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Autumn 2011

Volume 18 Number 3

Green Gravel

Can a green gravel certification solve the controversies over aggregate in Ontario? It had better, because it may be the only way out of our current mess.

Sep 9, 2011

Meetings with Remarkable Trees

We revel in their beauty, relax in their shade and are calmed by the soothing sound of their leaves soughing in the wind.

Sep 9, 2011

Worms in the Woods

Long considered the best friends of gardeners, earthworms are proving to be formidable enemies of the forest.

Sep 9, 2011

William Scobie Houstoun: A Daughter’s Memoir

My father taught me to appreciate the very much bigger and very much longer story of trees and the people who love them.

Sep 9, 2011

Colour & Passion

Autumn brims with colour in the hills, not only across the landscape, but in the studios and galleries of our local artists.

Sep 9, 2011

Rosemary Kilbourn: Light, Line & Lyricism

From the moment she moved into her rural hideaway, Rosemary Kilbourn began to interpret the landscape right outside her door and windows.

Sep 9, 2011

Empty plates

For many people in this community, need and desperation are a daily reality, and front-line workers at local food banks say the situation is growing worse.

Sep 9, 2011

Caledon’s Gypsy Connection

The versatile, friendly and compact Vanners are often compared to golden retrievers for their companion-animal qualities.

Sep 9, 2011

Natural Passions

But however ill-conceived the Melancthon quarry may be, the big question remains: how do we satisfy our voracious appetite for aggregate?

Sep 9, 2011

Letters – Our readers write: Autumn 2011

Letters published in the AUTUMN 2011 edition of In The Hills magazine.

Sep 9, 2011

Peacocks, oysters and rubber ducks

History traditionally has ranked alchemists with counterfeit artists, huckster quacks, snake oil salesmen, and witches. Miscellany from Douglas G. Pearce’s Countryside Digest.

Sep 9, 2011

John Ashbourne: Green Man Series

The mysterious Green Man has resisted numerous serious, as well as more fanciful, attempts to satisfactorily explain its presence and meaning, but for Mono artist John Ashbourne, it symbolizes the relationship between “Man and Nature.”

Sep 9, 2011