fuel clients and set out plans to drop your existing ones. Fossil fuels are not only poisoning our planet - they’re toxic for your brand.”

The speech was timed to act as a rallying call by the UN which is increasingly concerned that the climate crisis has slipped down the list of priorities for a world racked by war in Ukraine and Gaza, and other economic worries.

A meeting of the powerful G7 group of countries will take place in Italy next week, followed by November’s Cop29 climate summit, to be held in Azerbaijan, along with a G20 gathering in Brazil.

Amid this wrangling the impacts of the climate crisis continue to hit home, with countries including India and the US recently gripped by severe heatwaves. 

A study released this week found that extensive flooding that has devastated parts of southern Brazil, leading to 169 deaths, was made at least twice as likely due to human-caused climate change.

But Guterres urged people not to lose courage or hope. “No country can solve the climate crisis in isolation and we do still have a choice,” he said.

“This is an all-in moment. We can create tipping points for climate progress, or we can career to tipping points for climate disaster.”

He warned that it was now the people of Earth versus the polluters and the profiteers – and it is time for leaders to decide whose side they’re on.

“Tomorrow it will be too late,” Guterres concluded. “Now is the time to mobilise, now is the time to act, now is the time to deliver. This is our moment of truth.”

Professor emeritus of geophysical and climate hazards at University College London, Bill McGuire, agrees and says that as a scientist he is faced with “indifference and a failure to understand the reality of the climate crisis every day.

“We must wake people up. Extreme weather, especially heatwaves and floods, is set to be all-pervasive and will have a colossal impact on our lives and livelihoods,” he warns.

“A recent report by the European Environment Agency warned that climate breakdown will bring ‘catastrophic’ consequences for an unprepared Europe, most notably through heat stress, river flooding and flash floods.

“And this applies equally to the UK. Disruption to transport and utilities, interference with industrial and business operations, serious pressures on food production and supply, and increased burdens on the health service and hospitals, will conspire to make day-to-day living harder and far more unpredictable.”

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A Moment of Truth – UN speech by António Guterres (5 June 2024)
Hothouse Earth – by Bill McGuire (2022)

Painting pictures with words

THE window from my hotel room high on the tenth floor offered a truly spectacular view over the city of Lisbon whatever time of day or night.

Awake early, I pulled back the heavy curtains and my eyes were immediately drawn across shadowy trees in the park below to a sinister block of a building with brilliant red warning lights on its roof, flashing in unison every few seconds.

In the half-light before dawn their brightness and intensity was strangely unnerving.

No matter we were close to the landing path for Lisbon airport, it triggered my imagination and helped me complete a short description I had already penned as part of an early chapter in my novel 'Flood Waters Down'.

Tulip Haven’s twin towers, once giant cooling chimneys, still dominated the otherwise featureless landscape for mile upon mile in every direction. During the hours of darkness the building’s angular and functional architecture loomed menacingly, its red warning lights blinking in unison. 

To the casual onlooker their brightness and intensity seemed to convey a strange sense of hidden power, as if from a sinister lighthouse overseeing a forbidden landscape and somehow delivering a subversive message to humanity itself.

So, if you are a budding writer or author, my message is always take ideas from what you see in your everyday environment.

Develop a writer’s eye and jot down some free-flow prose whilst observing your surroundings. You never know where a moment’s inspiration might take you.

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Note: This author is seeking contact with agents or publishers for his first novel Flood Waters Down, a dystopian futuristic eco thriller set in the Fens of eastern England, a first draft of which is now nearing completion.

A reviewer of some initial chapters described it as "extremely evocative” with a "poetic and atmospheric writing style" that draws the reader "with a sense of unease and anticipation".

Make contact here: Clive Simpson

Land of Great Cathedrals

 Review by Ariadne Gallardo Figueroa

This work recounts the two trips made to Nepal facilitated by KE Aventures Travel, undertaken in autumn 2001 and October 2004; the second alongside Tim Scott, an enthusiastic hiker and personal friend of the writer. Soon we will see a more extensive work titled 'Travels in Time and Space' that the writer Clive Simpson is currently preparing. Four decades of travel and writing must be recounted in it.
                    
With an interesting dedication, I have received the book by the renowned author and writer Clive Simpson: “Ariadne, The mountains of your mind, call”. It is therefore the author's central idea when faced with the immensity of the Himalayas. 

Later, his work highlights from the outset the recognition of his parents who urged him from a young age to recognise the power of travel and their enigmatic way of teaching customs and
landscapes that were not. They are common every day.

The back cover surprises with a beautiful epigraph, it is as if the author decided to place a
ribbon around the work before presenting it to the reader subtly and elegantly. It is the also

British John Ruskin who declares: “And of these great cathedrals of the earth, with doors of rocks, pavements of clouds, choirs of steam and stone, altars of snow and a purple vault crossed by the continuous stars.”

I then realize that it is his cultural background and what he learned from his ancestors who have given that mystical and religious character to the adjective that he has given in his title to the large masses of rock that have not been manufactured by human hands but as part of the geological process where orogenesis allows two huge plates of Earth to rise and remain stable for thousands of years.

Many films and books have been written about the Himalayas, each with a different vision. The most revealing thing about each author is that he shows us his vision through words and we are left meditating on the experience that transmits to each of us.

Clive Simpson, who bears in his name the courageous sign of the great mountain crags, points
out that a group had to return to Spain without achieving the objective due to the difficulties in reaching the summit; then he describes the paraphernalia of all the little coloured flags that are moved by the gusts of wind, pointing out that they are still there, that the achievement is possible and that you just have to know when to climb.

Pages later describe in detail the health problems of a young Scotsman who, despite being 19
years old, is under the influence of mountain sickness that causes so much discomfort in those who suffer from it.

The Nepalese slope of Khumbu rises 5,486 meters above sea level, being in front of it must be
an invaluable experience, Clive mentions it, but does not give much information about its
characteristics, perhaps surprised by its majesty, initially points out that it is a sunny day in
November, the mere idea sticks in the mind of the reader and makes us recognize that that
section will not be crossed during the midday thaw.

Before the immeasurable expression of the landscape, Clive Simpson takes a tour of the travel
experience from London airport to the different landscapes and culinary smells that will bring
you closer to a new and different territory, where curry is served regardless of the time of day.
day or night, in the same way, and if dwelling on too many details describes the aviator's ability to achieve manoeuvres that would seem crazy and reckless to the most sensible person.

Kathmandu at 1,400 meters above sea level becomes for them as visitors the threshold to the
mountainous space of the Himalayas, the author describes the artistic nature of its buildings and I imagine that being there arises within their being a hunch of hope and excitement of the
moment of inhaling the icy breath of the ice colossus.

The dense fog southeast of Dhaka in Bangladesh leaves me thinking about those who accompany him, since I only spell “We” at various times, the privacy of the group seems important or the landscape is more captivating than any human being surrounding their path. Without a doubt, the selective vision of the landscape is one of the amazing moments of the experience.

I discover that there are approximately 20 people in addition to the pilot, Clive describes them as 'Virgins of Everest', the phrase seems surprising, placing confidence in the skill of the Yeti Airlines pilot, all of them unknown to the mountain peaks that receive them indifferently.
On the left side of his window, Clive describes the frozen peaks almost touching the aircraft. It
must be a unique sensation to be in the flight of the metallic bird, recognizing the close touch of the imposing cliffs.

The description is so faithful that I feel the hum of the aero motor in my mind, slowly and calmly travelling through that new and surprising space. Changes of ice and cold are carried by hanging notes where in the distance you can hear the thundering water guessing in a gorge and the Sherpa hike leader who gives instructions that just imagining the way he describes them has made me nervous.

For Clive, adrenaline is everything, imagining himself rising with the group to the top
encourages him, and every detail is a new adventure. “Everest” is not everyone a recognized name for the mountain group, among the Nepalese, its name is Sagarmatha and when they get there, they discover a national park protected since 1976, where it is necessary to use Yak dung to heat food. It must be protected as a world heritage site and for this it is necessary to establish ecological care that all hikers should respect.

Sagarmatha is the name in Nepal for this imposing peak. It means “mother of the universe” in
Sanskrit. Along the way we found a pine forest and the 150-meter ascent through the colourful Namche, everything seemed to indicate that life provides enough strength to move forward, but the discomfort arrived and found us in its camp, a painful head with seized some of the hikers, the height subdues the most reckless.

During a journey that seems worthy of the most courageous humans capable of acting in the
face of tremendous cliffs and climatic extremes, David's illness contrasts with the name of the
one who prevailed against Goliath; making a comparison in those latitudes, when it is necessary to take him to a hospital, to receive a second opinion due to the deterioration of his health. The contrast shows the reality of a world that is not made for everyone, regardless of age and vitality.

Something stuck in my mind in a particular way, the moment in which the writer worries about the state of health of the young man who is finally taken to a hospital in Kathmandu, and another detail that seems irrelevant but that shows me Clive's strength when he points out that at a certain height, he decides to use a second pair of socks, I remember my climb to the Nevado de Toluca in my own country and the need to wear mountain boots with three pairs of socks that did not fulfil their purpose and there, I realize that the Himalayas are not for everyone.

It is a feat that deserves patience at every step of the way. Tengboche is a monastery set against the backdrop of the Khunde Canyon. It is located directly adjacent to Khumjung, in the valley at the foot of Khumbu Yül-Lha, the mountain sacred to the Sherpas. The Khumjung Valley is between 3,800 m and 4,000 m above sea level. Khunde is located in the western part of the valley and slightly higher than Khumjung.

Carrying a heavy backpack on your back causes pain in the lower part of the neck, headaches
are a general trigger among hikers who need to hydrate with something that contains sugar, and crossing a raging river over a bridge has to be one of the experiences more powerful, and Clive discovers it in detail, the guide decides, given the group's stomach ailments and headaches, to spend the night in Dingboche.

The encounter with their settlement at 4,267 meters high (approximately 14,000 feet high) leaves many of us readers wanting to see that crescent moon on the shoulders of the mountain, there is no photograph of that fascinating event that remains reserved for the eyes. of hikers, a clear, starry night that perhaps becomes the setting for a peaceful night in the small settlement of stone huts at Ama Dablam.

Ama Dablam is affectionately known as the "Mother's Necklace" among the Sherpas, a term
loaded with cultural meaning. This name is derived from the Sherpa language, where "Ama"
translates as "mother", and "Dablam" refers to a double pendant worn by Sherpa women that
holds images of gods. Without a doubt, the stars fulfil a beautiful image among visitors and this fascinating and traditional necklace.

Approaching the autonomous region of Labouche urges me to imagine that peak recognized as the 93rd mountain peak that has not yet been able to be climbed by humans due to the dangers it implies, being able to see it from the front must have been one of the most impressive events for a British visitor.

The Kala Patthar climb is very popular among trekkers in the Mount Everest region as it offers the clearest view of Everest. Kala Patthar, meaning “black rock” in Nepali and Hindi, is a mountain in the Nepalese Himalayas.

Then the usual breakfast of sweet potatoes and cabbage dwindles to tea and biscuits, and the
climbers' stomachs can't handle it anymore, each journey is a physical effort and an admirable moment for each of them. Just thinking that this path was crossed by the most renowned climbers in the world made the journey full of enthusiasm.

The mere idea of imagining the Sherpas, willing, happy, and accustomed to doing this work
continuously to accompany the intrepid visitors. It is interesting, that Clive discovers it as a sign of humility for each of them. Reaching 5,638 meters, approximately 18 thousand feet high is not something that is told to be left in the memory, documenting it and sharing it is the most fascinating thing that Clive has made us part of a unique event, even though I will always miss the shot of the crescent moon.

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This is an un-edited review auto-translated from Spanish and originally published on ‘Letras Creativas con Ariadne Gallardo Figueroa’ blog (April 2024) under the heading “Tierra de Grandes Catedrales”, Reseña a la obra de Clive Simpson.

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