Canadian - Historian | November 5, 1954 -
My favourite places on earth are the wild waterways where the forest opens its arms and a silver curve of river folds the traveller into its embrace.
Rory MacLean
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Since the summer days of my Canadian childhood, I have loved to canoe across the dark mirror of northern lakes, paddling with an inside flick of the blade, leaving a trail of twisting whirlpools in my wake.
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The earliest maps were 'story' maps. Cartographers were artists who mingled knowledge with supposition, memory and fears. Their maps described both landscape and the events, which had taken place within it, enabling travellers to plot a route as well as to experience a story.
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In the Sixties, there were no guidebooks to Asia, at least none that suited young shoestring travelers. No one on the hippie highway carried a copy of Fodor's 'Islamic Asia.' The route to spiritual enlightenment wasn't revealed in the pages of the latest Baedeker. Intrepids were on a journey of spontaneity and reinvention.
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One of the most remarkable shindigs I ever attended was in Warsaw.
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The travel book is a convenient metaphor for life, with its optimistic beginning or departure, its determined striving, and its reflective conclusion. Journeys change travellers just as a good travel book can change readers.
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Good travel books, like travel itself, open the door to new worlds. In the strongest works the author's vision becomes our own, especially if his or her subject is a distant destination.
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I grew up under the spell of London. Illustrator Kerry Lee's evocative 1950 wall map of the city hung above our breakfast table at home in Canada. Over my corn flakes, I traced the capital's high roads and medieval alleys.
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When we are away from home, our only constant companion is our self.
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Shakespeare and Co dedicates itself to a shared, heady and outdated ideal that is scarce in our protective and fearful age.
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Berlin inspired Bowie and stirred him to write about real, important matters.
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Mandy Sutter's 'Bush Meat' triumphs in its lean prose and true dialogue, in its disarming humour, in its evocation of a family divided by sexism and racism in 1960s Nigeria.
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