ARTIFICIAL BOUQUETS FOR WEDDINGS

Anatomy of the Ship: The Flower Class Corvette Agassiz

The Flower class corvette was one of the most famous and numerous of all escort vessels, and the corvette 'Agassiz' is the most representative of the Canadian Flowers, which were thrown into the thick of the bitter Atlantic convoy battles of 1941--2. Derived from a whalecatcher hull design, and intended as a cheap coastal escort that could be built by non-specialist yards, the Flowers were the only class available in large numbers when the submarine war flared up in earnest in 1941. As a result they were used on rigorous ocean convoy duties for which they were barely adequate, and their crews suffered greatly in one of the harshest arenas of the second world war. This is a superb description of the ship and her career. The 'Anatomy of the Ship' series aims to provide the finest documentation of individual ships and ship types ever published. What makes the series unique is a complete set of superbly executed line drawings, both the conventional type of plan as well as explanatory views, with fully descriptive keys. These are supported by technical details and a record of the ship's service history.

These are gumpaste flowers that I made at a Jennifer Dontz class. Cymbidium orchid, lily of the valley, Magnolia, pansy and peony. I had some difficulty with the orchid!

My simple orange asiatic lily taught in the Beginners Sugar Flower Class

From an exciting new voice in African-American contemporary fiction comes "a literary explosion...a stunning tale of love and loss" (The Chicago Defender). The novel opens when a young prostitute comes to Bigelow, Arkansas, to start over, far from her haunting past. Sugar moves next door to Pearl, who is still grieving for the daughter who was murdered fifteen years before. Over sweet-potato pie, an unlikely friendship begins, transforming both women's lives-and the life of an entire town.

Sugar brings a Southern African-American town vividly to life, with its flowering magnolia trees, lingering scents of jasmine and honeysuckle, and white picket fences that keep strangers out-but ignorance and superstition in. To read this novel is to take a journey through loss and suffering to a place of forgiveness, understanding, and grace.

Bernice L. McFadden's first novel begins with the brief, poetic description of a crime so startling that the reader is helplessly drawn in, as if a bright red door stood ajar on a bleak and forbidding house. Pearl Taylor's daughter, Jude, has been found murdered and mutilated near a field at the edge of town. "The murder had white man written all over it," writes McFadden. "But no one would say it above a whisper. It was 1940. It was Bigelow, Arkansas. It was a black child. Need any more be said?" In the years that follow, Pearl catches sight of Jude in so many strangers that when Sugar Lacey comes to town and sets up her unwholesome "business" in the house next door, she doesn't know whether to believe what she sees in Sugar's face: a striking similarity to Jude, dead 15 years. In her sedate but supple prose--rising at times to a light, unforced lyricism in the description of landscape or character--the author perfectly renders the closed and protective society of a small Southern town, the superstitions, gossip, and prying. Although the men of Bigelow are happy enough to have Sugar around, the women do their best to drive her off. Only Pearl is drawn to Sugar, managing to look beyond the rumors surrounding her new neighbor, whose dismal life, she tells Pearl, "had no crossroads." Eventually Pearl shows Sugar the ballerina-topped jewelry box in which she keeps snapshots of her dead daughter.
Sugar lifted the lid and saw herself staring back at her. She jerked as if struck. Her hands were shaking as she lifted the first of many pictures from the box. Jude rolling in the grass, Jude swimming in the lake, Jude sleeping, Jude laughing. Sugar's head was swimming. If someone had brought these pictures to her and said, 'Here you are in the life you can't recall,' she would have believed every word of it and ignored the slight differences that remained between Jude and herself. Jude's smaller nose and thinner lips, her rounder eyes and fuller brow. But the smile was the same; sure and solid. Sugar knew that smile, it was her own.
Slowly, the secret connections between Jude and Sugar unfold against a backdrop of suspense and the return of violence. This is an ambitious and feeling debut from a promising writer. --Regina Marler