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Jackson, MS (est. 1821, pop. 165,000)
Trumpet Records (left)
• in 1949 Lillian McMurry (1921-1999) & her husband Willard (both white) decided to open a furniture store in Jackson Mississippi's largest African American neighborhood • they chose this building to house it • while cleaning out the interior, Lillian found a pile of 78 rpm R&B "race records" left behind by the previous tenant • one of them, she later recalled, was "All She Wants to do is Rock" (2:32) by Wynonie Harris • Lillian played the records & fell in love:
"It was the most unusual, sincere and solid sound I'd ever heard. I'd never heard anything with such rhythm and freedom." —Lillian McMurry
• sometime later she decided to build a record counter to sell recordings by black artists • it eventually took over the entire store, which she renamed The Record Mart
• in 1950, Lillian established Trumpet Records, the first Mississippi record label to gain national exposure through distribution & radio airplay • she scouted talent at the nearby Alamo Theatre, her shop’s listening booths, where customers often sang along, & through word-of-mouth • produced hits like Elmore James' "Dust My Broom" (2:55), which made the April, '52 Billboard rhythm & blues charts • discovered Big Joe Williams [listen] & Willie Love [listen]
• after hearing about harmonica player Sonny Boy Williamson II, she tracked him down • Sonny recorded a number of songs for Trumpet from 1951 to 1955, including Eyesight to the Blind (3:03) • according to Marc Ryan, in his book Diamonds on Farish Street, Sonny Boy had such respect for Lillian that he obeyed her requests to leave all weapons outside the recording studio & avoid foul language on the Trumpet premises
• in 1953, McMurry installed recording equipment in the store, which operated as Diamond Recording Studio • Trumpet ceased operations in 1955 —Jackson Free Press
The Farish Street Historic District
“but out of the bitterness we wrought an ancient past here in this separate place and made our village here.” —African Village by Margaret Walker (1915-1998)
• during the Reconstruction era that followed the American Civil War, white Southerners struggled to reclaim their lives as millions of black Southerners sought new ones • with the stroke of a pen, the Emancipation Proclamation had transformed African slaves into African Americans & released them into a hostile, vengeful & well-armed white community amid the ruins of a once flourishing society
• the antebellum South had been home to over 262,000 rights-restricted "free blacks" • post-emancipation, its free black population soared to 4.1 million • given that the South had sacrificed 20% of it's white males to the war, blacks now comprised well over half the total population of many southern states • uneducated & penniless, most of the new black Americans depended on the Freedman's Bureau for food & clothing
• the social & political implications of the sudden shift in demographics fueled a violence-laced strain of conventional American racism • in this toxic environment, de facto racial segregation was a given, ordained as Mississippi law in 1890 • with Yankees (the U.S. Army) patrolling the city & Maine-born Republican Adelbert Ames installed in the Governor's Mansion, the Farish Street neighborhood was safe haven for freedmen
• as homeless African American refugees poured into Jackson from all reaches of the devastated state, a black economy flickered to life in the form of a few Farish Street mom-and-pops • unwelcome at white churches, the former slaves built their own, together with an entire neighborhood's worth of buildings, most erected between 1890 & 1930
• by 1908 1/3 of the district was black-owned, & half of the black families were homeowners • the 1913-1914 business directory listed 11 African American attorneys, 4 doctors, 3 dentists, 2 jewelers, 2 loan companies & a bank, all in the Farish St. neighborhood • the community also had 2 hospitals & numerous retail & service stores —City Data
• by mid-20th c. Farish Street, the state's largest economically independent African American community, had become the cultural, political & business hub for central Mississippi's black citizens [photos] • on Saturdays, countryfolk would come to town on special busses to sell produce & enjoy BBQ while they listened to live street music • vendors sold catfish fried in large black kettles over open fires • hot tamales, a Mississippi staple, were also a popular street food —The Farish District, Its Architecture and Cultural Heritage
“I’ve seen pictures. You couldn’t even get up the street. It was a two-way street back then, and it was wall-to-wall folks. It was just jam-packed: people shopping, people going to clubs, people eating, people dancing.” — Geno Lee, owner of the Big Apple Inn
• as Jackson's black economy grew, Farish Street entertainment venues prospered, drawing crowds with live & juke blues music • the musicians found or first recorded in the Neighborhood include Robert Johnson, Sonny Boy Williamson II & Elmore James
• Farish Street was also home to talent scouts & record labels like H.C. Speir, & Trumpet Records, Ace Records • both Speir & Trumpet founder Lillian McMurry were white Farish St. business owners whose furniture stores also housed recording studios • both discovered & promoted local Blues musicians —The Mississippi Encyclopedia
• Richard Henry Beadle (1884-1971), a prominent Jackson photographer, had a studio at 199-1/2 N. Farish • he was the son of Samuel Alfred Beadle (1857-1932), African-American poet & attorney • born the son of a slave, he was the author of 3 published books of poetry & stories
• The Alamo Theatre was mainly a movie theater but periodically presented musical acts such as Nat King Cole, Elmore James & Otis Spann • Wednesday was talent show night • 12 year old Jackson native Dorothy Moore entered the contest, won & went on to a successful recording career, highlighted by her 1976 no. 1 R&B hit, "Misty Blue" [listen] (3:34)
• in their heyday, Farish Street venues featured African American star performers such as Bessie Smith & the Rabbit Foot Minstrels, Louis Armstrong, Count Basie, Duke Ellington & Dinah Washington played Farish Street venues —Farish Street Records
• on 28 May, 1963, John Salter, a mixed race (white/Am. Indian) professor at historically black Tougaloo College, staged a sit-in with 3 African American students at the "Whites Only" Woolworth's lunch counter in downtown Jackson • they were refused service • an estimated 300 white onlookers & reporters filled the store
• police officers arrived but did not intercede as, in the words of student Anne Moody, "all hell broke loose" while she and the other black students at the counter prayed • "A man rushed forward, threw [student] Memphis from his seat and slapped my face. Then another man who worked in the store threw me against an adjoining counter." • this act of civil disobedience is remembered as the the signature event of Jackson's protest movement —L.A. Times
"This was the most violently attacked sit-in during the 1960s and is the most publicized. A huge mob gathered, with open police support while the three of us sat there for three hours. I was attacked with fists, brass knuckles and the broken portions of glass sugar containers, and was burned with cigarettes. I'm covered with blood and we were all covered by salt, sugar, mustard, and various other things." —John Salter
• the Woolworth Sit-in was one of many non-violent protests by blacks against racial segregation in the South • in 1969 integration of Jackson's public schools began • this new era in Jackson history also marked the beginning of Farish Street's decline —The Farish Street Project
"Integration was a great thing for black people, but it was not a great thing for black business... Before integration, Farish Street was the black mecca of Mississippi.” — Geno Lee, Big Apple Inn
• for African Americans, integration offered the possibility to shop outside of the neighborhood at white owned stores • as increasing numbers of black shoppers did so, Farish Street traffic declined, businesses closed & the vacated buildings fell into disrepair
• in 1983, a Farish St. redevelopment plan was presented
• in 1995 the street was designated an endangered historic place by the National Trust for Historic Preservation
• in the 1990s, having redeveloped Memphis' Beale Street, Performa Entertainment Real Estate, was selected to redevelop Farish St
• in 2008, The Farish Street Group took over the project with plans for a B.B. King's Blues Club to anchor the entertainment district
• in 2012, having spent $21 million, the redevelopment — limited to repaving of the street, stabilizating some abandoned buildings & demolishing many of the rest — was stuck in limbo —Michael Minn
• 2017 update:
"Six mayors and 20 years after the City of Jackson became involved in efforts to develop the Farish Street Historic District, in hopes of bringing it back to the bustling state of its heyday, the project sits at a standstill. Recent Mayor Tony Yarber has referred to the district as “an albatross.” In September of 2014, the U.S. Department of Housing and Urban Development sanctioned the City of Jackson, the Jackson Redevelopment Authority, and developers for misspending federal funds directed toward the development of the Farish Street Historic District. Work is at a halt and "not scheduled to resume until December 2018, when the City of Jackson repays HUD $1.5 million." —Mississippi Dept. of Archives & History
• Farish Street Neighborhood Historic District, National Register # 80002245, 1980
This is the fourth (and last) volume of the Herries Chronicles which I was sad to finish recently.
They were a very good read. A very long and satisfying read ("a proper tale properly told") but these modern editions have the most god-awful cover art. I mean, really. Vanessa, the heroine, is supposed to be one of the most beautiful women of her age and the strategically shaved monkey responsible has drawn her bog-eyed. Poor old forgotten Hugh Walpole would be turning in his grave.
Together with the first three volumes (Rogue Herries, Judith Paris, The Fortress), they span nearly 2500 pages and over 300 years of the Herries family. When a modern book costs £8, you get a good price per page ratio too.
One of the reasons they caught my imagination and held me captivated for some was that they were largely set in the Lake District, one of my favourite parts of England. His evocative prose and vivid descriptions whisked me away every time I opened the pages.
"Books are the bees which carry the quickening pollen from one to another mind."
— James Russell Lowell
just finished re-reading Queen City Jazz by Kathleen Ann Goonan... great book, great series!
You can find me here on GoodReads
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Summer Abstractions Series #2
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Zak reading from his new book We Did Porn.
Zak Smith is an artist and occasional porn actor whose paintings and drawings are held in major public and private collections worldwide, including the Museum of Modern Art and the Whitney Museum of American Art. We Did Porn— a book including drawings and stories about his experiences working in the adult film industry—is his third book and his first to include writing. He lives and works in Los Angeles.
Source: www.hoshookerscallgirlsrentboys.com/september-3-2009-sex-...
Sex Worker Literati (Flickr Group) is a monthly readings series happening in NYC on the first Thursday of the month at Happy Ending.
The series is hosted by Audacia Ray & David Henry Sterry - these photos are from the readings and starring all of our fabulous performers! See videos and read stories at hoshookerscallgirslrentboys.com/
Behind the bumps and the grinds, under the garters and the pasties, in between the booze fueled clients and the stiletto heels there is in the exchange of sex for money a power dynamic that opens a window into the soul. Sex Worker Literati features sex workers, former sex workers, and people with stories about the sex industry who will read, monologue, perform, and shimmy their ways into your hearts, minds, and naughty bits.
Happy Ending, 302 Broome St between Forsyth and Eldridge
First Thursday of Every Month
Doors at 7, Reading from 8-10. FREE.
Portion of proceeds from the bar supports sex workers rights groups
Related SML
A few of you asked what my favorite books were in 2011. I'm happy to answer with a photo. I don't have one favorite book but these were among those I really enjoyed reading. (Of course I enjoyed more than those but you can make the stack only that high - see all the books read in 2011 here)
Here we go, from the top:
fiction
Revolutionary Road by Richard Yates
I saw the movie the year before and liked it. But as it turned out, I liked the book even more.
The Unbearable Lightness of Being by Milan Kundera
I read this while in Prague and it was the perfect place for this book.
Atonement by Ian McEwan
For some reason, I had the hardest time getting into the book (this was probably my 4th attempt to read it) but in the end I'm glad I didn't give up. The language sometimes just slayed me. (Like this sentence: "... moving gently through her thoughts, as one might explore a new garden.")
The Book of Illusions by Paul Auster
This reminded me a little of "What I Loved", maybe one of the reasons I liked it. Later I read "Invisible", also by Paul Auster, which disappointed me.
non-fiction
For the past few years I've been reading mostly fiction but in 2011 I added some more non-fiction books to my list. My history-loving geeky self is making a comeback.
The Body Project by Joan Jacobs Brumberg
I stumbled upon this book rather by accident - a lucky accident. It follows the subject of body image from Victorian times to the 1990s. It was interesting to read how fundamentally the attitude towards weight, physical apperance, menstruation and sex changed in just one century.
Achilles in Vietnam by Jonathan Shay
I partly read this when I was in college and was glad to come back to this insightful and compassionate writing.
Damit wir uns nicht verlieren by Sophie Scholl and Fritz Hartnagel
I don't think there is an English version of the book. The title loosely translates as "So that we don't loose each other". It's a collection of letters from Sophie Scholl (who was executed by the nazis at age 21 for expressing her opinion) and her boyfriend. Her biography had a huge impact on me when I was a teenager and I already knew a good part of her letters but this more extensive collection is fairly new.
The Beauty of Difference by Karen Walrond
If you ever read the Chookooloonks blog, you know this is good. It was even more dear to me because I've been trying to love my "difference" more this year.
Vicksburg, Mississippi est. 1825, pop. (2013) 23,542 • MS Delta
• site crowns the highest hill in Vicksburg • land donated by the family of the city's founder, Newitt Vick • built by the Weldon Brothers, immigrants from County Antrim, Ireland • Greek Revival design attributed to William Weldon in collaboration with slave John Jackson, a noted draftsman & artist who "drew the plans for many of the public buildings erected by [the Weldon's], including the courthouses still standing at Raymond and Vicksburg." —"The Emergence of the Cotton Kingdom in the Old Southwest: Mississippi, 1770--1860," John Hebron Moore, 1988
"The Weldon Brothers... Well known in Mississippi as large building and bridge contractors, owned and educated to mechanic pursuits, 100 slaves, many of whom are now residing in the river counties of the State, and most of them are well-to-do. Their draughtsman, John Jackson, a natural genius in that line, lives now at Port Gibson, the scene of much of the work of the Weldons. He painted the handsome drop curtain at Odd Fellow’s Hall, Port Gibson, and assisted in drawing the plans of the handsome Court house at Vicksburg, which the Weldons built in 1858.
"The writer had large dealings with these brothers in the days of their activity, and knows that while they were strict and exacting with their slaves, they were yet kind in their treatment; feeding and clothing them well; and they were not unmindful of their proper enjoyment; the suppers and music at their Christmas balls costing sometimes as much as $600. Tom Weldon was a very passionate man, as well as powerful and brave. Sometimes he would strike the negroes with his fist, and if they showed fight, it was his boast that he always gave them a white man’s chance, and fought fairly with them to the end. He had a fine mind, and but for his profanity was an eloquent talker.
"He equipped a company for the war at Natchez – the Weldon rebels [Co. L, 44th Mississippi Reg., C.S.A.] – but was employed, himself, chiefly in the secret service of the Confederate Government. George, the oldest of the three brothers, was very loquacious, and a great reader. William was a milder mannered man than the others, and very intelligent." —"Random Recollections of Early Days in Mississippi", Horace Smith Fulkerson, 1885
• Thomas Weldon (1816-1865) is said to have been instrumental in developing an electric spark underwater torpedo (naval mine) • on 12 Dec, 1862 it sank the USS Cairo, the first US warship ever destroyed by this type of weapon • "USS Cairo gunboat sunk by an IED" —Standing Well Back
• the Weldons utilized ~100 highly skilled slave artisans at the job site to burn brick & erect the $100K courthouse • the Ionic capitals were cast by Baker Iron Company, Cincinnati & transported to the site by river boat • stucco finish applied to exterior, 1907 • bldg. retains original iron doors & shutters
• Jefferson Davis (1808-1889), a local planter who became president of the Confederacy, launched his political career on these grounds • bldg. targeted by Union warships on Mississippi River during the American Civil War's 47-day Siege of Vicksburg • became the symbol of Confederate resistance • following the city's surrender, 4 July, 1863, Union soldiers under Maj. Gen. U. S. Grant replaced the Confederate flag with the Union flag on the Courthouse cupola [photo]
• U.S. Presidents Zachary Taylor, Ulysses S. Grant, William McKinley & Theodore Roosevelt spoke here, as did woman's suffrage leader Carrie Chapman Catt & black American icon Booker T. Washington
• bldg. was neglected after the completion of the New Warren County Courthouse (1940) • damaged by the 1953 Vicksburg Tornado • demolition considered • aware of the building's historical significance, Eva ("Miss Eva") Whitaker Davis (1892-1974) established the Vicksburg & Warren County Historical Society in order to to preserve it • on 3 June, 1948, the courthouse reopened as the Old Courthouse Museum • exhibits reflect the heritage of the area from pre-historic Indians through the present day • has one of the largest Civil War collections in the U.S.A.
• named one of the 20 most outstanding courthouses in America by the American Institute of Architects • Old Courthouse History • Court House Lagniappe Part 1, Part 2, Part 3
• Historic Vicksburg District • HABS MS-119 • designated Mississippi Landmark, 1986 • National Register 68000029, 1968 • designated National Landmark, 1968
fuckyeahlesbianliterature: [image description: the covers of Otherbound by Corinne Duyvis, Saga by Brian K. Vaughan and Fiona Staples, Shira Glassman’s Tales From Outer Lands and Climbing the Date Palm, Ascension by Jacqueline Koyanagi, The Stars Change by Mary Anne Mohanraj, God’s War by Kameron Hurley, Spirit’s Princess by Esther Friesner, To Stand in the Light by Kayla Bashe, Ash by Malinda Lo, and Soul to Keep: book 3 in the Vampire Sorority Sisters series by Rebekah Weatherspoon] Sci-Fi/Fantasy with Bisexual Women of Color (More at the Goodreads list) Looking for more wlw lit lists? Check out the Lesbrary Goodreads Project!
Jackson, MS (est. 1821, pop. 165,000)
• Home Dining Room, owned by Mrs. Robinson • relocated here from across the street post-1954 • catered to churchgoing people & gospel quartets — Church Street: The Sugar Hill of Jackson, Mississippi
The Farish Street Historic District
“but out of the bitterness we wrought an ancient past here in this separate place and made our village here.” —African Village by Margaret Walker (1915-1998)
• during the Reconstruction era that followed the American Civil War, white Southerners struggled to reclaim their lives as millions of black Southerners sought new ones • with the stroke of a pen, the Emancipation Proclamation had transformed African slaves into African Americans & released them into a hostile, vengeful & well-armed white community amid the ruins of a once flourishing society
• the antebellum South had been home to over 262,000 rights-restricted "free blacks" • post-emancipation, the free black population soared to 4.1 million • given that the South had sacrificed 20% of it's white males to the war, blacks now comprised over half the total population of some southern states • uneducated & penniless, most of the new black Americans depended on the Freedman's Bureau for food & clothing
• the social & political implications of the sudden shift in demographics fueled a violence-laced strain of conventional American racism • in this toxic environment, de facto racial segregation was a given, ordained as Mississippi law in 1890 • with Yankees (the U.S. Army) patrolling the city & Maine-born Republican Adelbert Ames installed in the Governor's Mansion, the Farish Street neighborhood was safe haven for freedmen
• as homeless African American refugees poured into Jackson from all reaches of the devastated state, a black economy flickered to life in the form of a few Farish Street mom-and-pops • unwelcome at white churches, the former slaves built their own, together with an entire neighborhood's worth of buildings, most erected between 1890 & 1930
• by 1908 1/3 of the district was black-owned, & half of the black families were homeowners • the 1913-1914 business directory listed 11 African American attorneys, 4 doctors, 3 dentists, 2 jewelers, 2 loan companies & a bank, all in the Farish St. neighborhood • the community also had 2 hospitals & numerous retail & service stores —City Data
• by mid-20th c. Farish Street, the state's largest economically independent African American community, had become the cultural, political & business hub for central Mississippi's black citizens [photos] • on Saturdays, countryfolk would come to town on special busses to sell produce & enjoy BBQ while they listened to live street music • vendors sold catfish fried in large black kettles over open fires • hot tamales, a Mississippi staple, were also a popular street food —The Farish District, Its Architecture and Cultural Heritage
“I’ve seen pictures. You couldn’t even get up the street. It was a two-way street back then, and it was wall-to-wall folks. It was just jam-packed: people shopping, people going to clubs, people eating, people dancing.” — Geno Lee, owner of the Big Apple Inn
• as Jackson's black economy grew, Farish Street entertainment venues prospered, drawing crowds with live & juke blues music • the musicians found or first recorded in the Neighborhood include Robert Johnson, Sonny Boy Williamson II & Elmore James
• Farish Street was also home to talent scouts & record labels like H.C. Speir, & Trumpet Records, Ace Records • both Speir & Trumpet founder Lillian McMurry were white Farish St. business owners whose furniture stores also housed recording studios • both discovered & promoted local Blues musicians —The Mississippi Encyclopedia
• Richard Henry Beadle (1884-1971), a prominent Jackson photographer, had a studio at 199-1/2 N. Farish • he was the son of Samuel Alfred Beadle (1857-1932), African-American poet & attorney • born the son of a slave, he was the author of 3 published books of poetry & stories
• The Alamo Theatre was mainly a movie theater but periodically presented musical acts such as Nat King Cole, Elmore James & Otis Spann • Wednesday was talent show night • 12 year old Jackson native Dorothy Moore entered the contest, won & went on to a successful recording career, highlighted by her 1976 no. 1 R&B hit, "Misty Blue" [listen] (3:34)
• in their heyday, Farish Street venues featured African American star performers such as Bessie Smith & the Rabbit Foot Minstrels, Louis Armstrong, Count Basie, Duke Ellington & Dinah Washington played Farish Street venues —Farish Street Records
• on 28 May, 1963, John Salter, a mixed race (white/Am. Indian) professor at historically black Tougaloo College, staged a sit-in with 3 African American students at the "Whites Only" Woolworth's lunch counter in downtown Jackson • they were refused service • an estimated 300 white onlookers & reporters filled the store
• police officers arrived but did not intercede as, in the words of student Anne Moody, "all hell broke loose" while she and the other black students at the counter prayed • "A man rushed forward, threw [student] Memphis from his seat and slapped my face. Then another man who worked in the store threw me against an adjoining counter." • this act of civil disobedience is remembered as the the signature event of Jackson's protest movement —L.A. Times
"This was the most violently attacked sit-in during the 1960s and is the most publicized. A huge mob gathered, with open police support while the three of us sat there for three hours. I was attacked with fists, brass knuckles and the broken portions of glass sugar containers, and was burned with cigarettes. I'm covered with blood and we were all covered by salt, sugar, mustard, and various other things." —John Salter
• the Woolworth Sit-in was one of many non-violent protests by blacks against racial segregation in the South • in 1969 integration of Jackson's public schools began • this new era in Jackson history also marked the beginning of Farish Street's decline —The Farish Street Project
"Integration was a great thing for black people, but it was not a great thing for black business... Before integration, Farish Street was the black mecca of Mississippi.” — Geno Lee, Big Apple Inn
• for African Americans, integration offered the possibility to shop outside of the neighborhood at white owned stores • as increasing numbers of black shoppers did so, Farish Street traffic declined, businesses closed & the vacated buildings fell into disrepair
• in 1983, a Farish St. redevelopment plan was presented
• in 1995 the street was designated an endangered historic place by the National Trust for Historic Preservation
• in the 1990s, having redeveloped Memphis' Beale Street, Performa Entertainment Real Estate, was selected to redevelop Farish St
• in 2008, The Farish Street Group took over the project with plans for a B.B. King's Blues Club to anchor the entertainment district
• in 2012, having spent $21 million, the redevelopment — limited to repaving of the street, stabilizating some abandoned buildings & demolishing many of the rest — was stuck in limbo —Michael Minn
• 2017 update:
"Six mayors and 20 years after the City of Jackson became involved in efforts to develop the Farish Street Historic District, in hopes of bringing it back to the bustling state of its heyday, the project sits at a standstill. Recent Mayor Tony Yarber has referred to the district as “an albatross.” In September of 2014, the U.S. Department of Housing and Urban Development sanctioned the City of Jackson, the Jackson Redevelopment Authority, and developers for misspending federal funds directed toward the development of the Farish Street Historic District. Work is at a halt and "not scheduled to resume until December 2018, when the City of Jackson repays HUD $1.5 million." —Mississippi Dept. of Archives & History
• Farish Street Neighborhood Historic District, National Register # 80002245, 1980
left to right on horizon - multi-summit Lucania 5240m 17,192' connected to Steele 5073m,
for amazing adventure of Bates and Washburn see www.goodreads.com/book/show/1098079.Escape_from_Lucania
closer view of Lucania - www.mountain-forecast.com/peaks/Mount-Logan/photos/4166
my lichen photos by genus - www.flickr.com/photos/29750062@N06/collections/7215762439...
my photos arranged by subject, e.g. mountains - www.flickr.com/photos/29750062@N06/collections
Kachinas are spirit beings in western Pueblo religious beliefs, often represented through masks and dolls, as shown here. This snapshot is from a wonderful book by Barton Wright entitled ‘Kachinas: A Hopi Artist's Documentary’, which Adam got for me in a recent trip to New Mexico. I devoured it from cover to cover — and it’s given me a vision for my next art project: an interactive Kachina World with animatronics dolls. Each of the kachinas depicted in these pictures could be characters in that interactive play, dancing to the music and giving you inspiration about the spirits they represent. It was so nice of Adam to give me this marvelous book — he immediately thought of me and thought I should have it. :)
Learn more about Kachinas:
Learn more about the Kachinas book:
www.goodreads.com/book/show/1966616.Kachinas
View photos of our related Wonderbots experiment:
In the weeks leading up to our overseas holiday I sent my Mum a letter every week, with a drawing of a London icon on the front of it. see them all here www.alissaduke.com/p/drawing-on-envelopes.html
and wrote a travel trip prep about each one www.alissaduke.com/
It was fun for me to think of something to draw and fun for her to receive. (what will it be this week??). She recently mentioned that the letters she receives from me now looked bare and naked without a drawing.
So this week I drew my take on a classic Australian children's story "Possum Magic" by Mem Fox .
I could not dare to try and replicate Julie Vivas' magical illustrations. So I drew two main characters - a possum and some vegemite!
a readingwww.memfox.com/possum-magic-2.html
Here is how Goodreads describes the story of "Elephant Bill" at www.goodreads.com/book/show/1575943.Elephant_Bill:
"A book comes along like this once in a lifetime. You read it as a small child, or even as an adult, and never forget the images it conjures up, of a wonderful Englishman who lives in the mysterious forests of faraway Burma and of the kind native people who teach him about their lovely country. But most of all, you never forget the elephants! For this is a story about those magnificent creatures. Though he was officially known as Lt. Colonel J.H. Williams, the author was known to the world at large as “Elephant Bill”. That is because he spent 25 years living with the elephants in the mountains and forests of Burma. There he trained them to haul teak logs out of the isolated jungles.
"Yet this is also a story of great courage because when the Second World War struck, it also came to Burma. The Japanese Imperial Army planned to confiscate the Burmese elephants, drafting them to make the bridges and railways they needed to invade India. When he learned of these plans to put his beloved animals to a war-like purpose, Elephant Bill knew what had to be done. The mighty kings of the jungle had to be evacuated to safety.Personal story of Colonel Williams' adventures in Burma. A bit tedious but quite interesting to read about his involvement with working elephants."
Chota Khoti, Ruth Bryan Owen House (1911), 3504 Royal Palm Ave, Miami, FL, USA
Miami est. 1896, pop. 2.6MM
• significantly altered & largely forgotten, this was the 1920s-30s home of notable Miamian Ruth Bryan Owen (1885-1954) [photo], daughter of 3-time Democratic Presidential candidate, William Jennings Bryan, a Populist Democrat known as "The Great Commoner" • she was the Old South’s 1st U.S. congresswoman, 1st woman to serve on the House Foreign Affairs Committee & as Minister to Denmark, 1st head of a U.S. diplomatic mission [photo], appointed by President Franklin Delano Roosevelt • the journey that led her to this distinguished career began in Coconut Grove
"Ruth had been overseas in the war, sent to Egypt as a nurse with the British. There she had met a retired major, Reginald Owen, who had some kind of service-induced malady called Bright’s Disease and was told to live in a warm climate. The two of them got married and came back to Coconut Grove and bought a big house called Chota-Khoti — which in Burmese means 'little house.' The little house behind it was called Burra-Khoti, which means 'big house.' Reginald's family had had tea plantations in Burma." —Marjory Stoneman Douglas, Voice of the River
"The house is a two-story white stucco building with two wings connected by a semi-open-air living room enclosing a patio. It is a combination of Mexican and Spanish styles, set well back from the street and bordered with shrubbery." — Guide to Miami & Environs, 1941
"The great living room is filled with furniture which has seen service in many quarters of the globe, and carries its own mellow charm with it. The grand piano is open and often in use." —Arkansas Gazette, December 6, 1928
"The neighbourhood spends happy evenings at Chota Khoti, curled up on cushions, in the white paneled drawing room with Chinese cabinets of red. The Major and his pipe sit in the chimney corner. Ruth Bryan ruffles her auburn hair, leans against the piano and sings: "I am not fair, but that he thought me so." —The Whole World and Company, 1936, by Gretchen Green, whose La Cabana Tea Room occupied a small cabin next door to Chota Khoti • the Owens hosted many events, e.g., parties, recitals, cultural activities, meetings & various YWCA & Miami Woman’s Club affairs [photo]
• the Royal Palm Ave. address notwithstanding, Chota Khoti's location was usually described as "on the Ingraham Highway" (later Main Highway) where the property had an entrance at the corner of Hibiscus St. [photo] • this entrance shortened the 10 min. walk to Marymont mansion, home of Ruth's parents
• photos: family portrait at Chota Khoti • 1924 photo of daughter Helen Rudd Owen (1920-2015), a Democrat who ran for Congress in California as Rudd Brown, losing in 1958 and 1960 • Ruth Bryan Owen pruning shrubs c. 1931
• Ruth Bryan Owen ("Big Ruth" to her grandchildren) was born in Jacksonville, IL • she loved fast cars • competed in the high jump & was a champion distance runner at the U. Of Nebraska • excellent polo player • spoke 3 languages • praised for her singing (mezzo-soprano) • championed feminist causes, • sponsored the designation of the Florida Everglades as a national park [photo] • vice chairman of the University of Miami board of regents • president of the Miami Woman's Club
• never one to be intimidated by predominantly male domains, Ruth was attracted to the movie industry, c. 1920 • considered it as a possible career & thought about studying professional direction
• she envisioned Miami as a major motion picture production center & in fact, a few movie companies had already sprung up, including Brush Photoplay Co., with 2 stages at 966 S.W. 8th St. • Field Feature Film Co. on S. Miami Ave. at 25th St. (Rd.) • Miami Studios w/ a lab & 4 stages at W. 9th St. & 2nd Ave. in Hialeah [photo] • Biograph Studios veteran Wray Physioc at 151 N.E. 5th St. — he had directed The Gulf Between (1917), world's 1st Technicolor movie • Dudley Read at 330 Ft. Dallas Park, arrived in Miami c. New Year, 1921, soon became known as the "Miami Cameraman"
• Mrs. Owen decided to finance, produce, write, direct & perform in Once Upon a Time, a motion picture she based on One Thousand and One Nights • she hired Dudley Read as cameramaman, an actor & a costume designer from NY & a cast of local amateur actors, members of the Community Players of Cocoanut Grove • she approached the project believing that if a movie looks good, it is good, i.e., poetic imagery sans any of the usual hackneyed storylines could & would engage an audience
"You know the movies have always had a lure and just the atmoSpehre [sic] spoiled them for me. Well it struck me this winter that I might plunge in [and] direct movies of my own, with no objectionable atmoSpehre. I wrote scenario, raised finance for the photography, hired a camera, organized over two-hundred amateurs, played a five-reel film, direct[ed] all five hundred pictures [shots] myself, designed costumes, trained the actors."
— letter from close friend Carrie Dunlap, June 13,1921, quoted in Women Film Pioneers Project, Columbia University
• following multiple rejections, she secured a distribution deal • the film (now lost) was released in 1922 • at least one review approved of a few of the visuals but beyond that found little to like: "amateurish attempt; society folk act out serious Arabian night drama with little regard to screen technique; story: told mainly through long Biblical titles, presents Sunday school ethics; direction: some fair effects, but as a whole very uneven; star: not the type for the role, often photographed to disadvantage; support: actors have a good time playing in pictures, but can't keep their eyes off the camera; exteriors: some pretty effects" —Film Daily, Jan-Jun 1922
• in spite of several unfavorable reviews and, apparently, disappointing revenues, Ruth was already thinking about her next project • with her father's decision to write screenplays, she planned to provide the "picturing" (produce) • when nothing came of this, she decided to go into the "family business"
"The community as well as the home needs a woman's viewpoint and it would be a good thing if Uncle Sam had a wife to help him with the national economy and national housekeeping." —Ruth Bryan Owen
"I've never asked a woman to vote for me because I was a woman, but I always ask men not to vote against me because I am a woman." —Ruth Bryan Owen
• Mrs. Owen lost her 1st election in Florida's 4th Congressional District, then won on her 2nd try after logging ~8,000 mi. at the wheel of her campaign car — a flivver she christened The Spirit of Florida • during the tour, she delivered about 500 stump speeches, a tactic her father invented for his presidential campaigns • like her “silver-tongued” dad, she was a gifted speaker who, represented by the Coit-Alber Lyceum Bureau or the Redpath Bureau, periodically incremented her wealth & fame by touring the Chautauqua Circuit, her appearances promoted with material such as this 1920s brochure that called her "one of the world's few great women"
• although Chota Khoti remained Congresswoman Owen's Miami residence well into the 1930s, in 1927 & '28 — the year of her 1st her successful campaign for Congress — she listed the address of this Coral Gables house on Avenue Altara as her residence, & received guests there • the house is said to have been built for her, possibly facilitated by her father who was a stellar salesman for the developers of Coral Gables until his death in 1925, annually earning $50,000 in cash and $50,000 in property, equivalent to about $1.36 million in 2016 dollars • Mrs. Owen built another of her houses, Golden Clouds, on 6 oceanfront acres at Oracabessa, Jamaica • there, as at her other residences, she entertained celebrity friends such as Clark Gable, Carole Lombard, Noel Coward Ian Fleming & Charlie Chaplin
• Chota Khoti was eventually purchased by native Miamians who continued to refer to it by its given name, as did local tour guides in the 1970s-80s • over the years, rooms were enlarged & its facade altered • by the beginning of the 21st c., immigration had transformed the city around it from a racially segregated tourist Mecca to a dynamic Latin American metropolis which still happens to be located in the U.S. • with the passage of time, the location of Ruth Bryan Owen's Chota Khoti has nearly vanished from memory
As seen at The Bourse.
I'm so glad they included Oney Judge, a slave who escaped the clutches of George and Martha Washington.
This brings to mind a quote attributed to George R. R. Martin: "Love is poison. A sweet poison, yes, but it will kill you all the same."
Poison
Chocolate coated
100 tablets No. 1369
Strychnine sulfate
1/30 grain
(0.0022 GM.)
DOSE - 1 tablet
2104 977378
Lilly
Eli Lilly & Company
Indianapolis, U. S. A.
Notes
This bottle is displayed in the Rothschild's apothecary museum in Syracuse, NY's Museum of Science and Technology.
According to the Wikipedia page the entire bottle theoretically contains less than the LD/50 dose for a small child.
No American president has been closer to the working life of the West than Theodore Roosevelt. From 1884 to 1886 he built up his ranch on the Little Missouri in Dakota Territory, accepting the inevitable toil and hardships. He met the unique characters of the Bad Lands—mountain men, degenerate buffalo hunters, Indians, and cowboys—and observed their changes as the West became more populated. "Ranch Life and the Hunting Trail" describes Roosevelt's routine labor and extraordinary adventures, including a stint as a deputy sheriff pursuing three horse thieves through the cold of winter. Whether recounting stories of cowboy fights or describing his hunting of elk, antelope, and bear, the book expresses his lifelong delight in physical hardihood and tests of nerve. [Source: Goodreads website at www.goodreads.com/book/show/1737273.Ranch_Life_and_the_Hu...]
“The Tragedy of Pudd’nhead Wilson” is one of Twain’s lesser known novels, but it may be one of his best. Set in the early years of the 19th century, this pre-Civil War satire tackles social issues still being debated today. Here is what the Goodreads website has to say about the novel (at www.goodreads.com/book/show/682793.Pudd_nhead_Wilson):
“At the beginning of Pudd'nhead Wilson a young slave woman, fearing for her infant's son's life, exchanges her light-skinned child with her master's. From this rather simple premise Mark Twain fashioned one of his most entertaining, funny, yet biting novels. On its surface, Pudd'nhead Wilson possesses all the elements of an engrossing nineteenth-century mystery: reversed identities, a horrible crime, an eccentric detective, a suspenseful courtroom drama, and a surprising, unusual solution. Yet it is not a mystery novel. Seething with the undercurrents of antebellum southern culture, the book is a savage indictment in which the real criminal is society, and racial prejudice and slavery are the crimes. Written in 1894, Pudd'nhead Wilson glistens with characteristic Twain humor, with suspense, and with pointed irony: a gem among the author's later works.”
The book contains over a thousand illustrations, which are distributed in the margins throughout the text, a technique that had never before been used for a Mark Twain text. Two artists, F. M. Senior and C. H. Warren, supplied the copious, cartoon-sized pictures required for this mode of illustration.
The first edition of the book also has a bonus story called “Those Extraordinary Twins.” "‘Those Extraordinary Twins’ was published as a short story, separate and distinct from its origins inside Twain's ‘The Tragedy of Pudd'nhead Wilson.’ As Twain explains, he extricated ‘Twins’ from ‘Pudd'nhead’ when he found, as he was writing, that he'd created a farce inside a tragedy. This is the excised farce, a story about Italian Siamese twins who completely take over a small Missouri town, splitting it down the middle with half supporting one head and the other, the other.” [From the Introduction by John Greenman for the LibriVox audio edition of the “Twins” story at librivox.org/those-extraordinary-twins-by-mark-twain/]
Vicksburg, Mississippi est. 1825, pop. (2013) 23,542 • MS Delta
Marker:
U.S. Three-Inch Ordnance Rifle,
Made in 1863 by the Phoenix Iron Company, Phoenixville, Penn.
The original carriages were made of white oak and iron.
These, made around 1915, are of iron and concrete.
• site crowns the highest hill in Vicksburg • land donated by the family of the city's founder, Newitt Vick • built by the Weldon Brothers, immigrants from County Antrim, Ireland • Greek Revival design attributed to William Weldon in collaboration with slave John Jackson, a noted draftsman & artist who "drew the plans for many of the public buildings erected by [the Weldon's], including the courthouses still standing at Raymond and Vicksburg." —"The Emergence of the Cotton Kingdom in the Old Southwest: Mississippi, 1770--1860," John Hebron Moore, 1988
"The Weldon Brothers... Well known in Mississippi as large building and bridge contractors, owned and educated to mechanic pursuits, 100 slaves, many of whom are now residing in the river counties of the State, and most of them are well-to-do. Their draughtsman, John Jackson, a natural genius in that line, lives now at Port Gibson, the scene of much of the work of the Weldons. He painted the handsome drop curtain at Odd Fellow’s Hall, Port Gibson, and assisted in drawing the plans of the handsome Court house at Vicksburg, which the Weldons built in 1858.
"The writer had large dealings with these brothers in the days of their activity, and knows that while they were strict and exacting with their slaves, they were yet kind in their treatment; feeding and clothing them well; and they were not unmindful of their proper enjoyment; the suppers and music at their Christmas balls costing sometimes as much as $600. Tom Weldon was a very passionate man, as well as powerful and brave. Sometimes he would strike the negroes with his fist, and if they showed fight, it was his boast that he always gave them a white man’s chance, and fought fairly with them to the end. He had a fine mind, and but for his profanity was an eloquent talker.
"He equipped a company for the war at Natchez – the Weldon rebels [Co. L, 44th Mississippi Reg., C.S.A.] – but was employed, himself, chiefly in the secret service of the Confederate Government. George, the oldest of the three brothers, was very loquacious, and a great reader. William was a milder mannered man than the others, and very intelligent." —"Random Recollections of Early Days in Mississippi", Horace Smith Fulkerson, 1885
• Thomas Weldon (1816-1865) is said to have been instrumental in developing an electric spark underwater torpedo (naval mine) • on 12 Dec, 1862 it sank the USS Cairo, the first US warship ever destroyed by this type of weapon • "USS Cairo gunboat sunk by an IED" —Standing Well Back
• the Weldons utilized ~100 highly skilled slave artisans at the job site to burn brick & erect the $100K courthouse • the Ionic capitals were cast by Baker Iron Company, Cincinnati & transported to the site by river boat • stucco finish applied to exterior, 1907 • bldg. retains original iron doors & shutters
• Jefferson Davis (1808-1889), a local planter who became president of the Confederacy, launched his political career on these grounds • bldg. targeted by Union warships on Mississippi River during the American Civil War's 47-day Siege of Vicksburg • became the symbol of Confederate resistance • following the city's surrender, 4 July, 1863, Union soldiers under Maj. Gen. U. S. Grant replaced the Confederate flag with the Union flag on the Courthouse cupola [photo]
• U.S. Presidents Zachary Taylor, Ulysses S. Grant, William McKinley & Theodore Roosevelt spoke here, as did woman's suffrage leader Carrie Chapman Catt & black American icon Booker T. Washington
• bldg. was neglected after the completion of the New Warren County Courthouse (1940) • damaged by the 1953 Vicksburg Tornado • demolition considered • aware of the building's historical significance, Eva ("Miss Eva") Whitaker Davis (1892-1974) established the Vicksburg & Warren County Historical Society in order to to preserve it • on 3 June, 1948, the courthouse reopened as the Old Courthouse Museum • exhibits reflect the heritage of the area from pre-historic Indians through the present day • has one of the largest Civil War collections in the U.S.A.
• named one of the 20 most outstanding courthouses in America by the American Institute of Architects • Old Courthouse History • Court House Lagniappe Part 1, Part 2, Part 3
• Historic Vicksburg District • HABS MS-119 • designated Mississippi Landmark, 1986 • National Register 68000029, 1968 • designated National Landmark, 1968
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Manhattan, NY (settled 1624, pop. 1.6MM) • East Village
• Grace Episcopal Church • French Gothic Revival design by 25 yr. old James Renwick, Jr. (1818-1895), his first major commission • cornerstone laid, 1843 • church consecrated, 1846 • church history
• built of “Sing Sing marble,” actually Tuckahoe Marble quarried from the Sing Sing Quarry [photo] by Sing Sing Correctional Facility prisoners
• spire, 226’ high, was among the tallest points on the early NYC skyline • originally wood, was replaced by a marble spire, 1883
• situated in one of the most visible locations in Manhattan, the corner of East 10th St. where Broadway bends S/SE, aligning w/ the city’s avenues [c. 1900 photo]
• for much of the mid/late 19th C., considered NYC’s most fashionable church & most prestigious site for marriage or burial • like many other churches, charged “pew rents,” an annual fee for the use of its seats • initial pew rents were $3/wk. (= $114 today), thus the congregation in the early years consisted largely of wealthy New Yorkers [1918 video]
“In his 1882 New York by Gaslight, author James, D. McCabe, Jr. would point out, “At the morning service a greater display of wealth and fashion is presented here than at any other city church. Grace Church has been the scene of more fashionable weddings and funerals than any other place of worship.” —Daytonian in Manhattan
• on 10 Feb, 1863, the American Civil War was raging, demonstrations, protesting the country’s first military draft were on the verge of becoming full-blown draft riots, and a widely anticipated event took place in Grace Church; Charles Sherwood Stratton (1838-1883) — a wealthy, international celebrity better known as General Tom Thumb — and Mercy Lavinia Warren (1841-1919) exchanged wedding vows • both were proportionate dwarfs in the employ of P.T. Barnum, performers at his American Museum
• Stratton was a gifted entertainer who sang, danced & performed physical comedy, stage name taken from “The History of Tom Thumbe,” a story first published in 1621, attributed to London romance writer Richard Johnson (1573–c.1659) • Lavinia began her career performing on a river boat, signed w/Barnum, age 21
“The church was comfortably filled by a highly select audience of ladies and gentlemen, none being admitted except those having cards of invitation. Among them were governors of several of the States, to whom I had sent cards, and such of those as could not be present in person were represented by friends, to whom they had given their cards. Members of Congress were present, also generals of the army, and many other prominent public men. Numerous applications were made from wealthy and distinguished persons, for tickets to witness the ceremony, and as high as sixty dollars [= $1,400 today] was offered for a single admission. But not a ticket was sold; and Tom Thumb and Lavinia Warren were pronounced ‘man and wife’ before witnesses.” —P.T. Barnum, “Struggles and Triumphs”
• the Brooklyn Eagle editorialized, “We are surprised that the clergy, or representatives of so respectable a body as the Episcopal Church should, for a moment, allow themselves to be used by this Yankee showman to advertise his business”
• amid widespread criticism of the church for it’s complicity in what was widely viewed as another Barnum publicity stunt, Stratton responded, “It is true we are little but we are as God made us, perfect in our littleness. We are simply man and woman of like passions and infirmities with you and other mortals. The arrangements for our marriage are controlled by no showman.”
“The more than 2,000 invited wedding guests [photo] appeared to be a who’s who of American nobility, including a number of congressmen and high-ranking generals, in addition to the thousands of average New Yorkers who showed up hoping to catch a glimpse of the famous tiny couple.” —A General, a Queen and the President
“The wedding party’s arrival outside the church at half past noon touched off a stampede among combatants fighting for a close-up view. The police restrained them only with extreme exertion. Inside, ‘an instantaneous uprising ensued,’ The New York Times reported the following day. ‘All looked, few saw. Many stood upon the seats, others stood upon stools placed on the seats. By many, good breeding was forgotten. By very many the sanctity of the occasion and the sacredness of the ceremonies were entirely ignored. As the little party toddled up the aisle, a sense of the ludicrous seemed to hit many a bump of fun, and irrepressible and unpleasantly audible giggles ran through the church.’” —Boundary Stones
• the couple received wedding presents from wealthy Americans, including a miniature horse-drawn carriage fashioned by Tiffany & Co. • the ceremony, officiated by Stratton’s hometown minister, Junius Willey, was followed by a reception at the Metropolitan Hotel, attended by guests who had purchased tickets from Barnum
• the newlyweds [illustration] then traveled to Washington where Charles’s brother was stationed w/ the Union Army • checked in to Willard’s Hotel
• on 13 Feb, 1863, a well-publicized reception for the couple was held in the East Room of the Lincoln White House, hosted by First Lady Mary Todd Lincoln & America’s tallest president [illustration] —Andrew Martin
Livinia Warren: “[The] President took our hands and led us to the sofa, lifting the General up and placed him at his left hand, while Mrs. Lincoln did the same serve for me, placing me at her right… Tad, the favorite son, stood beside his mother and gazing at me… whispered to his mother, ‘Mother if you were a little woman like Mrs. Stratton you would look just like her.'”
“The marriage of Gen. Tom Thumb cannot be treated as an affair of no moment -- in some respects it is most momentous. Next to LOUIS NAPOLEON, there is no one person better known by reputation to high and low, rich and poor, than he…
“Those who did and those who did not attend the wedding of Gen. Thomas Thumb and Queen composed the population of this great Metropolis yesterday, and thenceforth religious and civil parties sink into comparative insignificance before this one arbitrating query of fate -- Did you or did you not see Tom Thumb married?” —NYT 22 Feb, 1863
• Stratton retired wealthy • couple lived in a Bridgeport, CT mansion, owned a yacht, a summer home in Massachusetts [photo] and a custom-built cottage on Cut in Two Island East in Connecticut’s Thimble Islands • in 1855, when bad investments forced Barnum to file for bankruptcy, Stratton provided financial assistance d& became Barnum’s business partner
• 28 yrs. later, Charles died of a stroke • the couple’s lavish lifestyle had reduced their wealth but enough remained to support Lavinia’s retirement • chose instead to return to the stage, used the stage name “Mrs. Tom Thumb” & assembled a troupe of touring “Liliputians”
• married Italian proportionate dwarf Count primo Magri (1849-1920), who, with his brother, joined the troupe • Count & Countess [photo] lived in Middleborough, MA, • summers, operated a roadside general store for auto tourists called Primo’s Pastime, where they posed for photos w/customers —Atlas Obscura
• the Mrs. Tom Thumb company toured the country [photo], garnering favorable reviews, e.g., “The entertainment given by the Mrs. Tom Thumb Company Saturday was really a fine thing. The little people cannot help being interesting and the tricks of magic were also good, as were the music and trained birds, but the suspension in mid- air of the little countess and change of character was the best thing of the kind ever seen here,” —Newburyport (MA) Herald following a 2 July, 1889 performance at the Exeter (NH) Opera House
• shortly after Stratton’s death, theaters began staging re-enactments of the couple's nuptials • “Tom Thumb weddings,” aka "miniature weddings, became a fad in the 1890s-1900s and continued to be staged by churches, community organizations and charities well into the late 20th C., mainly as fundraisers [photo]
• Grace Church is a National Historic Landmark designated for its architectural significance and place within the history of New York City, and the entire complex is a New York City landmark • one of seven New York City buildings designated by the Municipal Art Society as being of national importance, to be preserved at all costs
designations:
NY Landmarks Preservation Commission:
• church & rectory landmarked, 1966
• Fourth Avenue church houses landmarked, 1977
National Register of Historic Places:
• church & dependencies, # 74001270, 1974
• national historic landmark, 197
From Goodreads
GONE MISSING - Rumspringa is the time when Amish teens are allowed to experience life without the rules. It’s an exciting time of personal discovery and growth before committing to the church. But when a young teen disappears without a trace, the carefree fun comes to an abrupt and sinister end, and fear spreads through the community like a contagion.
A missing child is a nightmare to all parents, and never more so than in the Amish community, where family ties run deep. When the search for the presumed runaway turns up a dead body, the case quickly becomes a murder investigation. And chief of Police Kate Burkholder knows that in order to solve this case she will have to call upon everything she has to give not only as a cop, but as a woman whose own Amish roots run deep.
Kate and state agent, John Tomasetti, delve into the lives of the missing teen and discover links to cold cases that may go back years. But will Kate piece together all the parts of this sinister puzzle in time to save the missing teen and the Amish community from a devastating fate? Or will she find herself locked in a fight to the death with a merciless killer?
HER LAST BREATH - An extraordinarily beautiful Amish woman, a dangerous femme fatale, is the central figure in a story that reveals a dark side of Painters Mill and its seemingly perfect Amish world
A rainy night, an Amish father returning home with his three children, a speeding car hurtling toward them out of nowhere.
What at first seems like a tragic, but routine car accident suddenly takes on a more sinister cast as evidence emerges that nothing about the crash is accidental. But who would want to kill an Amish deacon and two of his children? He leaves behind a grieving widow and a young boy who clings to life in the intensive care wing of a hospital, unable to communicate. He may be the only one who knows what happened that night. Desperate to find out who killed her best friend’s husband and why, Kate begins to suspect she is not looking for a reckless drunk, but instead is on the trail of a cold blooded killer amid the residents of Painter’s Mill. It is a search that takes her on a chilling journey into the darkest reaches of the human heart and makes her question everything she has ever
believed about the Amish culture into which she was born
********************************************************************************************************
MY REVIEW - I think I have learned a few things while reading Linda Castillo's Kate Burkholder series. They are as follows:
1. If Painters Mills is a real town, I don't want to go anywhere near it. There is way too much death and deceit going on there and I'm not sure if the police department would be able to keep my ass safe.
2. I think I have established an un-natural fear of the Amish. No seriously...
3. I will never pass by any abandoned farmhouse and not think of someone strung up in a dirty smelly room.
4. I will never look at the Underground Railway and tunnels the same way.
5. Everytime I pass a farm and smell manure I think of manure pits and how easily someone could be pushed into one.
6. Two words...Abandoned Silos
Now about the Book(s) - Kate has more baggage attached to her than a whorehouse full of ex nuns. WTF is wrong with this woman? As the books go on she seems to fall deeper and deeper into despair. She seems to be one of those people who does not learn from her mistakes. She figures out what went wrong at the end, but doesn't figure out how not to eff up the next case. She puts the Amish of Painters Mills on such a high pedestal that she seems to forget that they are people just like the rest of us who make mistakes and are capable of committing all kinds of heinous acts of crime. She may have physically left the faith, but mentally she never left. That is what she seems to struggle with in every book. Don't get me wrong, I love the flawed character. I think that is what makes these book so exciting. However, I'm hoping to see Kate grow a bit if more of these are to be written.
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"World War II is over but Hooper Taliafero is still in Africa, tying up Uncle Sam's loose ends. The latest end is in Cabinda, a tiny Portuguese colony with gaily painted buildings and a history of slave-trading. Hoop should have a pleasant stay at the home of the local administrator - the beer, after all, is cold, and the women beautiful - but the other guests are an unpleasant mix of hangers-on, including a shady lawyer and an overly chummy Brit on constant look-out for a loan. When one of them is murdered, Hoop calls in Dr. Mary Finney, the Miss Marple of the tropics. As usual, Hoop is a bit fuzzy on the details, but the formidable Dr. Finney has both stellar sleuthing skills and a .45 in her "necessaries bag." Both will come in handy if she's to sort through the tangled threads of the Cabinda Affair." [Summary at Goodreads: www.goodreads.com/book/show/2372271.The_Cabinda_Affair_Fe...]
“Motivo y variación sobre el fortuito encuentro con Thomas Bernhard“.
ISBN: 978-1-4092-1550-9.
Get it on paper of download it for free @ Lulu / Bubok.
Se trata de un cuadro teatral basado libremente en los peculiares textos de Thomas Bernhard.
Edición bilingüe (español-english).
Diseño: Estudi Prats
Imagen de la cubierta: Fernando Prats
Costante collaborazione importante: Rivera Valdez
Versión inglesa: Emilia Cavecedo
Additionalités: Alicia Pallas
Prólogo: Oriol Espinal
Wydrukowano w Hiszpania
Inregistrata in SUA
Skriving i Argentina
La primera versión del presente texto se representó en directo en buenos aires, julio 1999, de acuerdo a la siguiente ficha técnica:
actores: eleonora mónaco, alejo recalde, sony báez, fernando prats
música original: sony báez y fernando prats
una producción de ‘teatro del vértice’
asistencia de dirección: mónica castaño
dirección de actores: eleonora mónaco
dramaturgia y dirección general: fernando prats
La presente obra se ha basado libremente en los siguientes textos de Thomas Bernhard:
“En las alturas” (1959) Anagrama (1989)
“Sí” (1978) Anagrama (1985)
“Extinción” (1986) Alfaguara (1992)
“El sobrino de Wittgenstein” (1982) Anagrama (1988)
//////////////
It's about a drama scene freely based on Thomas Bernhard's peculiar texts.
A bilingual edition (español-english).
English version by Emilia Cavecedo, design by Estudi Prats, cover photo by Fernando Prats, prologue by Oriol Espinal, additionalités by Alicia Pallas and Rivera Valdez' costante collaborazione.
The present text’s first version was performed live in Buenos Aires, July 1999, according to the following cast:
actors: eleonora mónaco, alejo recalde, sony báez, fernando prats
original music: sony báez & fernando prats
a production of ‘teatro del vértice’
assistant director: mónica castaño
performing director: eleonora mónaco
general director and dramatist: fernando prats
The present play is freely based on the following thomas bernhard’s texts:
“On the mountain” (1959)
“Yes” (1978)
“Extinction” (1986)
“Wittgenstein’s nephew” (1982)
# # #
Motivo y derivación
por Oriol Espinal
Sí, le digo sin mirarle el rostro, un rostro que por otra parte nunca he visto y a cuyo dueño le digo que sí a pesar de que la inexorable y cercana extinción de otro rostro que sí conozco (algo menos el alma que oculta) me empuja a decir que no, a recriminarme que cuando uno se encuentra atrapado en ciertas honduras emocionales no es recomendable refugiarse en las alturas de la palabra, y que para hablar de lo que no se puede hablar, mejor callarse, como por otra parte dejó escrito el famoso hermano de un no menos famoso pianista manco. Pero como a juicio de Aristóteles la amistad no puede considerarse como tal si uno no se comporta con el amigo como consigo mismo, hablaré, todavía no sé de qué, tal vez de fríos, de sótanos liberadores, tal vez de Thomas Bernhard, acaso de un tal Fernando Prats, ese amigo, artista y animador cultural cuyo rostro nunca he visto, o tal vez sí y yo no sepa que alguno de los rostros que he mirado a través del visor de mi cámara/máscara está asociado a la referencia onomástica con la que el susodicho firma sus heterogéneos pasos de baile: ayer una fotografía sostenida por una hermética peana textual, mañana un poemario antipoético de lo cotidiano, hoy el texto de un cuadro teatral estrenado en Buenos Aires, como el que me acaba de mandar por correo junto a una invitación a prologarlo, un texto acerca del cual que no puedo continuar hablando sin antes haber escuchado su verdadera dimensión mostrativa. En ello estoy. Callo, minimizo mi procesador de textos y me dispongo a descender los peldaños del motivo y variación sobre el fortuito encuentro con la bestia negra del católiconacionalsocialismo austriaco.
Tras un descenso un tanto precipitado, preludio suicida al que ha seguido una detenida y no-mística ascensión, regreso a las alturas de mi procesador de textos y me pregunto si resulta lícito hablar de aquello que ya habla y calla por sí mismo. En todo caso, diré que durante mi expedición me he preguntado si todo intento creativo (abocado irremediablemente al fracaso, como piensa Bernhard y muy probablemente Montaigne) justifica el sacrificio de una vida en estado puro, una vida sin una lógica que haga del trueno un silogismo, sin una música que desafíe el zumbido de una mosca, sin unos artilugios que traten de atrapar lo que ya dejó se ser, ofreciéndonos como triste trofeo un espejismo cuya contemplación nos arrebata la oportunidad de un nuevo instante de pureza, de rayos de luz y baile de polvo, de ausencia de mugre y de peste, de griterío de chusma de escuela secundaria ante las personalidades extraordinarias que adora. ¿Merece la pena renunciar a esa vida sin tiempo ni memoria y decantarse por las grietas y supresiones que dividen el mundo, aunque a través de ellas se haga difícil escuchar, sin que se desmorone como si fuera un montón de piedras, la voz ubicua de Julio Cortázar diciendo: “Toco tu boca, con un dedo toco el borde de tu boca”? No sé. ¿Acaso lo saben Ele y Ejo? ¿Y Hamm y Clov? Qué saben del mundo esas cuatro maneras de sentir y razonar que no supieran Bouvard y Pécuchet. La siempre irreductible realidad es una palabra hueca que torpemente define una exégesis neuronal a la cual no nos queda otro remedio que agarrarnos si no queremos que nuestra propia nada nos precipite a la nada de los otros, al infierno sartriano, al infierno urbano de Ejo, al infierno inacabado que las lumbreras del fascismo refinan de noche y maquillan de día.
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Motif and derivation
por Oriol Espinal
Yes, I tell him without looking at his face, by the way, a face I have never seen and to whose owner I say yes in spite of the inexorable and close extinction of another face I do know (a bit less the soul it hides) pushing me to say no, to reproach myself that when one is trapped within certain emotional depths it is not advisable to take shelter in the word’s heights, and that to talk about what cannot be talked about, better keep quiet, as the famous brother of a no less famous one-handed pianist left written.
But, as to Aristotle’s judgment, friendship cannot be considered as such if one doesn’t behave towards the friend as towards oneself, I’ll speak, I still don’t know what about, maybe of colds, of releasing cellars, maybe of Thomas Bernhard, perhaps of some Fernando Prats, that friend, artist and cultural host whose face I’ve never seen, or possibly I have and didn’t notice some of the faces I’ve seen through my camera/mask viewfinder are associated to the onomastic reference with which the aforesaid signs his heterogeneous dance steps: yesterday a picture supported by an hermetic textual stand, tomorrow an antipoetic collection of poems of everyday life, today the text of a drama scene premièred in Buenos Aires, such as the one he has just sent me by mail, together with an invitation to write its prologue; a text I cannot keep talking about before having heard its true demonstrative dimension. I’m working on it. I make silence, minimize my word processor and prepare myself to descend the motif and variation steps on the fortuitous encounter with the Austrian Catholicnationalsocialism’s bête noire.
After a somewhat hasty descent, suicidal prelude after which a detailed and non-mystic ascension has followed, I go back to the stage of my word processor and ask myself if it’s legitimate to talk about that which talks and silences by itself. In any case, I’ll say during my expedition I’ve asked myself if every creative attempt (inevitably doomed to failure, as Bernhard and probably Montaigne think) justifies the sacrifice of a life in pure state, a life with no logic making thunder a syllogism, without music defying a fly’s buzz, with no gadgets trying to catch that which already is no more, offering us as a sad trophy a mirage whose contemplation seizes our chance of a new instant of purity, of rays of light and dust dance, of absence of filth and stink, of high school rabble shouting faced to the extraordinary personalities they adore.
Is it worth renouncing that life without time or memory and pour off through the cracks and supressions dividing the world, even if it is difficult to listen through them, without crumbling as a stone pile, the ubiquitous voice of Julio Cortazar saying: “I touch your mouth, I touch the edge of your mouth with my finger”? I don’t know. Do Ele & Ejo know it? And Ham & Clove? What do those four ways of feeling and reasoning know about the world Bouvard & Pécuchet didn’t know already? The always irreducible reality it is a hollow word clumsily defining a neuronal exegesis we have no other remedy but holding on to, if we don’t want our nothingness to rush us into somebody else’s nothingness, to the sartrean hell, to Ejo’s urban hell, to the unfinished hell the fascism luminaries refine at night and make up by day.
Oriol Espinal,
Barcelona, july 2008
No American president has been closer to the working life of the West than Theodore Roosevelt. From 1884 to 1886 he built up his ranch on the Little Missouri in Dakota Territory, accepting the inevitable toil and hardships. He met the unique characters of the Bad Lands—mountain men, degenerate buffalo hunters, Indians, and cowboys—and observed their changes as the West became more populated. "Ranch Life and the Hunting Trail" describes Roosevelt's routine labor and extraordinary adventures, including a stint as a deputy sheriff pursuing three horse thieves through the cold of winter. Whether recounting stories of cowboy fights or describing his hunting of elk, antelope, and bear, the book expresses his lifelong delight in physical hardihood and tests of nerve. [Source: Goodreads website at www.goodreads.com/book/show/1737273.Ranch_Life_and_the_Hu...]