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Good morning and Happy Easter,
Thanks in advance for any advice offered by all you experienced and creative cut flower growers. This forum has been a true education for me, where so many of my questions can be answered with a quick search. The fact that you are so willing to share your expertise is invaluable. I am in my second year of flower farming. I'm going to be up to about 3/4 of an acre this year. Inspired by Cathy in Iowa, I wanted to expand the "cut your own" portion of my gardens. Since the annuals are in rows on the far side of the barn, I want to have a cottage-style perennial cutting garden closer to the house. So, we plowed up a big portion, rototilled it, and built a variety of 12x3, 9x3, 6x3 amd 3x3 foot boxes (we used 12' long, 8" high lumber, and made the boxes easily divided). We then made a pattern and laid out the boxes. It is assymetrical, kind of to get people to wander, and room for some interesting garden bits. Since we constantly fight grasses, we've decided to forgo rock or mulch in the paths, and plant grass in the pathways. I've been moving dirt in between rainstorms (it gets HEAVY when wet!!), and am about half done, and have a variety of perennials arriving in the next two weeks. Here's the question, after all that explanation. Should I put plants in according to color, or just put them in anywhere? How close can I plant them? I guess it makes sense to put the tall ones in the middle of all the boxes. Do I have to wait until after the chance of frost to plant, or can perennials go in next week (about 2 weeks ahead of traditional last frost? Any advice, suggestions, etc would be appreciated. We've put so much work into making boxes, preparing dirt, etc, I really don't want to be moving plants like crazy in the next couple years. Dividing and selling off, no problem :) Here are the plants I have coming: 21 - 25 count of alchemilla mollis thriller, aquilegia clementine blue and red, baptisia purple smoke,leucanthemum highland white dream, phlox becky towe and blue boy, monarda raspberry wine, salvia may night and merleau blue, veronica spicata goodness grows, rudbeckis sunset, and 72 delphinium magic fountains and gallery mixed lupinus. I also have some established perennials to move in, some echinacea, liatris, lilies, heuchera, peonies and others. I am trying to establish a place where a person can feel they can take their time, wander, enjoy cutting a bunch of flowers, and just enjoy their time. Eventually, there will be a fence and arbor at the entrance--probably next year's project! The annual beds are for serious cutting--they look very no nonsense with the straight rows, and that works for me. I also sell at farmer's markets, and to florists, so I want to have useful perennials, but more of a relaxing place.
(the other)Cathy (from Iowa) |
Follow-Up Postings:
- Posted by springvillegardens Zone 9 CA (My Page) on Mon, Apr 17, 06 at 2:18
Cathy --- we better be able to plant perennials this week cuz I've got a bunch coming!! No -- the weather has been good for us and the forecast looks great for perennials -- in fact, I've got my Amazon Neon Duo dianthus in all ready -- snaps and calendula will go in tomorrow. I wish I could give you good advice about planting the perennials (whether cottage-style or in rows) Some of my customers respond nicely to the mixed gardens -- some do not. And Lord knows -- there are gardens that I want to tear up right now and start all over again!!! I personally like the look of the cottage gardens. Cliff is doing well --how is Scot doing? Cathy |
Most important question first--Scot's doing really well. He had his second clear colonoscopy last week, and will now only be checked every two years. CT scan also clear, and he's debating whether to do another PET or not in future. Liver numbers are normal, the only thing is the CEA number keeps bouncing around, but it's notoriously unreliable, so we try to ignore it! Poor guy--the better he feels, the more I make him work! Make sure you let us know when the ACS fundraiser is this year--we'd like to make it if possible. Cathy, your gardens are always in our heads when we are designing something new--truly a beautiful spot. Any weddings there, yet? I think I'm leaning towards mixing perennials, and keeping the annuals clustered together. If it dries out enough today and tomorrow, I should get all the dirt moved, and then go to Gwen's this week to pick up plants--I'm so excited. The rest of the plants are coming from AMG in MI and Walters in MI. I guess I'd better be moving dirt in the rain if I have to, to get things outside. Cathy |
Cathy -- If you get as far as Gwen's and don't call me, you'll be in trouble!!!! Come on over -- the yard is a mess -- will be until June 1st. Love the rain but --Boy, are the weeds growing!!! Good news about Scot -- you know you are always in our prayers! Cathy |
- Posted by jeanne_in_idaho z5 N.Idaho (My Page) on Mon, Apr 17, 06 at 14:36
Cathy, I highly recommend "The Flower Farmer", by Lyn Byczynski, a softcover book, that will answer many of your questions, and many that you haven't thought of yet. There is no cardinal rule for spacing perennials, they are all different, but you'll be really, really sorry if you space them wrong just to get them in fast now, and but then have to replant them to get any performance in the years ahead. That's a lot more work in the long run. For example, salvia can be less than a foot apart, but some baptisias should be four feet apart. And baptisia roots so heavily and deeply, it's close to impossible to transplant. "The Flower Farmer" gives spacing for many of them. Any good garden reference book will tell you how wide a plant gets; you can use that number for spacing. For a strictly cutting area, you can put plants a little closer together; reaching for the sun gives them slightly longer stems. If they're TOO close together, the stems can get too long and weak, and/or they won't bloom well. For shrubby things that will be kept cut consistently, they can be pretty close, but that's more for an unpretty cutting field, since they aren't very attractive that way. Color and foliage shapes are good guides for combining plants. As far as how to place shorter and taller plants, consider the sun, and whether the tall plants might shade out the shorter ones. Either put the tall ones behind the short ones, and/or plant shade-tolerant plants behind the tall ones. As for what to plant when: bareroots can go in NOW, unless they've been kept in a too-warm sheltered place and have leafed out already. In that case, pot them up so you can bring them indoors at night, then harden off gradually, or plant out after last frost. With everything else, figure out what it's been exposed to so far and act accordingly. Anything in a pot that's been living unsheltered outside already can be planted. Anything that has been living indoors, or sheltered somehow from the cold, will need to be hardened off before planting out. ALL seedlings need to be hardened off before planting out. Some can handle a little frost, but only after hardening off; the ones that come to mind right now are delphs, columbines, yarrow, and field snaps. Everything can safely be planted out after last frost. I have a question - how are you going to keep the grass in the paths from migrating underground, via roots, into your beds? Bark mulch doesn't really stop them, they just come up through it, since they have all the energy of the mother plant to use. That can be an forever-ongoing battle. Sinking a barrier deep into the soil at the edges of the beds can help. Starting out is exciting. Don't expect to make NO mistakes; the learning curve is pretty steep the first year. Best of luck to you! Jeanne |
Hello All! My name is Becca, and I am new not only to this site and format, but also to perennial gardening. I have high hopes of actually doing SOME things right, and learning enough to be selling my flowers either potted or as cut flowers by next year. Jeanne, I appreciated that last statement you made, "Starting out is exciting. Don't expect to make NO mistakes; the learning curve is pretty steep the first year. Best of luck to you!" lol I know it wasn't directed to me, but I took comfort in it, nevertheless. It's 93*F here today. Watering the new sod in regularly. In my garden all I have started is Daylily, Cosmos, Marigold (mostly just for accent), Nasturtium (for the seed), and Sweet William. Any advice y'all have will be greatly appreciated, and if you don't mind, I'll just continue to lurk and learn! |
- Posted by flowerfarmer 5/6 MI (My Page) on Mon, Apr 17, 06 at 20:04
Cathy, The wholesale vendors from whom you are purchasing your plant material are both located in my neck of the woods. AMG is just southwest, and Walters Gardens is northwest. Both are equal driving distance from our farm. They are both really nice companies. It looks like most of your plants are plugs. These are little baby perennial plants that have been growing in a greenhouse. The companies assumption is that you will be bumping these up to larger containers, and growing them off for a bit in your greenhouse before planting them in your garden. This makes for happier plants. Some of the annual plants that we grow in our hightunnels are brought in as plugs. We always bump them up before planting them in the hightunnels. It really helps to get them off to a good start. I would, however, think you may want annuals mixed in with your perennials for more color, interest and drama. I would love to see waves of color. You have to look to some of the Masters of Impressionism for inspiration -- Renoir, Monet, Degas, Cassatt, VanGogh to name a few. Instead of using paints, you'll be painting with flowering plants. We don't have a U-Pick operation. Our flower crops are, of course, laid out in rows. We have had small groups out to our farm because they are interested in seeing a working flower farm in operation. Some of these people have spent hours wandering about in the fields. Sometimes we can't get them to go home even though we desperately need to go to bed. And, I don't know about a no nonsense approach. Our grandchildren, who all live out of state, come to work on the farm during the summer. We have our moments of total nonsense. Growing for farmers markets, florists, and a U-Pick operation is alot of work. But, I suspect you already know this. Trish |
Thank you so much for your responses! I used to live in that neck of MI as well--well south of the pinky finger, across from the thumb. If I still lived there, I guess shipping from growers would be cheaper! Luckily, when I met Cathy last year, she tuned me in to a great grower close by that I get quite a bit from as well. Last year I put the 128 perennials and annuals directly in the ground, and they did very well. This year they will be quite a bit bigger--a lot in the 2 1/2" to 3" pot size. Good to know about the baptisia, Jeanne. Unfortunately, I lent my flower farmer book to a friend, and have not gotten it back yet. The local library carries both Armitage and Byscinski (sp?), so maybe I'll do some heavy reading during the next rainy period. As for the grass migrating, we put a heavy layer of newspaper down over the tilled soil, inside the boxes, quite a few layers thick, then covered it with fresh black dirt mixed with very aged compost, to be topped off with bark mulch. We'll see if that holds it--we can always add bark or rock later to the paths if it continues to be a problem. I'm sure I won't make NO mistakes, but I'm just hoping for FEWER mistakes :) Thanks again, Cathy |
- Posted by springvillegardens Zone 9 CA (My Page) on Mon, Apr 17, 06 at 21:26
Trish, I planted my perennial plugs directly in the ground - but the cell size was 32 and 50. The 32 cell size rootball is almost close to the 3 inch pots herbs and some annuals come in - they seem to do fine and this saves me the labor of repotting and then planting. The 32 cell and 50 cell rootballs from Gro-N-Sell were very well developed I thought. Of course my weather here is a lot different - 42 at night and 65 during the day now. I planted my lavender from plugs, some down to 128 cell size (I did want a larger size but the variety I wanted only came in that size) directly in the ground. The lavender was planted in the fall and I allowed at least six weeks or more of no frost to be sure they didn't freeze. I planted them in weed barrier cloth which helped keep the ground warmer. On very warm days I did have to water them twice a day and one day I had to water them three times. When I plant them directly in the ground I keep a very close watch on them to be sure they don't dry out since the rootball is so small. The 128's were about an inch size rootball. The first time I planted them, I was real worried thinking they would all die - (I later found out that most people don't plant that size directly in the ground - but ignorance is bliss) - but not one died - six were pulled up by gophers but not eaten. I planted more lavender varieties from plugs this past fall and they were fine but I was able to get 72's cell size instead which I preferred. We don't get that hard of a freeze here and the ground does not freeze solid in winter - so again, my growing conditions are much different. My thinking for planting directly in the ground from plugs is the plants get to establish their roots deeper in the native soil sooner so they can make it through my brutal summers and they don't have the transplant shock twice - this seems to work for me at this location - I do what I call "cruising my rows" daily and sometimes more than once a day - till I am sure they have gotten over their transplant shock and they are putting on new growth. Linda |
Planting for a U-pick operation is the "same", yet different. The customer's ideas of a flower farm can vary so much. Some want to see rows and rows of flowers --others want to see well-laid flower beds, like a beautiful botanical garden. What the U-Pick customer is looking for --is the experience. Linda -- seating is enormously important. We have a small gazebo, a lath house and benches throughout the garden so people can sit and relax. Picking a bouquet normally takes 15-20 minutes --- most customers are here for over an hour to all afternoon -- relaxing and enjoying the peace. The U-pick customer will pick flowers in full-bloom, regardless of your advice. They will pick the stems shorter than you will. And instead of focusing on 3-5 flowers to create a bouquet -- they will pick ONE of everything you have! You will have to show them how to use certain flowers in a bouquet --ex -- Jewels of Opar. The moment I have a bouquet with them in it -- they sell. Bells of Ireland and craspedia are the same way. Trish comment about using annuals in the perennial beds is an important one. I didn't do that the first few years and was discouraged because some beds looked so dull. Even edging beds with small dianthus or marigolds makes a huge difference. I also found that the impact of the color is important. Because of the large area, mixed colors lose impact. I'm hooked on hot pink this year and I'm using a lot of Amazon Neon dianthus, merlot mix dianthus and Uproar Rose Zinnias to create a wow! factor. We'll see how it does. With 3000 gal of water in storage and a new well --- life is starting out much better this year! Hopefully, the good rains will continue and we can catch-up on the drought conditions. |
- Posted by springvillegardens Zone 9 CA (My Page) on Tue, Apr 18, 06 at 13:18
Cathy, What type of seating have you used? Plastic is easy to keep clean and store but I want my theme to be kind of rustic/victorian looking and that means having more wicker or benches and such. Do you have water or some type of drinks people can purchase in case it is hot - I have been thinking about that. I will have to set aside the front and side rows of each bed for annuals, as Trish suggests, so they are easier to get to - to replant. I have already planted my flowers in rows so we shall see. My thought has been I would have the flowers already picked and people can choose from them - I am sort of protective of my flower beds - but maybe I will change - my beds are set up so they are concentrated flower masses and then grass areas around them. I have a covered patio with wisteria (which is covering good) but I have planted some trees on the west side to provide more shade and now I am putting in a bed of taller flowers on two sides of the patio. I have a rose arbor but it is a ways away (future growth area) and I have porches on my little gift shop on four sides. Willow trees with seats under them and now I am converting my kiwi (which isn't growing that great) to another rose arbor and it will have seats under it. My lavender is planted on either side of a meadow and I want to put a raised deck with one of those canvas patio coverings over that - but I am saving up to purchase the wood. (The deck has to be raised off the ground because it is a wet area during the winter and the wood would rot and sink unless I put it above ground) You say customers pick one of everything you have - how do you do your pricing then - charge by the stem or by the size of the bunch? Or different prices for more expensive flowers? Do you find customers take all the large flowers and you are left with only small ones or how has that been? Since I have a little gift shop - my idea has been to have pre-made flower arrangements in the shop - people can purchase those or buy loose flowers and arrrange those themselves. How do customers take away their bouquests - in a sleeve a bucket or vase? Eventually I want to have classes on flower arranging at pre-arranged times. THANK YOU TO ALL OF YOU! - for all your questions (which stimulates my mind on questions I didn't even know I had), suggestions, ideas and sharing - this is a great forum. My weed barrier cloth came last night and emitter tubing - so I am going out to put that down and plant more plugs - it is sunny today - I think spring has sprung. Linda |
Linda -- My customers pick into a one gal milk jug for $8. Yea -- I know it is too cheap. I started out $1 more than the next closest u-pick. And I raise the price every two years to try to re-coup from my own stupidity!!!! RESEARCH RESEARCH RESEARCH!!! Since we live in a 110-year-old Queen Anne Classic-L farmhouse, it is important to me to keep the "look". So we use a lot of cedar seating that my husband builds or the old metal lawn chairs that I have restored. And I also have park benches and funky stuff around for seating. Cliff is currently building a pergola with a hammock in it. (ok -- that's for me!) I do serve refreshments --- homemade lemonade and fresh homemade cookies every day. As I say -- a U-pick is about the experience. No -- customers have been fantastic about cutting the flowers. Children have caused NO damage and I welcome kids into the garden. They never seem to over-pick any of one thing..........but with 3/4 of an acre of flowers-- its difficult to see anything missing. Even though -- I will think that I have no flowers. BUT --- many of my friends could not handle having a U-pick. They don't like people in their gardens -- so really think it over b/4 you go into it. It takes a "mellowing" of the mind! If you are concerned about being protective -- the idea of pre-made bouquets sounds great. Ok -- break is over. Back to work. |
Linda-- I also didn't have any problems with people picking the more expensive items. In fact, I really had to encourage customers to cut what they wanted, as long as they needed it, and to strip the stems. I only had about 1/3 of an acre last year, and individuals would pick from 1 - 3 hours. As I have small children, I encouraged people with kids to come and pick. Usually the mothers were hyper-cautious, and the kids would pick for five minutes and then head for our sandbox/swingset in the shade while their mom finished up. We served lemonade, too. |
- Posted by springvillegardens Zone 9 CA (My Page) on Wed, Apr 19, 06 at 1:56
Cathy, do you feel you re-coop the cost of refreshments - are you providing them free as a service? Where do you store all your stuff - like say all of your milk jugs - I am running out of room - my office is stacked, my living room, my storage shed - etc. etc. Cathy, Zone 9 has its drawbacks - just see what I say in July and August - I won't be quite so mellow then. I am trying to figure out how to fit a small cooler in my shop for display - I am going to air condition the building which is tiny - so that may be enough and I have my old frig (which wasn't that old) from kitchen remodel to store other flowers too. How do you work your subscriptions - do you deliver the bouquets? That might work for me if I did it one day a week and then did my grocery shopping the same day - I will have to think about that. The closest market to me is about 50 miles and I can't see how I can do a market and be open on the weekends - plus the lady who ran the market said they had too many people selling flowers. I am hoping I can get the customers to come to me. We shall see. thanks. Linda |
I do deliveries two days a week, in two different directions, both of which are only about 40 miles roundtrip. Once you are up and running, I recommend the power of a press release. I didn't advertise last year, other than with my flowers. It was my "learning year" (will that ever end?) and I planned on just sliding in slow. I did put together a press release with the subscription and upick info, sent it out to the local papers, etc, and ended up in two metro newspapers and the local paper--not the release, but full articles and color photos, which was more than I could have asked for. I know Cathy also gets a huge amount of media, esp. through her big ACS fundraiser. BTW, Cathy, are you still looking at advertising on TV? Cathy |
- Posted by springvillegardens Zone 9 CA (My Page) on Wed, Apr 19, 06 at 10:58
Cathy, I do have a press release drafted and I am going to send it out by timing it to when I open, my sign goes up and my website is live. A few other things I am doing to get the word out about my farm is joining the local chamber-they have a place on their website for a business to put their logo which directs folks to your business website. I have given a talk to my local garden club and now I am scheduled to do two more at other garden clubs - my talks are on lavender - but they could just as well be on cut flower production. I also put an ad in a garden club tour map which was inexpensive - and I will think about that for next year for other cities having garden tours - not all of them have advertising in their booklets - but some do - and those are the people who might just like coming out to pick fresh flowers direct from the grower. I am seventeen miles from the nearest town - but that is where I do my shopping - so subscriptions might be feasible on that day. What does ACS stand for? Thanks for all your advice and help. Linda |
ACS is the American Cancer Society. My husband Cliff has lung cancer and Cathy's husband, Scot, has colon cancer. So I have done benefits the last two years out of our farm. This year -- the ACS moved up Relay for Life to June 18th -- many years I've barely been open then. So this year -- we are participating in a Relay for Life team out of our county. My SIL lost her battle with lung cancer in Jan and we are on her hometown team. I'm not going to be doing the full event like I have in the past but will be doing a smaller plant sale out of the yard. Daylilies need to be divided! Cathy -- I will be doing tv advertising. And I'm trying to get more press coverage (as always!) Newspaper ads just don't pull them in for the long haul. I have one ad that always works well -- in June!! And I haven't found a good August ad!!!! The treats seem to make the customers relax -- maybe buy another bouquet and definitely, come back again. Besides -- it gets me a chance to bake which I love to do. And I'm in Iowa and we are just friendly type people that like to sit and visit. Cathy |
- Posted by springvillegardens Zone 9 CA (My Page) on Thu, Apr 20, 06 at 14:26
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I will do this grouping of three in one photo.
All three are approximately the same age and planted at the same time. 2002. I would guess they are all close to 15 years old. Left to right: Pinus strobus 'Horstford', Pinus mugo 'Zundert' and Picea pungens 'St. Marys Broom'. Dave Pinus strobus 'Horstford' This nicely shaped bun has wonderful light green needles. It is one of the best of the dwarf, bun-shaped, globose types of White Pine available. It is a selection of Greg Williams of Kate Brook Nursery in Vermont so you know this one is good and hardy to zone 3. The height and width is 2 feet in ten years making this a perfect fit for use in a dwarf garden. This one is 14" high by 40" wide. Pinus mugo 'Zundert'. This selection has an exceptionally bright gold winter color and distinctively long needles. Lower and denser growth habit than 'Pumilio'. Grows about 3" per year. Full sun, Zone 4. Growth rate 3-4" a year. This one just beginning its transformation to winter color. 33" high 42" wide. Picea pungens 'St. Mary's Broom' An old favorite that still commands attention. A dwarf form with silver-blue foliage that grows in a squat globose to broad conical form. Great blue needle colors and small size make it a nice choice for a rock garden or foundation planting. Zone 3. with a growth rate of 1-2" a year. This one 22" high by 42" wide. It attempted to grow a central leader 4 years ago but I removed it to prevent a conical form from developing. |
Follow-Up Postings:
- Posted by coniferjoy 10 (email@example.com) on Sun, Sep 23, 12 at 6:26
Dave, That's a nice group of conifers! Some additional info to these plants: Pinus mugo 'Zundert': If you wright 'Pumilio' this way, it's a cultivar. Picea pungens 'St. mary's Broom': |
Dave Im really enjoying your 'small garden conifers'. This last foto and display are real nice and the info that comes along is an added bonus. Thanks...Well done! Oh..and of course it opens up some questions about their companions in the backround, but im sure theyll have their day! AL |
Edwin, It was my understanding that Horstford was the founder. Greg propagated it and selected it to be introduced into the trade correctly using Horstford as the cultivar name. Yes to the correction on Pinus mugo var. pumilio. 20 years ago 'St. Mary's Broom' new. 20 years later old. Nothing intended. If 20 years ago you were 50 and now 70 you are old. LOL. Dave |
- Posted by barbaraincalif Z 8/9 (My Page) on Sun, Sep 23, 12 at 21:05
Very nice Dave! Can you tell us about what type of sun exposure these have throughout the day? Barbara |
Barbara, Late Spring to middle August 8 hours. Dwindling down to 4 hours for Winter. Dave |
Dave, I really enjoy seeing photos of your gardens. You have such a wonderful selection of plants with the perfect balance of upright, mound and weeping etc. In addition, you use color so nicely. Thank you for sharing. |
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subset: commoncrawl


text:
Date February 28, 2006 at 11:00 PM
Categories Restaurants
However do we tell time anymore now that our starch no longer needs to be placed at ten o'clock, the vegetable at two, and the meat between four and eight? As cooking sensibilities heighten and general food knowledge increases, plating and presentation have become more complex. To be sure, I might expect such traditional food presentation while dining at a steakhouse, or attending a banquet dinner with a thousand odd other people, but for the most part contemporary restaurants have moved beyond this clockwork culinary approach. It has become less important to have representative food groups and more important for each item on the plate to have specific purpose and harmony. We don't just want any old band to show up at the party, we want a quartet with an extensive repertoire. Gone, too, are the gravity-defying creations that became popular when stacking food replaced the more "flat" fare. In my humble opinion, negotiating how you're going to go about eating your meal without putting it in your lap should not be a part of the dining experience. Really, the Tower of Pisa never needed competition.
How, then, does a chef combine color, shape, size, texture, flavor as well as appearance to create a culinary work of art? After talking to Executive Chefs Jennifer James of graze and Bruno Gras of the Corn Maiden about their particular food feng shui, the answer is balance. The two chefs were meant to juxtapose each other-Gras being the more classically trained and working in a more corporate, upscale hotel restaurant environment and James upholding a more casual, contemporary approach-but I found their philosophies strikingly similar. Both were adamant about function, function, function.
"Simple is better," Chef James says, in a mantra that must be the equivalent of sheep counting for her. "You should never have to ask, "what's that for?' or "why is that on my plate?'" Chef Gras and I spoke of some typical hotel industry trends such as the masses of snarled, fried noodles atop a ribeye, or the "parsley really does go with everything!" mentality, which would be perfect if there were ever an "Extreme Garnish" reality show, but would never, ever, appear in his restaurant. "It has to be neat, it has to be clean," Gras reiterated. "Everything on the plate should be edible and complement each other."
What does it mean then to have food look as good as it tastes? What sort of plating techniques must one employ? "The dish," Chef James imparts in a most memorable quote, "should be plated as though the food were dropped from heaven." Whether or not you believe God has a battalion of angels on hand for every meal, the analogy is a delightful combination of divinity and humanity-the perfect imperfection. "Get it on the plate and put it out; don't spend twenty minutes hovering and fussing," she says, waving her hands around as if to ward off all the fuss. For example, three seared scallops, browned and caramelized, medium rare served on a baby spinach and strawberry salad topped with pistachio butter. "Food is beautiful on its own-super fresh, high quality ingredients, perfectly prepared-that's beautiful food."
As for Chef Gras, the ingredient fusion requires more attention and thought to presentation. Pistachio crusted lamb rack brushed with Dijon mustard with a flourish of mint demi-glaze share space with sundried tomato and kalamata olive orzo and a baby vegetable patch of asparagus, carrots and beets. Chefs do find themselves in the conundrum of how to gauge the importance of presentation. It would seem natural and obvious that of course, taste be the most important, however, as Chef Gras points out, "Plating is the most important to me. I have no choice in that-guests see the food first."
For Chef Gras, whose hometown is Chamonix Mont Blanc in the French Alps, great food is clearly a family affair. "My grandfather was a chef and my dad. My uncle, my dad's twin brother, has been a chef in the United States for thirty years. They were both trained by Paul Bocuse. I started cooking at home with my dad when I was about ten." He's been in the United States for seven years and just moved to New Mexico last February. Since his arrival, Chef Gras has been trying to blend his cooking style with that of the culture around him. I like his quote about the theme of the dishes prepared at the Corn Maiden, "They are not copies of local favorites, they are inspired by them." He is classically French trained but he's working on not being "too classic" which, when pressed for more detail, explained it meant "too French." (Of course, I thought, why did I bother asking?) Eager to get off this identity merry-go-round, he clarified in food terms. For example, a current item he's working on for the spring menu is grilled buffalo tenderloin (there's not a lot of buffalo in France or classic cooking) atop a celery purée and fried potatoes mixed with pâte choux (essentially, a puff pastry batter) and finished with foie gras and shaved truffles. And how will this look on the plate? "The food dictates me-I don't have an idea of what it will look like when I start to work with it, but I'll move things around a few times and know when it is right."
Chef James, echoing the organic notion of this process, states, "If you have the knowledge and balance of flavors down-spicy, sweet, tangy, bitter, etc.-you don't have to worry that much about presentation." She also hearkens to her Midwestern heritage in graze's food presentation. I recalled a cheese plate featuring Tucumcari feta within extra virgin olive oil with garlic, orange zest and herbs. The mixture marinated, and was served, in a small Ball canning jar with housemade crackers. "I grew up surrounded by Ball canning jars-it's important for chefs to show evidence of where they're from." One thing I would be remiss in not sharing as a steadfast element of Chef James' presentation is citrus. On the sashimi offering du jour-kajiki (blue marlin) served with a raw carrot/basil/cilantro salad, you will find a grilled lime daintily placed on one of those teeny-tiny forks, just waiting for your squeeze. James notes, "Citrus is best when added at the very end-it makes the dish come alive."
Food preparation and presentation is more than squeeze bottles and julienned carrots, it is a symbiosis between taste and aesthetic-a clear form of self expression that will vary in as many styles as there are chefs. It requires an obvious depth and breadth of food knowledge. In the end, presentation is not about architecture or what the clock says, but what makes good gustatory sense.
The Corn Maiden at the Hyatt Regency Tamaya is home for Chef Bruno Gras, 1300 Tuyuna Trail in the Santa Ana Pueblo. 505.867.1234.
Chef Jennifer James is at graze, 3128 Centaral Avenue SE in Albuquerque. 505.268.4729.


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this wiki
Fuchsbau | |
Other languages: | German: Fuchsteufel Hungarian: Rőtbundás Russian: Рыжехвост Spanish: Fuchsbau |
Notables: | Sam Bertram (possible) Ryan Showalter Freddy Calvert Rosalee Calvert Gloria Calvert DeEtta Calvert Ian Harmon Alicia Genvieve Julie Julie's Mother |
Appearances | |
TV Show: | Season 1
Season 2
Season 3
"The Ungrateful Dead" "PTZD" "A Dish Best Served Cold" "One Night Stand" "El Cucuy" "Stories We Tell Our Young" "Cold Blooded" "Twelve Days of Krampus" "Red Menace" "Eyes of the Beholder" "The Good Soldier" "The Wild Hunt" "Revelation" "Mommy Dearest" "Once We Were Gods" "The Show Must Go On" "Synchronicity" "The Law of Sacrifice" "Nobody Knows the Trubel I've Seen" "My Fair Wesen" "The Inheritance" "Blond Ambition" |
Webisodes: | "Bad Hair Day" "Love is in the Air" |
Comics: | Issue 0 issue 1 Issue 7 Issue 10 Issue 11 Issue 12 Grimm: The Warlock Issue 4 |
Books: | The Icy Touch The Chopping Block The Killing Time |
Referenced: | "The Other Side" |
A Fuchsbau (pronunciation: FOOKS-bow; Germ. "fox hole" or "burrow") is a fox-like Wesen that first appeared in "Organ Grinder".
"Bad Hair Day"Edit
Part 1 "A Sore SubjectEdit
Rosalee tells Bud that she will be able to make a remedy for his hair loss problem.
Part 2 "A Helping Hand"Edit
Rosalee makes the remedy with Monroe's help. Monroe does not follow the instructions precisely.
Part 3 "Friendly Neighborhood Eisbiber"Edit
Rosalee give Bud his remedy. She also tries Monroe's dandelion and seaweed cookie.
Part 4 "Late Night Crisis"Edit
Bud returns to the shop suffering from extreme hair growth, Rosalee has to make a new cure and then washes it into Bud's hair.
Characteristics Edit
Compared to many canid Wesen, Fuchsbau have a mild woge. They grow long orange fur, as well as either white or black patches all over their body. Their facial features remain relatively the same, save for becoming slightly more pointed. They also gain sharp canine teeth, fox-like ears, fox-like eyes and a black fox-like nose. Their hair stays roughly the same.
They do not have any strength enhancement or superiority over the humans that other canine Wesen such as Schakal and Blutbaden obviously have. However, their jaw muscles are powerful enough to at least tear off a chunk from their victims, but not enough to cause significant damage. They are known to have an excellent sense of smell, comparable to a Blutbad's, as seen when Monroe and Rosalee scented out Nick's mother in his house in Bad Teeth. Their sense of smell becomes stronger when they Woge.
Generally deemed as "liars" by the Wesen community, Fuchsbau may deal with shady transactions, including the buying and selling of human organs. Despite this, Fuschsbau are loyal and friendly to those whom they consider friends.
They generally prefer to avoid confrontation; however, they will fight when forced to do so and will not go down until they at least succeed at biting off something from their adversaries.They prefer to ambush and surprise those who come after them.
They will fight for causes they believe in, as shown by the number of them in the Resistance (against the Verrat), namely Ian Harmon and Rosalee Calvert's parents and grandparents.
Like many Wesen, Fuchsbau fear Grimms. Their first response to meeting one is usually to try to run away, however, they are willing to at least work with them after being assured the Grimm means them no harm.
The following is an excerpt from "Antidotes":
- Main article: Fuchsbau/Images
- Fuchsbau skin is more valuable than Blutbad skin. ("Endangered")


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About 20 hours after we found out that the NFL and NFLPA had agreed to extend the collective bargaining agreement deadline by one day, we've found out that the two sides have now extended the deadline by a full week.
ESPN's Adam Schefter was the first to report that the league and the union now have seven extra days to reach a new long-term agreement on where to cut a $9 billion pie, how much to pay rookies, how long the regular season should last, what kind of money to give to retired players and a multitude of ancillary issues.
This is obviously an indication that things are progressing quickly. The parties wouldn't have added seven days if they didn't believe they could get something done in that time period. And although there have been conflicting reports as to how well talks are going, it looks as though those on the "positive" side were on to something.
The new deadline to get a deal done is next friday at 5:00 p.m. ET, which means the clock starts now. But the two sides will break for the weekend and renew discussions Monday morning.
The remarkable turnaround is also an indication that mediation helped. The process was widely criticized as a publicity stunt when the owners and the players agreed to talk in the presence of federal mediator George Cohen two weeks ago, but things have picked up since then. How much of that progress can be attributed to mediation as opposed to the recent decision of US District Judge David Doty to take away the league's right to "lockout insurance"? It's impossible to know.
But only one thing matters: progress is being made.
And so next week will suck, especially considering that transactions are now frozen. No trades, no contract extensions, no tenders, nothing. Get ready for another week of legalese.
And then, hopefully, it'll all be over.


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Hello - I'm in East TN (zone 6b/7a) and am thinking of replanting at the front of my porch with some kind of nice low maintenance, long lived shrub. I'm a total blank and am a bit worn out from previous choices that didn't work out so well. This will be a southeast exposure in front of an old farm house with front porch that has a railing that tops out at about 5' from ground level. If a dense shrub, I'd like it to be at or under the 5'height, and at each corner I'm thinking a small tree with nice bark that wouldn't take forever to grow. I've used crape myrtle quite a lot already on the property so might like something different - or just another shrub and then set trees out further in the yard. The total length of the porch is 40' with steps in the center about 3' wide. I'm tired of several years of trial and error with a lot of error. Would like something I could get in there and not have to replant - getting too old for that. Would like evergreen, but actually doesn't just have to be - more important is that it look healthy during the growing season. Doesn't have to be showy - I'm past wanting the lush fragrant roses - I want something easy that will stand up to our heat and humidity. Plus, my soil is alkaline and I am surrounded by cedar trees - found out the hard way that rules out serviceberry.
Thanks in advance!
Follow-Up Postings:
- Posted by ken_adrian z5 (My Page) on Thu, Jul 1, 10 at 8:44
hi fran personally.. i find it near impossible to offer suggestions without a picture of the actual space... is that possible?? ken |
- Posted by dave_in_nova VA zone 7a (My Page) on Thu, Jul 1, 10 at 12:24
I'd be interested in knowing what all you've tried thus far and why you think it failed. Is it full sun? Are you willing to water? How about for along the porch: Otto Luyken cherry laurel? or perhaps 'Soft Touch' Japanese hollies. Around here, some of the more attractive corner evergreen shrubs/trees that we commonly see are: 1) Hinoki (or False) Cypress Anyway, that's a start. Look them up and see if they will work in your region. |
I'm in southwestern KY and trying a pair of dwarf golden Hinoki false cypress ('verdoni' was part of the name); I believe they get 3 to 5 feet tall, are really slow growing, and while not cheap didn't devastate the bank account, either. Found them an a local nursery. Are you wanting a row of the same thing, or just a couple of specimen plants, or what? If a dense evergreen under 5' tall is your fancy, some of the Arborvitae like Golden Globe might be worth a look. I'm not as familiar with the yews. In a sunny location some of the mugo pines that stay smaller can be neat; I'm trying 2 'Enci' mugos in a shrub row in the backyard. The Colorado Spruce shrub forum, 'Glauca globosa' is a neat looking plant - not sure how it'd do in your spot. Richard. P.S.: I'm not used to working with alkaline soil, so nothing I offered factors that in. |
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Special Olympics Montana is looking for volunteers to help out at the 2013 State Summer Games, held in Billings from May 14 to 17.
Last year's games, also held in Billings, drew nearly 2,000 volunteers and organizers say they'd like to see those numbers grow in 2013.
Volunteers are needed each day for all aspects of the games, including setting up competition areas, helping with food and assisting during the competitions.
The games are in their second of three years in Billings. They bring more than 1,000 athletes with intellectual disabilities in to compete in Olympic-style sports.
To sign up to volunteer, call the volunteer hotline at 406-896-5695 and leave your name, contact information, times available and areas of interest.
For further information, call Special Olympics Montana at 406-216-5327 or 800-242-6876 or visit the Special Olympics Montana website.


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Buying a home is an exciting adventure, but it can quickly turn to heartache. Our partners at Angie's List say before you fall in love with a home, line up a team of reputable professionals that will work for you. More in this Angie's List Report.
Click here to read the full story.


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Greetings, vile once!
What have where your Heretics bedammend errants and undertakings so far, besides the available moduls? What was it your group set sights upon, what was it that you as a GM brewed up? And how did it went?
Please take note: I am asking for actual "summary of play" here, not theoretical idea.
So, please tell what you have been about recently and how it played out


text: Artist Activist Ricardo Levins Morales to Speak March 8 St. Thomas Newsroom March 3, 2011 The American Culture and Difference Program in the College of Arts and Sciences invites the campus community to a talk by Ricardo Levins Morales on "The Power and Practice of Medicinal Art." Ricardo Levins Morales The presentation, free and open to the public, will be held from 3:30 to 4:30 p.m. Tuesday, March 8, in Room 126, John R. Roach Center for the Liberal Arts. Morales is a social movement artist and activist. He works out of a storefront studio in Minneapolis. He uses his art to engage with communities and movements to help them counter the toxic messages that keep them from developing their power. Born in the coffee-growing regions of western Puerto Rico, he moved to the United States as he entered his teen years during a time of political upheaval. For more information contact the American Culture and Difference Program, (651) 962-5649. RelatedIngrid Johnsen Haas '05 to Speak at Psychology Spring Colloquium April 25'Fall of Berlin Wall' observances include re-creation of wall today, talk tomorrow'Troubling Waters' Discussion on Messages in Culture and Film Continues April 3'The Irish Family at Home and Abroad' Symposium Here March 9


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Children up to age 18 will be served breakfast and lunch at I.T. Montgomery Elementary School cafeteria from Monday to July 13.
The school will also feed disabled children up to age 19.
The feeding program will take place Mondays through Fridays, with breakfast from 7:30-8 a.m. and lunch from 11 a.m.-noon.
"We've been doing this for years," said Superintendent William Crockett. "We want to make sure our children have adequate meals that include breakfast and lunch."
He said this year the feeding program is run in conjunction with the 21st century after school program.
"That's why the feeding program is going partly into the month of July," he explained.
These meals are available at no cost for participants and children do not have to be enrolled in the school district to have the meals.
According to Crockett, each full meal will include healthy choices. The meals will consist of milk and three or four other food items.
"There is a schedule of meals, they are planned like regular meals during the school year," said the superintendent. "The State Department of Education Nutrition Program checks the meals and schedules to make sure the meals are full and healthy just like the meals during the school year."
Crockett said parents or guardians may pick up a meal schedule at the Mound Bayou School District central office.
"We will also provide transportation to the school by bus," added Crockett. "There is no limit to how many children may show up. There's no registration and everyone can just trickle in."
He said there will not be any activities during the meals, the children will simply be served food.
"Children don't have to show up right at those times, but they do need to show up within a certain period during those time frame," said Crockett.
As for the feeding program's participation, Crockett said it varies.
"It's usually good in June and it usually drops off after July 4," he explained. "That's why we normally shut down around the end of June, since many families are gone on vacation later in the summer."
For more information on the Summer Feeding Program, contact the Mound Bayou School District at (662) 741-2555.


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Hi all, A couple weeks ago we bought a house with a wooden pergola on a cement patio. It is painted white and looks very similar to the one in the picture. We were wondering what type of vine, if any we should grow along it? We really like the look of Japanese Wisteria, but do not know how many plants would be needed. The wooden posts are about 14 feet apart, and we were thinking of getting one plant to grow along each post. Would Japanese wisteria be a good or poor choice? One side of the pergola is about 5 feet from our house. Would the Japanese Wisteria ruin our foundation, and could it ruin the cement on which the pergola sits? Please let us know if this would be okay or whether there is another vine or plant you would recommend besides Japanese Wisteria. Thank you for your help. |
Follow-Up Postings:
The pergola in the picture does not look like one you would actually plant something on! Where would you plant the vine?! The posts are too far from soil/ a planting bed where you could plant something, so unless you plant annuals in big pots, the structure is a stand-alone thing to provide shade (if necessary you could add shade cloth to the top, or a finer lattice or patterned metal-work to the top to increase the degree of shade...) Is your pergola that far away from a planting bed? Naver grow a wisteria unless you are fully aware of - and prepared to do - the degree of pruning required to promote maximum flowering and contol of the vines. Is that something you're prepared for? |
- Posted by UncleHippie none (My Page) on Tue, Jun 18, 13 at 21:19
The cement on which our pergola rests is close to a planting bed at all four corners. I just posted that picture because the structure looks very similar. After doing more research, we have concluded that wisteria would not work well on our pergola since it is made of wood. We have decided to go with a mix of summer snow and alpina bettina clematis. |
Dont want to hijack this thread, but... Later this summer I'm having a Pergola put in and we are making sure there is dirt next to each post. We are looking for vining plants to plant primarily for shade, but fruit and/or flowers are a bonus. I'm definilty going to check out the plants mentioned above. Does anyone have any other suggestions for a vining plant that meets the following criteria? 1) Perenial in Zone 4 2) Provides shade 3) Fruit and/or flowers The pergola will be wood, and the area receives filtered sun for half the day, and full sun the other half. |
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New York TaxationEdit This Page
From FamilySearch Wiki
Many early New York tax lists, including burgher and freemen lists, exist back to about 1675. Tax records can substitute for census records as tools to locate where a family lived. The Family History Library has tax lists from the early 1700s for Dutchess County, New York City, and some other areas. The state archives has tax lists for the 1770s and 1780s, and Tax Assessment Rolls of Real Estate and Personal Estates for 1799–1804. These are arranged by county, year, and town. Tax lists from about 1850–1870 are filed in town clerk and county treasurers' offices, but they are not available on microfilm. The New York 1798 direct tax lists have not been located.
Some tax lists for the 1700s have been published in The New York Genealogical and Biographical Record. Some early New York City lists are in New York Historical Society, Tax Lists of the City of New York, December 1695 to July 15, 1699, in the series Collections of the New York Historical Society, Volume 43–44 (New York, New York: The New-York Historical Society, 1911–12; Family History Library book 974.7 B4n v. 43–44; film 845302 item 3–4).
The National Archives (Washington, D.C.) and the Family History Library have microfilm copies of the Assessment Lists of the Federal Bureau of Internal Revenue, 1862 to 1866 (Family History Library films 1534827–930, 1549027–102). They are not indexed, but they are arranged by county. These lists are useful for locating a person's residence during the Civil War.
The National Archives—Northeast Region has assessment lists for New York, 1862–1917. These lists generally contain the names of the taxpayers (individuals and corporations), city of residence, articles or occupations taxed, and the amounts assessed and collected. The taxes during the civil War were gradually abolished until only taxes on liquor and tobacco remained in 1883. Corporate income taxes began in 1909. A draft inventory of these records is available on microfiche from the archives.
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text: Keitai Shoujo Solitaire – Spider - gamesBookmark the permalink. Release date: Aug 4th, 2009 Price: 2.99 Version: 1.1 Seller: G-mode Co.,Ltd. Buy Now STP SCORE: Not yet reviewed Description Related Games Fallen Lords Dream Quest Naval Tactics: Captains of the Spanish Main Talisman Hitman Go Lords of Waterdeep Agricola Talisman Prologue HD Solitaire Blitz STRATEGO – Official strategy board game


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Oliver TwistThe Parish Boy's Progress(1838)This is the second novel by Charles DickensThis is the story of an orphan, Oliver Twist, who endures a miserable existence in a workhouse and then is placed with an undertaker. He escapes and travels to London where he meets the Artful Dodger, leader of a gang of juvenile pickpockets. Naïvely unaware of their unlawful activities, Oliver is led to the lair of their elderly criminal trainer Fagin. It is notable for Dickens' unromantic portrayal of criminals and their sordid lives. It exposes the cruel treatment of the many orphans in London during the Dickensian era. The book's subtitle, The Parish Boy's Progress, alludes to Bunyan's The Pilgrim's Progress and also to a pair of popular 18th-century caricature series by William Hogarth, A Rake's Progress and A Harlot's Progress. FROM: Appreciations and Criticisms of the Works of Charles DickensBY: Gilbert Keith ChestertonIn considering Dickens, as we almost always must consider him, as a man of rich originality, we may possibly miss the forces from which he drew even his original energy. It is not well for man to be alone. We, in the modern world, are ready enough to admit that when it is applied to some problem of monasticism or of an ecstatic life. But we will not admit that our modern artistic claim to absolute originality is really a claim to absolute unsociability; a claim to absolute loneliness. The anarchist is at least as solitary as the ascetic. And the men of very vivid vigour in literature, the men such as Dickens, have generally displayed a large sociability towards the society of letters, always expressed in the happy pursuit of pre-existent themes, sometimes expressed, as in the case of Molière or Sterne, in downright plagiarism. For even theft is a confession of our dependence on society. In Dickens, however, this element of the original foundations on which he worked is quite especially difficult to determine. This is partly due to the fact that for the present reading public he is practically the only one of his long line that is read at all. He sums up Smollett and Goldsmith, but he also destroys them. This one giant, being closest to us, cuts off from our view even the giants that begat him. But much more is this difficulty due to the fact that Dickens mixed up with the old material, materials so subtly modern, so made of the French Revolution, that the whole is transformed. If we want the best example of this, the best example is Oliver Twist. Relatively to the other works of Dickens Oliver Twist is not of great value, but it is of great importance. Some parts of it are so crude and of so clumsy a melodrama, that one is almost tempted to say that Dickens would have been greater without it. But even if be had been greater without it he would still have been incomplete without it. With the exception of some gorgeous passages, both of humour and horror, the interest of the book lies not so much in its revelation of Dickens's literary genius as in its revelation of those moral, personal, and political instincts which were the make-up of his character and the permanent support of that literary genius. It is by far the most depressing of all his books; it is in some ways the most irritating; yet its ugliness gives the last touch of honesty to all that spontaneous and splendid output. Without this one discordant note all his merriment might have seemed like levity. Dickens had just appeared upon the stage and set the whole world laughing with his first great story Pickwick. Oliver Twist was his encore. It was the second opportunity given to him by those who ha rolled about with laughter over Tupman and Jingle, Weller and Dowler. Under such circumstances a stagey reciter will sometimes take care to give a pathetic piece after his humorous one; and with all his many moral merits, there was much that was stagey about Dickens. But this explanation alone is altogether inadequate and unworthy. There was in Dickens this other kind of energy, horrible, uncanny, barbaric, capable in another age of coarseness, greedy for the emblems of established ugliness, the coffin, the gibbet, the bones, the bloody knife. Dickens liked these things and he was all the more of a man for liking them; especially he was all the more of a boy. We can all recall with pleasure the fact that Miss Petowker (afterwards Mrs. Lillyvick) was in the habit of reciting a poem called "The Blood Drinker's Burial." I cannot express my regret that the words of this poem are not given; for Dickens would have been quite as capable of writing "The Blood Drinker's Burial" as Miss Petowker was of reciting it. This strain existed in Dickens alongside of his happy laughter; both were allied to the same robust romance. Here as elsewhere Dickens is close to all the permanent human things. He is close to religion, which has never allowed the thousand devils on its churches to stop the dancing of its bells. He is allied to the people, to the real poor, who love nothing so much as to take a cheerful glass and to talk about funerals. The extremes of his gloom and gaiety are the mark of religion and democracy; they mark him off from the moderate happiness of philosophers, and from that stoicism which is the virtue and the creed of aristocrats. There is nothing odd in the fact that the same man who conceived the humane hospitalities of Pickwick should also have imagined the inhuman laughter of Fagin's den. They are both genuine and they are both exaggerated. And the whole human tradition has tied up together in a strange knot these strands of festivity and fear. It is over the cups of Christmas Eve that men have always competed in telling ghost stories. This first element was present in Dickens, and it is very powerfully present in Oliver Twist. It had not been present with sufficient consistency or continuity in Pickwick to make it remain on the reader's memory at all, for the tale of "Gabriel Grubb" is grotesque rather than horrible, and the two gloomy stories of the "Madman" and the "Queer Client" are so utterly irrelevant to the tale, that even if the reader remember them he probably does not remember that they occur in Pickwick. Critics have complained of Shakespeare and others for putting comic episodes into a tragedy. It required a man with the courage and coarseness of Dickens actually to put tragic episodes into a farce. But they are not caught up into the story at all. In Oliver Twist, however, the thing broke out with an almost brutal inspiration, and those who had fallen in love with Dickens for his generous buffoonery may very likely have been startled at receiving such very different fare at the next helping. When you have bought a man's book because you like his writing about Mr. Wardle's punch-bowl and Mr. Winkle's skates, it may very well be surprising to open it and read about the sickening thuds that beat out the life of Nancy, or that mysterious villain whose face was blasted with disease. As a nightmare, the work is really admirable. Characters which are not very clearly conceived as regards their own psychology are yet, at certain moments, managed so as to shake to its foundations our own psychology. Bill Sikes is not exactly a real man, but for all that he is a real murderer. Nancy is not really impressive as a living woman; but (as the phrase goes) she makes a lovely corpse. Something quite childish and eternal in us, something which is shocked with the mere simplicity of death, quivers when we read of those repeated blows or see Sikes cursing the tell-tale cur who will follow his bloody foot-prints. And this strange, sublime, vulgar melodrama, which is melodrama and yet is painfully real, reaches its hideous height in that fine scene of the death of Sikes, the besieged house, the boy screaming within, the crowd screaming without, the murderer turned almost a maniac and dragging his victim uselessly up and down the room, the escape over the roof, the rope swiftly running taut, and death sudden, startling and symbolic; a man hanged. There is in this and similar scenes something of the quality of Hogarth and many other English moralists of the early eighteenth century. It is not easy to define this Hogarthian quality in words, beyond saying that it is a sort of alphabetical realism, like the cruel candour of children. But it has about it these two special principles which separate it from all that we call realism in our time. First, that with us a moral story means a story about moral people; with them a moral story meant more often a story about immoral people. Second, that with us realism is always associated with some subtle view of morals; with them realism was always associated with some simple view of morals. The end of Bill Sikes exactly in the way that the law would have killed him -- this is a Hogarthian incident; it carries on that tradition of startling and shocking platitude. All this element in the book was a sincere thing in the author, but none the less it came from old soils, from the graveyard and the gallows, and the lane where the ghost walked. Dickens was always attracted to such things, and (as Forster says with inimitable simplicity) "but for his strong sense might have fallen into the follies of spiritualism." As a matter of fact, like most of the men of strong sense in his tradition, Dickens was left with a half belief in spirits which became in practice a belief in bad spirits. The great disadvantage of those who have too much strong sense to believe in supernaturalism is that they keep last the low and little forms of the supernatural, such as omens, curses, spectres, and retributions, but find a high and happy supernaturalism quite incredible. Thus the Puritans denied the sacraments, but went on burning witches. This shadow does rest, to some extent, upon the rational English writers like Dickens; supernaturalism was dying, but its ugliest roots died last. Dickens would have found it easier to believe in a ghost than in a vision of the Virgin with angels. There, for good or evil, however, was the root of the old diablerie in Dickens, and there it is in Oliver Twist. But this was only the first of the new Dickens elements, which must have surprised those Dickensians who eagerly bought his second book. The second of the new Dickens elements is equally indisputable and separate. It swelled afterwards to enormous proportions in Dickens's work; but it really has its rise here. Again, as in the case of the element of diablerie, it would be possible to make technical exceptions in favour of Pickwick. Just as there were quite inappropriate scraps of the gruesome element in Pickwick, so there are quite inappropriate allusions to this other topic in Pickwick. But nobody by merely reading Pickwick would even remember this topic; no one by merely reading Pickwick would know what this topic is; this third great subject of Dickens; this second great subject of the Dickens of Oliver Twist. This subject is social oppression. It is surely fair to say that no one could have gathered from Pickwick how this question boiled in the blood of the author of Pickwick. There are, indeed, passages, particularly in connection with Mr. Pickwick in the debtor's prison, which prove to us, looking back on a whole public career, that Dickens had been from the beginning bitter and inquisitive about the problem of our civilisation. No one could have imagined at the time that this bitterness ran in an unbroken river under all the surges of that superb gaiety and exuberance. With Oliver Twist this sterner side of Dickens was suddenly revealed. For the very first pages of Oliver Twist are stern even when they are funny. They amuse, but they cannot be enjoyed, as can the passages about the follies of Mr. Snodgrass or the humiliations of Mr. Winkle. The difference between the old easy humour and this new harsh humour is a difference not of degree but of kind. Dickens makes game of Mr. Bumble because he wants to kill Mr. Bumble; he made game of Mr. Winkle because he wanted him to live for ever. Dickens has taken the sword in hand; against what is he declaring war? It is just here that the greatness of Dickens comes in; it is just here that the difference lies between the pedant and the poet. Dickens enters the social and political war, and the first stroke he deals is not only significant but even startling. Fully to see this we must appreciate the national situation. It was an age of reform, and even of radical reform; the world was full of radicals and reformers; but only too many of them took the line of attacking everything and anything that was opposed to some particular theory among the many political theories that possessed the end of the eighteenth century. Some had so much perfected the perfect theory of republicanism that they almost lay awake at night because Queen Victoria had a crown on her head. Others were so certain that mankind had hitherto been merely strangled in the bonds of the State that they saw truth only in the destruction of tariffs or of by-laws. The greater part of that generation held that clearness, economy, and a hard common-sense, would soon destroy the errors that had been erected by the superstitions and sentimentalities of the past. In pursuance of this idea many of the new men of the new century, quite confident that they were invigorating the new age, sought to destroy the old entimental clericalism, the old sentimental feudalism, the old-world belief in priests, the old-world belief in patrons, and among other things the old-world belief in beggars. They sought among other things to clear away the old visionary kindliness on the subject of vagrants. Hence those reformers enacted not only a new reform bill but also a new poor law. In creating many other modern things they created the modern workhouse, and when Dickens came out to fight it was the first thing that he broke with his battle-axe. This is where Dickens's social revolt is of more value than mere politics and avoids the vulgarity of the novel with a purpose. His revolt is not a revolt of the commercialist against the feudalist, of the Nonconformist against the Churchman, of the Free-trader against the Protectionist, of the Liberal against the Tory. If he were among us now his revolt would not be the revolt of the Socialist against the Individualist, or of the Anarchist against the Socialist. His revolt was simply and solely the eternal revolt; it was the revolt of the weak against the strong. He did not dislike this or that argument for oppression; he disliked oppression. He disliked a certain look on the face of a man when he looks down on another man. And that look on the face is, indeed, the only thing in the world that we have really to fight between here and the fires of Hell. That which pedants of that time and this time would have called the sentimentalism of Dickens was really simply the detached sanity of Dickens. He cared nothing for the fugitive explanations of the Constitutional Conservatives; he cared nothing for the fugitive explanations of the Manchester School. He would have cared quite as little for the fugitive explanations of the Fabian Society or of the modern scientific Socialist. He saw that under many forms there was one fact, the tyranny of man over man; and he struck at it when he saw it, whether it was old or new. When he found that footmen and rustics were too much afraid of Sir Leicester Dedlock, he attacked Sir Leicester Dedlock; he did not care whether Sir Leicester Dedlock said he was attacking England or whether Mr. Rouncewell, the Ironmaster, said he was attacking an effete oligarchy. In that case he pleased Mr. Rouncewell, the Ironmaster, and displeased Sir Leicester Dedlock, the Aristocrat. But when he found that Mr. Rouncewell's workmen were much too frightened of Mr. Rouncewell, then he displeased Mr. Rouncewell in turn; he displeased Mr. Rouncewell very much by calling him Mr. Bounderby. When he imagined himself to be fighting old laws he gave a sort of vague and general approval to new laws. But when he came to the new laws they had a bad time. When Dickens found that after a hundred economic arguments and granting a hundred economic considerations, the fact remained that paupers in modern workhouses were much too afraid of the beadle, just as vassals in ancient castles were much too afraid of the Dedlocks, then he struck suddenly and at once. This is what makes the opening chapters of Oliver Twist so curious and important. The very fact of Dickens's distance from, and independence of, the elaborate financial arguments of his time, makes more definite and dazzling his sudden assertion that he sees the old human tyranny in front of him as plain as the sun at noon-day. Dickens attacks the modern workhouse with a sort of inspired simplicity as a boy in a fairy tale who had wandered about, sword in hand, looking for ogres and who had found an indisputable ogre. All the other people of his time are attacking things because they are bad economics or because they are bad politics, or because they are bad science; he alone is attacking things because they are bad. All the others are Radicals with a large R; he alone is radical with a small one. He encounters evil with that beautiful surprise which, as it is the beginning of all real pleasure, is also the beginning of all righteous indignation. He enters the workhouse just as Oliver Twist enters it, as a little child. This is the real power and pathos of that celebrated passage in the book which has passed into a proverb; but which has not lost its terrible humour even in being hackneyed. I mean, of course, the everlasting quotation about Oliver Twist asking for more. The real poignancy that there is in this idea is a very good study in that strong school of social criticism which Dickens represented. A modern realist describing the dreary workhouse would have made all the children utterly crushed, not daring to speak at all, not expecting anything, not hoping anything, past all possibility of affording even an ironical contrast or a protest of despair. A modern, in short, would have made all the boys in the workhouse pathetic by making them all pessimists. But Oliver Twist is not pathetic because he is a pessimist. Oliver Twist is pathetic because he is an optimist. The whole tragedy of that incident is in the fact that he does expect the universe to be kind to him, that he does believe that he is living in a just world. He comes before the Guardians as the ragged peasants of the French Revolution came before the Kings and Parliaments of Europe. That is to say, he comes, indeed, with gloomy experiences, but he comes with a happy philosophy. He knows that there are wrongs of man to be reviled; but he believes also that there are rights of man to be demanded. It has often been remarked as a singular fact that the French poor, who stand in historic tradition as typical of all the desperate men who have dragged down tyranny, were, as a matter of fact, by no means worse off than the poor of many other European countries before the Revolution. The truth is that the French were tragic because they were better off. The others had known the sorrowful experiences; but they alone had known the splendid expectation and the original claims. It was just here that Dickens was so true a child of them and of that happy theory so bitterly applied. They were the one oppressed people that simply asked for justice; they were the one Parish Boy who innocently asked for more. Fan of this book? Help us introduce it to others by writing a better introduction for it. It's quick and easy, click here. Recent Forum Posts on Oliver TwistCorruption of minorsIn chapter 9, after Charley Bates and the Dodger practice picking Fagin's pockets, Dickens wrote this: When the game had been played a great many times, a couple of young ladies came to see the young gentlemen, one of whom was called Bet and the other Nancy. They wore a great deal of hair, not very neatly turned up behind, and were rather untidy about the shoes and stockings. They were not exactly pretty, perhaps; but they had a great deal of colour in their faces, and looked quite stout and hearty. Being remarkably free and agreeable in their manners, Oliver thought them very nice girls indeed, as there is no doubt they were. Presumably this means what I think it does. The two girls leave with Charley and the Dodger with some money to spend from Fagin. Hey, how old are Dodger and Charley? Then I started reading a bit more of the introduction and came upon this: Edward Wakefield's chapter on 'Nurseries of Crime', in his remarkable non-fiction 'Facts Relating to the Punishment of Death in the Metropolis' (1831), describes the use of girls by criminals like Fagin to draw boys, often as young as twelve, into thieving through 'the precocious excitement and gratification of the sexual passion' Is this what Dickens was alluding to? If so, would Dickens' readers have understood this? Oliver Twist - the first chaptersI recently started reading Oliver Twist. I have several times heard that this was not one of Dickens' best, but actually I am enjoying it more than most of the others of his that I have read. The writing is not too convoluted; the story rattles along, and it is quite funny. Poor little Oliver. He's just a bag of bones. The parish are quite content for him to just die so that they don't have to feed him. His mother kissed him before expiring and the next scrap of kindness he is shown is eight years later when a magistrate refuses to apprentice him as a chimney sweep. In chapter 6, it says the old nurses at the workhouse had talked kindly about his mother, so I suppose it is likely that some people had shown kindness to young Oliver. I doubt whether he would have grown up such a nice lad if no one had. It's terrible to think there was a time when such a plot would be plausible, even if exaggerated a bit, which it seems it wasn't. The 19th century was a period of slow reform. Of course, society was much less wealthy as a whole and less able to address its problems, but it was also a time of widespread incompetence, callous indifference, dodgy self-serving economic theory, and prejudice. No doubt it was even worse before then. The chapter in which Oliver is nearly apprenticed as a chimney sweep is an odd one. It's a chapter that does not lead anywhere. I wonder whether Dickens considered making Oliver a chimney sweep, but then decided against it. Oliver Twist PasticheI have written an Oliver Twist Pastiche, called "Quigsnip," which is now available on Amazon. It is about a shadowy villain who seeks revenge on Oliver. Oliver finds himself on the street again, in a series of harrowing adventures, after he is framed, very convincingly for a terrible. In a sense, he is not even framed, which makes it worse. For anyone wishing to review it on the Literature Network forums I will rpovie free copies for any reviewers. The blurb is: "Quigsnip" is a tale of Dickens' Oliver Twist, that Dickens himself seemed too frightened to tell, of a plotline which he began, but never finished.... Oliver Twist, the brave orphan boy who defied the workhouse board has found his rich family, and is now well-nourished, and living among luxury. He imagines his former life as a half-starved workhouse waif in the clutches of the infamous Fagin gang is far behind him. But one villain remains at large. He is a villain with an unknown connection to Oliver's past. A villain who controls the entire underworld of Victorian London. A villain who will stop at nothing until he has destroyed all that the boy loves, before putting Oliver in his grave… Examples of Allusions in Oliver Twist?I need to find three Biblical, Historical, Literary, or Mythological Allusions in Oliver Twist from the chapters 12-16. Thanks to anyone that helps. I'm currently searching for some myself but I really need some help. Oliver Twist ChapterIn chapter 32 of Oliver Twist, when Losberen takes Oliver for a ride in the country, Oliver thinks he sees the house Sikes took him to the night before the burglary when they met up with Toby Crackit. Losberne barges in, but finds only an angry hunchback man who denies knowing anything about Sikes. The house does not match Oliver's description. The hunchback follows Losberne back to the carraige and, whne he peers in and sees Oliver, flies into a rage. What is up with this chapter? Is the hunchback merely a cantankerous old hermit? Or something more? Is it really Toby Crackit's house? Or did Oliver really misidentify it? Dramatic Irony In Oliver TwistI am trying to find examples of dramatic irony in chapters 21 and 22 of Oliver Twist. Can anyone help me out whilst I'm still in search? Thanks to everyone who contributes. Do you have any opinions about the novel Oliver Twist?Now i am reading Oliver Twist, does anyone have any suggesion or perspective, please share them with me~thank you~:D Bill Sikes-the man, the monsterI can remember reading this when I was quite young, and then seeing the 48' film version of it, and at some point between reading about how menacing Bill Sikes was and then seeing him beat his girlfriend to death with a cane in the film (well, yes, it was obscured by a wall, but you knew what was happening) I became intrigued by his character. I was way too young too understand all the themes of the book, and I can't remember the things I'd like to, and that particular scene horrified me when I read it and watched it; but I do know I find alot about Bill to muse over. For one, whether he was really in love with Nancy; whether he did really feel an attachment to Bull's Eye; I suppose, the whole question of whether he was mentally, and emotionally, "rotten" to the core. I personally have always felt that, whilst his opinion and view and version of love is not the sort the majority would share with him or understand, Bill does indeed love Nancy and Bulls Eye in his own (highly) dsyfunctional way. Lots of people have argued with me on this, with a few people I know claiming that Bill's "only working emotion is hate"; but I feel there's a small spark of compassion and empathy in there somewhere, something that makes him realise he has an attachment to Nancy and his dog that goes beyond a mutually beneficial partnership. Maybe it isn't something he dwells on too much, or likes to think he has, but I think he has that; which, to him, is love. My first musing leads neatly into my second-what balance was there between his innate nature and his nurturing as he grew up that drove him to the person he was when we see him in the book and film? Was he naturally quite hardened emotionally as part as his genetical inheritance, and his (presumably) tough upbringing just enhanced this; or was he born pretty much neutral in terms of violence and indifference, and it was mostly his upbringing that instilled in him such anger and such hatred? Obviously, I'd never be naive enough to ask which one it was that produced such a man-you cannot ever say that it was either someone's innate nature or their nurture that made them turn out a certain way, but you can debate over which one played the bigger part, which one swung the balance. Also, as a sort of add-along, I cannot remember the book saying anything particular about Bill's childhood and upbringing before Fagin; is that true? I pressume he had an early life of hardship, born to parents that didn't want him or couldn't look after him; or both, or maybe he became orphaned early on-or maybe, his parents didn't want him and couldn't look after him, and then he also orphaned early on. When we discussed Dickens in one of my recent English classes, my teacher criticised me for suggesting that he had abusive parents, or was neglected by them, or both; yet I can't see why she did. I think she was just a bit unnerved at how I saw past the whole "happy bouncy musical" side of the book. Thoughts? Oliver Twist!:) You guys im a new member and my class been reading Oliver Twist and were on chapter 46! WOW! trust me its a good book;) ! Post a New Comment/Question on Oliver Twist |
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Carlos Cardona, ADN, RN Appointed as Director of Intensive Care Services
August 03, 2012
Spring Hill, FL – Oak Hill Hospital announces the appointment of Carlos Cardona, ADN, RN (Associate Degree in Nursing, Registered Nurse) as Director Intensive Care Services. As director of the MCCU and SICU, Mr. Cardona will be overseeing and managing the intensive care nursing program, and ensuring that Oak Hill Hospital's customers' expectations are exceeded at each and every encounter.
Mr. Cardona was promoted from his position as staff nurse in the intensive care nursing program at Oak Hill Hospital. He has served in the healthcare industry since 1995, beginning as a paramedic and working his way into nursing. He joined the Army/Air Force in 1999 and is currently responsible for supervising and training a 54 person company of both military and civilian personnel setting up an intermediate care unit (PCU). While serving our country, Mr. Cardona also achieved a rank of platoon sergeant with the top secret security clearance. He has been recognized as a battalion level drug prevention leader, company paramedic and financial manager/controller.
Mr. Cardona is a familiar face at Oak Hill Hospital. He began working in the MCCU and was instrumental in assisting with the development of the Vascular Access Team. "His passion lies with giving the patient an unforgettable experience with not only their care but also with the nursing staff," said Ralph Taylor, Oak Hill Hospital's Associate Chief Nursing Officer. "I am confident that his record of success and hard work will continue as he develops his team in the MCCU/SICU. As a team member and role model for his staff, his commitment to quality and dedication to patient care ensures that he and the MCCU/SICU staff will be successful and a tremendous asset to Oak Hill, our patients, and our physicians," added Mr. Taylor.
Marketing & Public Relations Contact:
Richard Linkul
(352) 597-6383


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Fit Club
Monday nights at 6:30pm at the amenities center in the Villages of Woodland Springs (12209 Timberland Blvd, 76244). Workouts like Turbo Fire, Insanity, P90X, and other great Beachbody DVDs. Get in shape and make new friends in a positive group setting.
Please register at:
P90x/Fitness Boot Camp
All Fitness levels are invited, no equipment is required; you will be using your body to get in shape and lose weight. You will be doing a lot of moving and stretching, so please dress appropriately.
Who is invited: All VOWS residents 18 years and older, who are current on HOA dues.
When: Monday- Friday 5:30 am- 6:30 am.
Where: VOWS Amenity Center at 12209 Timberland BLVD.
Please bring your pool card for proof of residency.
Please register online at:
Zumba Class
Zumba is now offered Wednesdays at 6pm at the amenity center. What is Zumba? Zumba is a fun, easy-to-follow, calorie burning, Latin-Inspired dance fitness party. Zumba's choreography includes a little hip-hop, samba, salsa, meringue, Bollywood, belly dancing and more. Just wear comfy clothes and speakers. I also suggest a water bottle. See you then! If you have any questions, feel free to email Christie McDevitt at firstname.lastname@example.com. Please register at http://tinyurl.com/VOWS-Zumba.
Soccer Tuesdays
Kids: 3-8 yrs. @ Bray Birch Park starting @ 5:30. Please bring a ball, shin guards and water bottle!!! Tell your soccer buddies, friends & neighbors!* YOUNG ADULTS/Adults start @ 7pm If you'd like to be added to the soccer emailing list:email@example.com with subject: Adult soccer. This …of course is FREE and you may invite friends!
Scrap Night
Please join us for a scraptastic night of scrapbooking. Tables are provided, just bring your projects and supplies and be prepared to have a fun evening and get lots of scrapping done. Entrance is free; just bring a snack or dessert to share with the group. Please email firstname.lastname@example.com for more details and to register.
When: See dates below, 7:00pm-10:00pm
Where: Amenity Center 12209 Timberland Blvd
1/17/14 , 2/21/14 , 3/21/14 , 3/22/14 All Day
4/18 /14 , 5/16/14 , 6/20/14 , 6/21/14 All Day
7/18/14 , 8/15/14 , 9/19/14 , 10/17/14, 10/18/14 All Day
11/21/14 , 12/19/14
DADDY DAUGHTER DANCE: February 8 4:30pm-9:00pm
NEED Volunteers! contact email@example.com
More details to follow
BUNNY HOP: April 12, 2014
MOTHER SON FIELD DAY: May 10, 2014
LUAU: June 14, 2014
4TH OF JULY EVENT: June 28, 2014
BACK TO SCHOOL BASH: Aug 16, 2014
FALL FESTIVAL: Oct 11, 2014
BREAKFAST WITH SANTA: Dec 6. 2-14
Community Garage Sale
May 2nd, 3rd and 4th and September 26th, 27th and 28th!!!
Don't forget your permit! http://fortworthtexas.gov/planninganddevelopment/permits/default.aspx?id=22228


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Tue, Apr 16, 13 at 15:28
I have a 3500 gallon pond. My water tests are all within normal ranges. I have a 9 year old large goldfish that is laying on the bottom of the pond on her side. If I try to move her she will swim and then stop and float to the bottom. Her fins and scales look good with no external parasites or fungus. She will not even breath through her mouth. What is wrong with her? |
This post was edited by sshoreland on Tue, Apr 16, 13 at 23:23
Follow-Up Postings:
- Posted by bulldinkie pa (My Page) on Tue, Apr 16, 13 at 17:26
Mine just came up from the bottom this week.,I live in pa.Maybe shes not ready yet. |
Hi Sh ore. You normally see this kind of behaviour in fish that have been thrown in to a new environment without acclimatizing the fish to pH. Try making a one third water change from the bottom of the pond to see if this helps. There is a good possibility that your fish will not survive but I hope that this is not the case. Please let me know how your fish made out. Your's Koily, Lorraine |
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Baseline Killer suspect Mark Goudeau was moved to a new jail cell Friday, following a Tribune report that he had been housed in an adjacent cell to Serial Shooter suspect Dale Hausner.
"They've already been moved," jail spokeswoman Lisa Allen McPherson said Friday afternoon.
She said Maricopa County Sheriff Joe Arpaio made the decision because he did not like the misleading implication in the Tribune article that the suspects had a "growing friendship."
A news release from the sheriff's office acknowledges that Goudeau and Hausner had been housed in adjacent cells until Friday in the Special Management Unit at Maricopa County's Fourth Avenue Jail. Arpaio said the unit is where the most dangerous suspects are housed, and each inmate is separated by several feet of concrete and steel and no one is within view or earshot of one another.
"Hausner would appear to have quite an imagination," Arpaio said in the statement. "My detention staff says there has not been any direct contact between these men and that Hausner misled the reporter in order to get more publicity for himself."
Hausner and Samuel Dieteman were arrested Aug. 4 at their Mesa apartment and charged with 37 random shootings linked to the "Serial Shooters." The case spanned 14 months and included seven slayings in Mesa, Scottsdale and Phoenix.
Hausner said in a telephone interview Wednesday that he had been moved to the cell next to Goudeau after he attempted suicide in December.
"I see him every day and we talk," Hausner said. "He seems to be a very nice person."
Goudeau, apparently, did not return the sentiment.
Arpaio's news release said Goudeau told jail officials Friday morning that he has never spoken to Hausner and "would not want to affiliate himself in any way 'with a mass murderer.'"
Phoenix police have named Goudeau a suspect in 19 incidents linked to the "Baseline Killer." That case includes rapes, robberies and slayings across the Valley from August 2005 to June 2006 and overlapped the Serial Shooter investigation.
The sheriff's statement did not address one question: If Hausner and Goudeau had no contact with each other, how did Hausner know the identity of his next-door neighbor?
"People talk," Allen McPherson explained. But she emphasized that this did not include the possibility that Hausner and Goudeau had talked to each other.


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(Please vote for me in the DADCANDO contest!!)
Step 1: Tools & Materials
2) 4'x8' sheets of Oak Plywood (*see notes below)
Templates printed on 24"x36" sheets (from attached PDF on Step 2)
Wood Stain & Finish (optional but recommended)
Felt with adhesive backing
Jigsaw blades - 12tpi (teeth per inch) skinny blades
Drill with 1/4" bit
Sander w/ various grits
Router w/ 1/4" roundover bit
*NOTE: My T-Rex was sized and built using 1/2" thick plywood. Upon completion I realized that the legs, tail, and spine are a bit too flimsy. I'm going to recut just these pieces using 3/4" plywood. I would recommend using 3/4" thick for this project if you only want to buy two sheets of plywood, but keep in mind there is a weight advantage by using 1/2" for all the other pieces. I went with oak because it has a nicer grain and accepts stain better than pine. If you choose to go with pine, you'll need to use wood conditioner before applying any stain.
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Here is a downloadable program to do the multi page printing thing.
Thank you very much!
Those 24x36 pteradon templates are so nice and easy!!... is there a way to adapt the Trex model to fit two sheets like the pteradon templates? Also any chance more templates of different dinos could be included in the future, only because I saw that this guy picked up a bunch of models from a craft store and the forms are there (http://www.instructables.com/id/Cardboard-Dinosaur..., if only a nice someone would transcribe them into 24x36 pdf templates!
Thanks again!!
Once again thank you for your effort.
I adapted the Pterodon plans to cut with an Epilog Min laser at the Champaign Urbana Community Fab Lab.
Here is a blog article:
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