One autumn afternoon many years ago I stood on the Plains of Abraham high above the St. Lawrence River in Quebec. It remains one of the most memorable scenic views of my life along with the Grand Canyon and the English Lake District seen from the top of Helvellyn. Fierce winds flattened the grass, dark storm clouds threatened above, and the gleaming silver ribbon of the St. Lawrence far below made for a dramatic scene. In fact the sky reminded me of about the only thing I knew at the time about the history of this place, Benjamin West’s famous painting of the death of General James Wolfe. For it was here on the Plains of Abraham in 1759 that a decisive battle was fought in the great struggle for domination of North America. The name conjures a battle scene of Biblical proportions, a recent book on the subject is titled Armageddon, but the bleak windswept plain came by its name in a more prosaic way. The farmer who owned the land was named Abraham.
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I bought this book on impulse because I will read anything about Bruegel. Perhaps it is my Flemish heritage that draws me to his work. I imagine my ancestors among the peasant crowds in his village scenes. It was only when I held the book in my hands that I recognized the author’s name. Toby Ferris wrote for The Dabbler, the site that first hosted my Dispatches, and he created 
I wasn’t sure what I was looking at. Viewed from the top of the long sloping floor of the former power station it looked like an enormous tiered wedding cake. Perhaps it was the effect of the bland white surface that brought cake frosting to mind. The sculpture stood at the far end of the cavernous Turbine Hall in Tate Modern, where on previous visits we had seen other art installations, none particularly memorable. This would be different. As we came closer we heard the water. The tiers formed not a cake but a fountain, water 
Perhaps it was the restlessness induced by quarantine that had me prowling my own bookshelves in search of diversion. I needed a break from the world of Thomas Cromwell in Hilary Mantel’s The Mirror and the Light. (I know it is tantamount to sacrilege to criticize Miss Mantel, whose Cromwell trilogy I agree is a magnificent achievement, but did we need the menu for his every meal in the year leading up to his execution, surely the last meal would have been sufficient?) In this grumpy mood I came upon The Singing Game by Iona and Peter Opie, the legendary English folklorists, a book I hadn’t picked up 
Dispatches From the Former New World 