Monday, December 30, 2019

Happy New Year!

Time has been flying, so I'm wishing you a Happy New Year sooner than later, since "later" could turn into "way late," the way life has been rushing by.

I had two exciting pieces of news in 2019 - my poetry book, Saudade, was accepted for publication and will be released in February, and my cosy mystery, Deadly Vintage, set in Portugal was published. The poetry book had a lot of work attached to it, and I have a book signing for the mystery coming up January 19th at Time Tested Books (my favorite independent bookstore in Sacramento). But I expect spring to be a little calmer than recent months.

I hope everyone had a lovely Christmas. We did, with our god family in the Bay Area, as we do every year. And three days before that, we celebrated our 46th wedding anniversary. Here are what is left of our flowers (the white mums and the lilies),  supplemented with some dianthus (the red and the red-edged ones) that we inserted last week to prolong the bouquet. (This is in our kitchen nook.)

Before our anniversary, we had a 9-day trip to the east coast to visit my niece and her husband in Tuscaloosa, Alabama and my husband's brother and his wife in Pittsburgh, Pennsylvania. Both places were cold for us poor, wimpy, central Californians. Pittsburgh was the coldest. It even snowed one night while we were there. But the visits were wonderful.

Then two days after Christmas, we and another couple celebrated the 50th anniversary of mutual friends in the home of some of their friends who gave them a  wonderful party that went all afternoon. A really lovely celebration.

And yesterday one of my writing groups met to critique manuscripts and then to exchange gently used books. That, too, was so enjoyable. But . . . see what I mean? Way busy!

 Now I expect to take it easy right up to New Year's Day. Reading is big on the agenda. We don't go out for NY Eve anymore but watch the ball drop from the comfort of our living room. We'll probably watch a good movie.

As for New Year resolutions — I do sort of make them. I have two main ones this year. One is finishing my next book and the other is working on my Spanish. I will keep you posted on how both of those turn out.

How about you? Are you ready for the New Year? How was your Christmas? Do you make resolutions?

Best wishes for all good things to happen for you in 2020.


Tuesday, December 3, 2019

Before Spain, Let's Go to Portugal; Here's Why

My new book, a cozy mystery,
set in Braga, Portugal. 
My new book, a cozy mystery, set in Braga, Portugal, was released Thanksgiving Day (while I was busy cooking). If you click on the link, you can go check it out HERE.

This book is near and dear to my heart. I got the idea for it before I ever went to Braga. I just liked the idea of setting a mystery in Portugal, and that was the closest city to our area in Spain (Galicia). I felt I could go to Braga and do first-hand research.

When we actually went to Braga, we met wonderful people who became our friends, and now every time we go to Galicia, we take a few days in Braga for further research — and to see our friends.

What is Deadly Vintage about?

Carla Bass, an interior designer has accompanied her husband, Owen, while he oversees a hotel remodel for his employer's new chain. They rent an apartment in the historical part of Braga, where most of the story takes place. (As you can see from pictures below, it's a picturesque and charming area.) When a wine seller gives Carla a mysterious bottle of Port by mistake (she thinks) she returns to his shop to give it back to him and finds him dead. The last to see him alive, she's now a suspect.

Here are a few scenes from Carla's Braga:
This is Carla's favorite bookstore:
Centésima Página ("Hundredth Page"
in English. See the "100" on the glass?)
Carla and Owen often eat lunch there,
as there is a food bar and small tables
 inside toward the back.
The lobby of the same building.
That's a cardboard cut-out of the
poet Pessoa lurking by the lamp.
And Carla often sees this woman
playing her violin on the streets
near the music college.

This  fountain, a defining landmark
of the historic Praça da República, has
colored lights playing on the jets each
 evening. The arcade is to the left, and
a MacDonald's that you can't see is
to the right. The corner building is the
National Bank. The red building is the
hotel Owen's employer is remodeling. 
Detective Fernandes is
investigating the finances
of someone (can't say who)
at the National Bank, and . . ..

Cafe Vianna has a long literary and
political history in Braga, although
now it is simply a favorite cafe/eatery
and is always busy. Carla and Owen
hang out here a lot, after hours. 
The last scene in the book
takes place here, as a matter
of fact. But first, there's a
mystery to solve . . ..

Carla has to talk to Maria about . . ., well, you'll find out. But Maria chooses the Jardim de Santa Barbara (Garden of Santa Barbara) for their discussion. 

A nice place to relax and talk
honestly, don't you think?
Well . . . it should be
And then there's the matter of Maria's boyfriend. This time Carla chooses the place to talk — the Museu Imagem (the Image Museum). You go right through the Arco da Porta Nova, then the museum is on your right, after a souvenir store. 
The Arco da Porta Nova (Arch
of the New Gate), designed by
André Soares, an architect of
Northern Portugal, famous for
his Baroque design.

The Museu Imagem: the modest-looking red building. It's a 
free museum, specializing in wonderful photography exhibits. 
If you go through the arch and turn left, on a corner a street away (not in the picture) is the house where Carla attends an estate auction and ruffles someone's feathers.
Before the auction, She and Owen dine at their favorite restaurant: Taberna do Félix (sometimes called Félix Taberna), and catch up on their news of the day. 

A romantic place, if your conversation isn't about dead bodies.
The next day, unexpectedly she has coffee with someone at A Brasileira (The Brazilian Woman) and the mystery deepens.

A Brasileira originally started in Lisbon (or
Lisboa), but it has a rich political history in
Braga. Its logo boasts that the best coffee is
that of the Brazilian Woman.

And the logo is printed on cups, napkins, even sugar packets!

I hope you've enjoyed this little taste of Portugal and the teasers that went with it as much as I enjoyed sharing them.  Your comments are always welcome.  Meanwhile, check out the book if you like cozies, HERE and have a great day. 

Friday, November 22, 2019

Reading — One of Life's Great Pleasures

Right now I am reading two books — both mysteries, but different kinds of mysteries. The Sherlock Holmes mystery will get reviewed on my Victorian Scribbles blog soon. Stay tuned . . ..

Meanwhile, I am scrabbling through poets and overdue posts re: our Spain trips in 2019 to be posted here. Again, stay tuned . . ..

Everyone have a great Thanksgiving if I don't get back before then.

Friday, November 15, 2019

An Interview with Poet, Gary Kruse

I have attended two weekly poetry workshops this the past year, learning and being exposed to new poetry I like very much. The poetry of one member, Gary Kruse, caught my attention for the mixture of visual imagery combined with deep philosophical thought. He has  been involved in poetry programs, readings, and has been published in online poetry vehicles, and has kindly consented to an interview about his process.

Before the interview begins, you can read some of his poetry at Lit Break Journal  HERE .  And you can contact him at his Facebook Author Page
HERE if you want to respond to his poetry or ask him any questions

                                                               THE INTERVIEW:
Q. When did you first write poetry? Have you written fiction or non-fiction as well?
I wrote half a dozen poems during my last two years of high school. After that it was fifty years before I wrote a poem again.  When I started college, I wanted to write plays more than anything else I could imagine doing in life. But since there weren’t many undergraduate playwriting classes, most of the writing classes I took were for short fiction.  

I eventually had to accept that the short stories and plays I wrote were, frankly, incompetent. But they had just enough glimmers of talent to keep me trying for a few years and enough talent to keep my instructors from writing me off. When I put my creative energy into art and design classes I got a positive reception and a lot of encouragement.  I did make a few more attempts to write plays during my late twenties but after that I stopped doing creative writing altogether. 

Q. What inspired you to start writing poetry again—fifty years later? 
I went through some emotionally difficult circumstances starting in 2012.  Poetry started creeping into some letters I was writing a year later and I found that writing poetry was a good way to process some of the emotional overload of those days.  I had no idea that I might actually have a talent for it—meaning the poetry.

2016 was when I started attending a weekly poetry workshop. After a few weeks at the workshop, all my other interests became what I did when I wasn’t writing. I’ve been at it ten to thirty hours a week since then and I try to have a poem for the workshop most of the time.

Q. Where do you find your inspiration for poetry? What sparks your interest?
During the years that I made a living as a designer, doing mostly retail store design, I spent about half of my free time studying and reading on my own—subjects like psychology, world religions, mythology, and medieval culture—that was my idea of having fun. 

I suspect a lot of what I write now pulls from that—although I’m not remembering a book or author. Instead, I’m prompted, in some way, to remember what I’ve learned about different ways to look at the world, different postures one can take. A memory of something that I studied years ago may be triggered by a line I’ve written and then my memory of the subject might return along with the joy of the initial discovery. 

I’m inspired a great deal by the very process of writing poems—looking at significant experiences in my own past and our culture’s past—then the trial and error of trying to remember what it was I understood the first time around—the initial hunch, the initial shots in the dark, the ones that echoed without the usual ridicule—trying to retrofit various meanings onto an experience from the past in the present time in a way that opens up the experience without suffocating it, subjecting it as well to metaphors, irony, various meters and forms, listening for multiple voices that I can put in tension, then stirring and shaking and editing for several days.
And sometimes, the whole mess starts to sound like a poem. Or it doesn’t. And the resulting poem, if one arrives, is rarely anything like what I imagined writing. Where did it come from? The surprise of it all, when it happens, has me wanting to try it again as soon as I can. There’s nothing else like it. And when the process is working, there’s the matter of feeling connected to something larger than myself—when I can trust in the alchemy of it all. And at other times the trust thing is lost and the alchemy stuff sounds silly, immature, and superstitious. And when I feel that way I don’t write well or I don’t write at all.

Occasionally I write something just to have fun.  But I can have a great deal of fun writing about an otherwise depressing subject if I can bring imagination to it.

Q. What is your writing process? Do you first start with an image? A recurring line? A theme or idea?
I usually start with three or four words that become part of the first line of the poem. That’s what usually gets something sputtering about on the page. And I can get awfully impatient waiting for those to show up. If I’m hoping to get a new poem started, I’m usually throwing words and phrases around in the back of my head, somewhat unconsciously, at various idle moments and hoping to hear something unexpected, intriguing, or phonetically delicious. 

For me, if I catch a little phrase that’s clever but doesn’t have any emotional meat on it, I’ve learned that I have to throw it back. I’ve also tried to start a poem from an image but it seems my visual art background gets in the way. Most of my poems have a story line and so far, when I find an exciting image I want to work with I haven’t been able to find a story inside it. I find that my poems are not inclined to “be here now;” they’re not inclined to expand the present moment. 

Q. How often do you write? Do you write full time or part time?
I have a simple part time job but other than that I can put about as much time as I want into writing which is currently about fifteen hours each week. If I’m really immersed in a poetry project, it’s wonderful to spend six hours every day of the week writing. That’s my idea of luxury. Once or twice a year I find that I need to stop writing for a few months and build something with my hands. That seems necessary. 

Q. Do you read a lot of poetry? Who are some of your favorite poets and why?
I try to. The poets I enjoy tend to be pretty philosophical. That really limits the range of poets that I read. I’d like to be able to read more broadly but I think I’m just not wired that way. With that in mind, my two favorite poetry books on the nightstand now are one by Louise Glück and one by Tomas Tranströmer. I’m also enjoying the work of Chris Wiman currently and some of Jane Hirschfield, James Richardson, Mahmoud Darwish, Rilke and Neruda. Those are a few of the names that come to mind. The names keep changing.

Q. How important do you think poetry is to society?
Regarding the culture at large, I think it’s currently of marginal value given the way that film, television, popular songs, and novels have taken over much of the role of poetry in the culture. I think that’s just the nature of a technological culture. But there’s an economy or density that’s unique to poetry. Some poets have coupled this aspect of poetry with the capabilities of Instagram, Twitter, and audio files and their poems are being read by a previously unimagined number of readers. While it’s safe to say these poems are not ones appearing in The New Yorker or Poetry, perhaps the internet offers a potential for a poetry renaissance?

For myself and many of my poet friends, regardless of the culture at large, I think we’d defend our right to read and write poetry with our lives or at least with some very sharp words.

Q. Your bio lists an MFA in Stage Design and theater work.  Does your experience in theater affect your poetry? 
While the theater work was short lived, I do like to include a little dialogue in some of my poems. Also, I keep trying to think up ways I could do readings that would be richer and more impactful for listeners, more theatrical in the best sense of that word. I often wonder if public readings could be done in a way that would attract a greater number of non-poets. 

Q. You’ve been published in online magazines, been a featured poet in a poetry program in Placerville and at the Sacramento Poetry Center. What’s next?
I think I should set up a web site. I’ve just now set up a Facebook “writer page” so I’ll see how that works first. I’m getting ready to send out more poems. And I want to see if there’s a way to pull together a chapbook. I’ve been trying out a number of different styles and themes including a number of prose poems. I’m not sure if I can find a common theme or style that will allow a selection of my poems to cohere. 

Q. What is your advice for someone just getting into poetry, either as a reader or a writer?
As a writer, participating in a regular poetry workshop has been the most helpful step for me. 

One might consider these services to discover poets to learn from and be inspired by:
https// (check “Poem of the Day”)

Meeting modern poems for the first time: If you want to read or write poetry in the modern vein but you haven’t had much exposure previously, I’d suggest that newcomers anticipate that some poems are hard to read. I presume if one knows this up front it will be less frustrating if comprehension ever feels like an issue. I’ve found lots of modern poetry very easy to read. Maybe read more challenging poems as you have time and interest? I wish someone had told me how much easier it gets with experience.

Thanks so much for sharing your thoughts for this interview. It was a pleasure to learn more about your history and process. 

Reminder: You can read some of Gary's poetry at Lit Break Journal . And you can contact Gary at his Facebook Author's Page .

How many of you like to read or write poetry? Which do you like best, and what kind of poetry? Have any of you submitted your poetry to websites or magazines? Any follow-up questions for Gary?

Thursday, November 7, 2019

"Estranha forma de vida" - Strange Form of Life

A little follow up regarding my chapbook: Yesterday I received the exciting news from the publisher that Saudade, Thirty Poems of Longing, was the featured Book of the Day.

Saudade, Thirty Poems of Longing by Elizabeth Varadan

With my bio:
Elizabeth Varadan was born in Reno, Nevada, and was raised in California. She graduated from University of California, Berkeley with a major in history and a minor in English. A former elementary teacher, she and her husband live in Sacramento, California, but travel to Spain and Portugal. Her children’s books include Imogene and the Case of the Missing Pearls (2015), Dragonella, (English Edition, 2016; Spanish Edition, 2017), and Carnival of the Animals (2018). Her stories, flash fiction, and poetry for adults have appeared innumerous online and print magazines.
and blurbs:
ADVANCE PRAISE FOR Saudade, Thirty Poems of Longing by Elizabeth Varadan
Elizabeth Varadan‘s first book of poetry, Saudade, Thirty Poems of Longing, is aptly named. The first saudade speaks eloquently of longing as “a yearning for what was, what could have been but was stillborn” and later in another poem she relates that in saudade there are no returns nor arrivals. In this book, Portugal, a country she loves becomes a place we know as she brings us poems of fado—like the blues. She speaks eloquently of our troubled land and of loss echoing my sadness for America. The four saudades in this book frame a lovely unity. Phantoms of promise in the third bring us to a place of keeping the heart dormant so that in the fourth we learn to trust again. This first book is a beautiful read, not to be missed.
–Allegra Jostad Silberstein, Poet Laureate for the city of Davis 2010-2012
In Saudade, Thirty Poems of Longing, Elizabeth Varadan reckons with an untranslatable Portuguese word, the title of this exquisite chapbook, in order to evoke a universal emotion: longing for what was lost, missing, never fully known, never truly experienced. Music, poetry, and travel offer her poignant glimpses of this evanescent but irrepressible condition, which comes close to love but escapes, sometimes into the thin air of memory. Yet once saudade has been evoked, other emotions emerge in Varadan’s poems: nostalgia, terror, sorrow, dread, and hope all appear and fade into a muted acceptance of fate. What lingers is the haunting echo of the fado, the quintessentially Portuguese blues that Varadan too sings, quietly, and with perfect phrasing.
–Bradley W. Buchanan, Professor Emeritus, Department of English, California State University, Sacramento
In this short, cohesive collection, Elizabeth Varadan steeps us in saudade, that peculiarly Portuguese feeling of regretful longing, and we emerge, ironically and gratefully, more hopeful for the immersion.
–Naomi J. Williams, Author of Landfalls (Farrar, Straus & Giroux 2015)
RESERVE YOUR COPY TODAY, PREORDER SHIPS FEBRUARY 14, 2020…/saudade-thirty-poems-…/
#poetrylovers #now #reading #FLP #poetry

But today I want to share two poems from the collection. 
 One is a tribute to Amalia Rodrigues, known during her lifetime as "The Queen of Fado." I was moved to write this poem because, once I knew I wanted to write about Saudade, I recalled the newsreel I had seen of her funeral procession on YouTube. She was such a beloved icon in Portugal! When she died, the government declared three days of national mourning. If you watch HERE, wait until the procession leaves the church: As the crowd response is shown, this eerily beautiful song — one of her signature songs — plays.  You can get an idea of her fabulous, emotional voice. If you want to know the complete translation of the song, you can go HERE . And here is a public domain picture of her when she was mid-career: 

And now, here is my poem for Amalia:


“Estranha forma de vida . . ..”
(“Strange form of life . . ..”)
Her voice conveyed 
the sad arias and 
bright moments from the
opera that was 
her life. 

Vibrato of pain,
soaring cry of despair,
rise and fall of story,
sweetness, humor—
and always the

“Strange form of life . . ..”
In an old, flickering 
newsreel they carried the
casket out, while musicians 
wept, crowds wept,
I wept.

The second poem reflects my hopes for our country despite the troubled times we are going through. I think it is pretty self-explanatory:


Night falls, drawing a curtain 
across another day of longing 
for a kinder vision. 
The moon travels its lonely 
path, lost among stars. 
The stars keep their distance 
in the dark, silent night.   
Constellations wheel round in 
the abyss of space. 
And I, at the window,
yearn for signs of promise in 
the new break of day.  

Most of the poetry  in my chapbook is on the philosophical side. If you are a poetry lover, what kind of poetry do you like?

Wednesday, October 30, 2019

Saudade, Thirty Poems of Longing

That's the name of my poetry chapbook that was accepted by Finishing Line Press. The poems were inspired by our trips my husband and I took to Portugal and our introduction to the song form, Fado, which has been compared to the Blues in America.

I'm really so pleased. I've had children's novels published, and individual poems, but this is my first poetry collection. Finishing line Press is taking pre-orders now, and the book will be mailed out on February 14th. If you are interested, you can go to Finishing Line Press's website and scroll through the books. (They only publish books of poetry and art.) And here are some kind blurbs I've been given:

"Elizabeth Varadan‘s first book of poetry, Saudade, Thirty Poems of Longing, is aptly named.  The first saudade speaks eloquently of longing as “a yearning for what was, what could have been but was stillborn” and later in another poem she relates that in saudade there are no returns nor arrivals.  In this book, Portugal, a country she loves becomes a place we know as she brings us poems of fado—like the blues.  She speaks eloquently of our troubled land and of loss echoing my sadness for America.  The four saudades in this book frame a lovely unity.  Phantoms of promise in the third bring us to a place of keeping the heart dormant so that in the fourth we learn to trust again.  This first book is a beautiful read, not to be missed."
–Allegra Jostad Silberstein, Poet Laureate for the city of Davis 2010-2012

"In SaudadeThirty Poems of Longing, Elizabeth Varadan reckons with an untranslatable Portuguese word, the title of this exquisite chapbook, in order to evoke a universal emotion: longing for what was lost, missing, never fully known, never truly experienced. Music, poetry, and travel offer her poignant glimpses of this evanescent but irrepressible condition, which comes close to love but escapes, sometimes into the thin air of memory. Yet once saudade has been evoked, other emotions emerge in Varadan’s poems: nostalgia, terror, sorrow, dread, and hope all appear and fade into a muted acceptance of fate. What lingers is the haunting echo of the fado, the quintessentially Portuguese blues that Varadan too sings, quietly, and with perfect phrasing."
–Bradley W. Buchanan, Professor Emeritus, Department of English, California State University, Sacramento.

"In this short, cohesive collection, Elizabeth Varadan steeps us in saudade, that peculiarly Portuguese feeling of regretful longing, and we emerge, ironically and gratefully, more hopeful for the immersion."
–Naomi J. Williams, Author of Landfalls (Farrar, Straus & Giroux 2015)

I hope to post soon more about our travels to Spain. I took lots of pictures, but haven't had time to download them yet. Stay tuned.

Do you like to read poetry? If so, do you like anthologies or collections by one author? Do you write poetry? If so, have you put together any collections yet? And do you belong to any poetry groups? I've joined two and have found them so helpful. It's wonderful to be in the company of poets!

Monday, September 30, 2019

Braga, Beautiful Braga

My apologies for having vanished from my blog for so long. When I said good things were happening, they really were, and I had to scramble to keep up. Every time I thought I would post, there was new work to do.

On return last June from our trip to Spain and Portugal, I learned my poetry collection, Saudade, Thirty Poems of Longing, was accepted by Finishing Line Press. (Saudade is a very Portuguese -and Galician- state of mind, mixing nostalgia, longing, fate, in a complex combination.) Then I learned my cozy mystery, Deadly Vintage, was accepted by Belanger Books, LLC . Deadly Vintage  should be out by the end of November. Then I had the opportunity to write a short story, "What the Raven Knew," for a forthcoming anthology by Belanger Books, Sherlock Holmes: In the Realms of Edgar Allan Poe. (When I know the release date, I'll  post the info.) 

So, WHEW! Here we are back in Galicia, and I'm actually vacationing and not working for the first time in YEARS. This could grow on me . . . except that I have to finish Book 2 of my Portugal mystery series.

The beautiful scenery of Galicia
always takes my breath away. It
is so serene.
This is a charming restaurant up the
hill of the Parador which I will talk
about in a later post.

But it's wonderful to get back to blogging. I've really missed it. And, since Portugal is on my mind, I'll post about Braga for now, and return to blogging about Galicia in a later post.  

Okay, Braga is a two-hour drive from where we are in Galicia, which is why I chose it for my setting. Galicia is an autonomous region in Spain, and its culture is similar to  Portugal's. Even the languages are similar, going back in time, although Spanish has influenced Galegan quite a bit. The countries are divided in the north by the River Minho, but close to the border, people on both sides can speak with and understand each other. I read somewhere that they share 85% vocabulary.  

Portugal is also the birthplace of Fado, a haunting form of song that we love: It's entertwined with the concept of Fate — although there are happy songs as well. The happy ones are humorous; the sad are full of "saudade," that bittersweet sense of loss combined with hope. Two famous fadistas (fado singers) are Amalia Rodrigues and Mariza, our favorites, although we also like Ana Moura. Men can be fadistas, too: one is Camané. You can listen to any of them on You Tube. By tradition, the only accompaniment is an acoustic guitar and a Portuguese guitar. We've been fortunate to make friends with a wonderful fadista in Braga, Marisa da Luz. Rajan and I have heard her sing many times. It's always memorable. She's a fabulous person, and we feel lucky to know her.

Portugal also is a land of poets. Two of the most famous are Fernando Pessoa, considered one of the greatest poets of the 20th century, and the 16th century poet, Luis Vaz de Camões, considered one of the greatest poets of all time. Pessoa was quite unique, in that he wrote from four different literary personas he created. He also wrote in English as well as Portuguese. Camões was a sonneteer and wrote the great epic of Vasco da Gaza's journey to India, The Lusíads. I like to joke that I got my picture taken with Pessoa below. (Unfortunately, Camões was not available for a similar photo op. 😊) 

Meeting one of my favorite poets
Inside, at one of the cute tables.
Exterior for  Centésima Página which means 100th Page. you
can see the big "100" in the windows.

The Pessoa cut-out was in the lobby of the building that houses Centésima Página, our favorite book store, and one of our favorite eateries. Housed in an 18th-century mansion called Casa Rolão, they offer a great selection of books in Portuguese and English, a wonderful children's section, and a food bar that serves terrific quiche, sandwiches, and salads, among other things, and the most wonderful oatmeal cookies! (I'm a cookie freak. Forget chocolate.) They have tables in back, too, in an attractive garden. And they offer cultural events, evening programs, lectures, guest authors, etc. is also my MC's favorite eatery and bookstore  in Deadly Vintage.
Centésima Página ispart of the historic center that is on Avenida Central and leads up to Praça República. 


Praça República is a landmark that ends in an arcade (at left) with restaurants, including the Café Vianna, which has been another landmark since the 1800s and used to be frequented by writers like  Eça de Queirós and Camilo Castelo Branco. Outside tables are near the enormous fountain that has water jets, lit at night. And Café Vianna, for us, has become a meeting place of sorts for connecting with many of the nice friends we've made in Braga.

This is walking along the avenida, which is
perpendicular to Avenida Central
This looks back at the Praça República 
There are garden spots everywhere  This is Avenida de Liberdade, a main avenue with the Teatro Circo & upscale clothing stores. It leads to the East River and a view of mountains beyond the city. I don't have pics of the theater or the mountains, but you can see how beautifully plants are gardened. 

The Jardim de Santa Barbara is another beautifully gardened spot near the old Archbishops's Palace (which has become a library for the University of Minho's Archives). The flowers change from season to season, except for the hedges and roses, which  are year round.

This garden is in some important scenes in my book.

Two other locales that are in important scenes are the Arco da Porta Nova (the arch that marks one entrance to the historic center) and the Museu da Imagem (a photography museum that offers changing exhibits and also is involved in an annual Photography Show with dozens of participants from all over the world.) Their exhibits are placed around in other galleries as well. When Rajan  and I first went to Braga in spring five years ago, we met then director, Rui Prata, who showed us around both the museum and the town after hours and then invited us to the coming exhibit in the fall, which was fabulous. Since then, both he and his daughter have become valued friends.
The museum is on the other side of the
arch to the right, where you can't see it
at this angle. 
The red building is the Image Museum, fascinating inside
with stone walls and arches at one level, and changing
exhibits. Rajan's hobby is black and white photography,
so this was quite a discovery.

For my coming Book Two, I needed to talk to someone who could tell me more about the annual Book Fair, so we went to Camara Municipal de Braga (which is basically City Hall with its various departments.) Lovely building, as you can see — and example of the Baroque architecture made famous in Braga by Soares. Inside, as you can see, the stairs had wainscoting of the beautiful azulejo tiles that you find in all these old buildings.

The doorway really impressed me.
I wish the picture were better.

I want to close with the little story of how Rajan and I met our "Portuguese family." These are wonderful friends we feel privileged to know. On our first trip, we lost our way, looking for the police department for that area. Commander Jose Barbosa had said we could stop by and he would be happy to answer questions. We stopped by this little shop called Casa Stop, and the woman there (Carla) gave us directions. Even though there is little crime in Braga, she was worried that we'd had some kind of mishap. When she found out I was writing a mystery, it turned out that she loves to read mysteries, and we became instant friends. Since then, we have enjoyed many get togethers with her and her husband (Armando) and daughter (Beatriz)—lovely additions to our lives.

Rajan, Carla, me

Rajan, Carla, Armando, Beatriz

Me, Carla, Armando, Beatriz
I hope you enjoyed this little taste of Braga. There are so many more things to share. The churches deserve a post of their own, there are so many, and Braga has a religious history that reaches into Galicia! (More about the in the future.) But also other historic buildings.

When it comes to travel to other cities, what grabs you the most? The buildings? Their history? Events that take place? The people?