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Wing Ceiling Fan
About Minka Aire
Minka Aire offers a comprehensive and exciting collection of ceiling fans. Minka Aire manufactures ceiling fans that offer an unparalleled combination of form, function, and design. From classic to contemporary styling, all Minka Aire fans have been engineered for superior performance and to provide maximum comfort in even the largest rooms.
On Sep 10, 2013 by Paul R. from Chicago, Illinois (Customer)
I can't even believe how much air this thing pushes around. It's so powerful, especially for its size and simple modern style.
Sales Consultant Recommendation
On Jul 08, 2013 by Ashley Rutter (Staff Lighting Consultant) View Profile
Great fan because of its simplicity. If you are the type of person that doesn't like the look of a fan in the room but needs the airflow this is perfect because the design of this fan makes it disappear in a space.
Sales Consultant Recommendation
On Jul 02, 2013 by Jackie Bowen (Staff Lighting Consultant) View Profile
Works in really modern spaces and commercial spaces.
Sales Consultant Recommendation
On Jul 02, 2013 by Xavier Yager (Staff Lighting Consultant) View Profile
This fan is an attention getter. The simple asymmetric blade design is both functional and artistic in nature. A definite design for a unique contemporary home.


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Grace in Disagreement: Brené Brown's Ten Guidelines for Engaged Feedback:
In Daring Greatly, social researcher Brené Brown tells a story about an experience she had in graduate school that surprised her. Called to a meeting with a professor, she expected to be intimidated and rebuked. Instead, her teacher was an ally. She pulled up a chair, sat down beside her, and offered Brené Brown adjustments.
This is shaky ground for a lot of us: moments when our work, our ideas, and our actions are open to feedback. It is a place of immense vulnerability. But it's also the place where we are the most open and receptive. If we're nurtured, this is how ideas evolve, broken systems detach, and innovation emerges.
And, on the other side, there is someone making a choice to sit beside or against us. That person carries a huge responsibility.
Nearly every day, we are that person, with that responsibility. Whether we are offering notes to a colleague, telling a child it's bedtime, or extending a contrary opinion when two perspectives are in conflict. Grace in disagreement — saying this could be different and how — is an essential part of the human experience. We evolve through disagreement. Ideas subjected to criticism grow stronger than ideas left unchallenged.
It's not disagreement, but graceful disagreement that makes the world go round. And it is rediscovering that grace that Brené Brown articulates so well in her guidelines for engaged feedback:
I know I am ready to give feedback when:
I'm ready to sit next to you rather than across from you. I'm willing to put the problem in front of us rather than between us (or sliding it toward you). I'm ready to listen ask questions, and accept that I may not fully understand the issue. I want to acknowledge what you do well instead of picking apart your mistakes. I recognize your strengths and how you can use them to address your challenges. I can hold you accountable without shaming or blaming you. I'm willing to own my part. I can genuinely thank you for your efforts rather than criticize you for your failings. I can talk about how resolving these challenges will lead to your growth and opportunity. I can model the vulnerability and openness that I expect to see from you.
Of course a great many teachers already do this, especially with teachers of young children. The art of guiding and adjusting with compassion is common practice in classrooms around the world.
It's when we grow older that we sometimes forget that offering and hearing feedback can be a place of mutuality and growth. Disharmony and discomfort can be grounds for transformation once grace and compassion are in the mix. What we need now more than ever is the capacity to both hear and speak honestly together. We need to seek not the hollow shells of half-ideas but the fullness of two thoughts, even when — especially if — they are in conflict. It is these antitheses, as Hegel wrote, that produce the most vibrant synthesis.

subset: commoncrawl


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Here at Linen House we offer the best of both worlds by providing fashionable bed linen at affordable prices. You can shop bed linen online at Linen House and enjoy huge savings across our wide range of bed essentials, quilt covers, sheets, cushions, bathroom towels and more! If you're looking for inspiration then look no further than our bedroom ideas blog. Here you will find a wide range of bedroom styling and design ideas which will be sure to give you the bedroom inspiration you are looking for. We offer fast reliable shipping and if you order before 1pm and we'll send your order same day. Also, don't forget to sign up for our newsletter to get an additional $15 off your first bed linen order.ABOUT LINEN HOUSE
Linen House was founded in Melbourne, Australia in 1993. Specialising in homewares, Linen House produces an extensive range of bed linen, sheets, towels, cushions and coordinating household accessories. Today we are regarded as one of the most innovative and fashionable designer bed linen and homeware brands nationally and overseas. Our textile artists, graphic designers and stylists create many beautiful collections to ensure they cater for a range of individual styles and global markets.


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Paul Hardy: Living a Life of Style
Paul Hardy: Living a Life of Style
Written by Rosella Chibambo
Having a good sense of style: why it matters
"Living with style can act as an important gauge as the visible letter one is writing about themselves to others around them. … How one lives is often a tangible reflection of the worthiness that one places on themselves."
—Paul Hardy, president, Paul Hardy Design
Style starts with a state of mind
Internationally acclaimed designer Paul Hardy believes style starts with nurturing your inner confidence and the willingness to try new things. He emphasizes the importance of starting with your mood in order to live a chic life, and offers up his advice on how to let your style radiate from within.
Give your mindset a makeover
It's easy to feel as though you never have time to hit the town in that chic outfit you've been hiding in your closet. But it's time to dig out your killer duds, says Hardy, who believes it's important to create opportunities to feel fabulous and to always be prepared to show off the best of yourself.
"Wear heels grocery shopping, have a picnic in the park in a cocktail dress, wear sequins for daytime," says Hardy. "Stylish living is a state of being."
Make the finer details in your life stylish
Hardy says it's hard to feel truly stylish if your home and everything else around you is drab, so make a point of turning these mundane little elements into things that remind you of the beauty in everyday life. It can be as easy as throwing a fresh bouquet of flowers into your grocery cart every week to decorate your home.
Build a network of stylish friends.
"Stylish living is reflected in the company one keeps," says Hardy. "It is often said that one becomes a product of the 10 people they surround themselves with most." Build an eclectic group of good friends and acquaintances that will stir up your worldview. They will help prevent your sense of style from stagnating by exposing you to new looks and perspectives and an openness to style choices.
Where to get style support
Knowing where to get the look you envision isn't always easy. But, with a style advisor, even the most bewildered would-be fashionistas will find exactly what they want.
• The Core: With more than 30 years of combined experience in the fashion industry, the Core's personal stylists, Carl Abad and Crystal McKenzie, will help you find the right look from this downtown shopping hub's myriad of shops.
• Southcentre Mall: Whether you are looking to spruce up your work, casual or evening looks, Southcentre Mall stylist Kim Flanagan will help you look good without looking. At last, shopping made easy.
• Holt Renfrew: Holt Renfrew offers a complimentary personal shopper service and consultation on your existing wardrobe, leaving no excuse for not finding that perfect look.


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The Skank Agents (10 tracks)
This popular San Diego band combines Pop-Funk, Ska and Skate-Punk styles with cool lyrics and a great horn section to create a live recorded album full of dynamic energy, excellent for summer and winter sports excitement, travel or general hardy partying. With Sonicfire Pro's Mood Mapping feature you can remove the vocals where you may not want them, make customized instrument mixes and then bring back the vocals at any time to really jolt your videos with high powered fun.
(All tracks include unlimited access to Full, Broadcast and custom lengths with a commercial license)
Album Tracks (10 tracks on album)
- 1 Building Walls Burning Bridges
- 2 Clouds-SA
- 3 Find That Girl
- 4 Florida
- 5 Friends
- 6 One Good Reason
- 7 Peace
- 8 Ska Wop
- 9 Skin Deep
- 10 Slow Your Step
- Album Medley
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|Display at Film Festivals
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|Up To 10000
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Sonicfire Pro 6 & Core Ultimate Album
Core Ultimate is Sonicfire Pro 6's aptly named included album. Meticulously produced for the highest possible production value, it covers a wide swath of styles, providing the media creator a rich and varied palette for almost any visual need.
This incredible album includes a themed three-track orchestral suite ideal for scoring entire movies when used with Sonicfire Pro 6's powerful technologies, inspirational tracks with a modernist edge, simple happy, upbeat music, a rave rhythm-guitar jam perfect for high activity, a live vocal indie-rock song that could be a chart-topper, and more (10 great tracks in all).
All ten tracks are in SmartSound's Multi-Layer format giving you total access to all of Sonicfire Pro 6's exciting features. This album will give you countless ways to explore Sonicfire Pro 6's great technologies that will in turn, allow you to meld them into the perfect fit for your unique vision.
Core Ultimate is only available as part of Sonicfire Pro 6 and not sold separately.
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Build Your Library
When you buy music from SmartSound, it's always available for you to customize and download directly from our web site or by installing in on your workstation for access with our Sonicfire Pro software.
Save Time With Our Patented Software
Our patented music editing technology automatically delivers professional music edits instantly. Adjusting the length, arrangement and instrumentation of every SmartSound track is instantaneous and 100% professional!
Be More Creative
When you save time on mundane editing tasks, you gain time for more creativity. Since our music is totally customizable, our software tools make it easy for you to make custom soundtracks without being a musician.
Impress Your Audience
Our royalty free music library is comprised of a hand-picked and professionally curated collection of music. Our music comes from top musicians, film composers, indie bands and independent artists. No sifting through thousands of crowd-sourced tracks. Every SmartSound track is a winner!
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A fast-paced and upbeat pop-punk tune featuring horns, aggressive drums and building guitars. I stay awake at night but I cant see the moon cause its hidden by the clouds. If they would only part, I could see you. Minute after minute hour after hour, time goes so slow why cant you come out of your hiding place so I can get a taste of your lips. So now I sit here on the floor waiting for you to come though that door, but maybe you never will. Ever since I met you I've been waiting for you to come on in though that door, fall in my arms and be with me. Ever since I drove away I didn't know what I was missing so help me out and get me back on track to what is right. Life is filled with opportunities but its up to you to take the keys. It might be planned but I never really understand you keep on coming into my life but frankly I'm not surprised that you're here so let me be clear that I'm never never never gonna break your heart so let me start to show you who I am then maybe you'll understand. Ever since I met you I've been waiting for you to come on in though that door, fall in my arms and be with me. Ever since I drove away I didn't know what I was missing so help me out and get me back on track to what is right. Now were listening to our favorite bands and I reach out and hold your hand, you hold on tight then we sing through the night. So stay a while and Ill sing this song to you baby baby cant you see who I want to be with all night. But come on girl its getting late this night went by at a record pace. Call me when your clouds of yours begin to dissipate. But come on girl its getting late this night went by at a record pace. Call me when your clouds of yours begin to dissipate. Woah!
Genre: Rock, World, Reggae, Indie Artist, Rockin, Ska, Punk Rock Production Types: Sports, Indie Film, Holiday, Home Videos Keywords: Driving, Exciting, Punchy, Heavy Instrument(s): Rock/Pop Band, Brass, Brass Section, Guitar (Electric), Saxophone, Trumpet, Vocal, Guitar


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This is the original version of Roller Coaster that appears on the homie houseshoes record let it go. Previously only available on my tour cd I had on me this past april. Enjoy
This is the original version of Roller Coaster that appears on the homie houseshoes record let it go. Previously only available on my tour cd I had on me this past april. Enjoy
Running titles for today's.
Ive been back home for about two weeks and some change now, and what a ride it was.
Touring was easily one of the greatest experiences of my life. I'm going off the dome here so forgive if my thoughts aren't completely organized. Felt compelled to talk to you guys this morning. So yeah… Touring is something else man. It really is. It's as exciting as you may think it is. There's also this other layer to it.
For as busy as you are, there's a lot of time where it's just you and your brain. This is where the introspection comes in, the soul searching, the really learning about yourself phase happens. I needed that for my soul, my being. I gained some much needed perspective that i might have never gotten, had it not been for that trip.
I am definitely more inspired, more motivated and more determined than ever.
The shows were great. Amsterdam and Tours in France, were probably the best shows overall. Austria was the coolest we been too maybe. It was the only place we really gotta chance to take in and explore. We went to this really cool museum which was showcasing modern art inspired by the automobile. I was unable to get some pics in there as i am camera operatingly impaired (how the heck do i turn the flash off on this camera). Shigeto snapped this pic though.
I got some other pics as well. once their organized and such I'll post them up for all you guys to see.
So what did i get out of my time on tour?. The main thing, the BIG thing is that I learned I can do this.
I am ready to do this.
P.S. new tunes on the way a 7 inch out through insect records, and an appearance on the homie houseshoes album "let it go" which comes out next month.
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hi, im new to this forum and tea in general, looking for some advice from more seasoned drinkers
figured i would edit this in case any other newbs are lurking around
if your looking to get into teas i would say try multiple types (ie:black,white,green,oolong,) rather than variations of the same type to see what you like, then expand from there; so far i prefer black strongly with white being tolerable ( hate green )
from what ive seen steeping/amounts are fairly subjective. as far as steeping goes i would suggest cutting it shorter if you are not sure/happy with results. for amount i would say go with more if your not sure/happy with results. (increase/decrease depending on taste preference)
think that's all i have for now. especially appreciated input of Teaisme


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What's New for 2015?
NEW FOR 2015 Beaufort, NC – Parker Marine Enterprise announces the New 2015 Parker 2100 Special Edition showcases many of the new standard features available on the 2015 models, allowing you to boat in style and comfort. From the inside out, the 21SE provides a clean, sporty look with the addition of two new exterior


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JELD-WEN Tradition - Calm before the storm
As I came off the 18th green at the Crosswater Club at Sunriver Resort there were no echoes of crowds or any famous golfer to shake my hand. I stood alone on the 18th green this morning looking at the blank scoreboard realizing that some of golf's greatest players will grace this course in just a few days at the JELD-WEN Tradition. The sound of mowers, trucks, and our team bustling filled the air along with an electric feeling of excitement. We hope you will join in Sunriver Resort's excitement next week and come out to see some of golf's Legends play in the JELD-WEN Tradition!
JELD-WEN Tradition's schedule of events include championship golf and activities the entire family can enjoy to include Nike Junior Golf Day on Wednesday, August 19th and a special JELD-WEN Tradition Concert on the Green at the Meadows Driving Range Thursday, August 20th. Championship Rounds begin Thursday, August 20th through Sunday, August 23rd.
There is no excuse not to come out! If you are coming from the Bend area, complimentary shuttle service is available from the Orvis parking lot at the Shops at the Old Mill. Shuttles will run all day Thursday, August 20 through Sunday, August 23!
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Working with Lesbian-Headed Families: What Social Workers Need to Know
More gay men and lesbian women are choosing parenthood. One common challenge facing lesbian-headed families is how to navigate interactions with societies that are largely homophobic, heterocentric, or unaware of how to embrace non-traditional families. Systems may struggle to adjust services to meet the needs of modern family structures, including families led by lesbian women. The following are three areas of intervention (knowledge, creating affirmative space, and ways to incorporate inclusive language), informed by current literature, that allow social workers to create successful working relationships with members of lesbian-headed families.
Lesbian, same-sex couples, lesbian-headed families
Full Text:PDF
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Indiana University School of Social Work
902 West New York Street
Indianapolis, Indiana, USA, 46202
Voice: 317.274.6705
Indiana University - Quality Education. Lifetime Opportunities.
Last updated: November 20, 2007
Comments: firstname.lastname@example.com
Copyright 2007, The Trustees of Indiana University
Content ©2007 IUSSW


text: Infraciliature (ventral view) of the trichostomatid ciliate, Spirozona caudata (Kahl,1926). The cell is elongate and rounded anteriorly and tapers posteriorly to a narrow truncate cone. The cell is ellipsoid in cross section. The cytostome is located in the anterior 1/4. Its right margin is curved and the left relatively straight. There are several oral polykinetids on the left and an undulating membrane on the right. The somatic ciliature is distinctive with a wide swath of closely spaced kineties spiraling from the right anterior to the posterior midline. A single spiral kinety of more densely packed kinetosomes bearing longer cilia originates to the right of the cytostome and spirals around the right side to the dorsum of the cell. There are 3 postoral kineties and one shorta paraoral kinetid on the left margin of the cytostome. More widely spaced kineties with less densely packed kinetids originate to the left of the cytostome and follow a less spiral course to the posterior end ventrally. The narrow truncate cone of the posterior end bears a circular row of kinetids. There is a small unciliated anterior apical area or "frontal plate". The spherical macronucleus and micronucleus are located in the anterior half. The single contractile vacuole is located at the posterior end. Collected from sapropelic bottom sediments from standing freshwater near Boise, Idaho November, 2004. Stained by the silver carbonate technique (see Foissner, W.Europ. J. Protistol.27,313-330;1991). Brightfield optics.


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by Anton Shilov
The delays of setting up infrastructure around the Globalfoundries fab 8 semiconductor manufacturing facility may postpone the opening of the factory that costs $4.6 billion and slowdown plans of numerous high-tech companies.
The manufacturing facility needs primary as well as secondary access roads, water and power lines. The secondary set of infrastructure is currently not being built as the destiny of the technology park where fab 8 is located is unclear. At present the state of New York wants to take over the Luther Forest Technology Campus Economic Development Corp. since the latter could not meet certain schedules.
"We have very serious concerns about meeting our timelines to bring the fab up on time. It's been an issue for a long time," said Travis Bullard, a spokesperson for Globalfoundries, in an interview with The Saratogian news-paper.
The total facility, including cleanroom support infrastructure and office space, includes more than 1.3 million square feet of space and is expected to come online in 2012 with volume production targeted for early 2013. The total output of the fab is projected to be approximately 60 thousand wafers per month once fully ramped.


text: LANSING COMMUNITY COLLEGE CURRICULAR GUIDE Aviation Flight Technology Associate in Applied Science Degree Curriculum Code: 0259 (Effective Fall 1999 - Summer 2004) The commercial flight training program provides all required ground, simulator, and in-flight technical training to meet Federal Aviation Administration requirements for Commercial Pilot Certification. This program will conduct ab-initio training (no previous experience) or build on previous experience of the student. Students entering this program are required to accomplish an F.A.A. Class II medical exam prior to entering training. Normal motor skills and academic ability will provide functional competency to support certification. Graduates are initially employed as instructor pilots by flight training schools. As the graduates achieve 1200 to 1500 flight hours, they are competitive for hiring by regional or commuter airlines as First Officers. PREREQUISITES Students should see the "Course Descriptions" section of this catalog or the Course Schedule for course prerequisite information. Basic skills assessment and advising information may be found on page 8 of this catalog. GENERAL EDUCATION General education is an important part of this program and includes a mathematics competency requirement. To fulfill the mathematics competency requirement, students may need to complete specific coursework in mathematics. For information on how to fulfill all general education requirements, see page 22. INFORMATION Contact the Aviation Program at the LCC Aviation Center, telephone number (517) 483-1406. REQUIREMENTS TOTAL: 41 CREDITS CODE TITLE CREDIT HOURS AVAF 134 Aircraft Instruments 2 AVFT 201 Flight Training I 7.5 AVFT 202 Flight Training II 5 AVFT 203 Flight Training III 5.5 AVFT 204 Flight Training IV 5 AVGS 101 Private Pilot Ground School 4 AVGS 211 Instrument Pilot Ground School 4 AVGS 221 Commercial Pilot Ground School 4 AVST 211 Flight Simulator I 1 AVST 212 Flight Simulator II 1 AVST 213 Flight Simulator III 1 AVST 214 Flight Simulator IV 1 LIMITED CHOICE REQUIREMENTS TOTAL: 22 CREDITS Complete the indicated number of credits from each CHOICE listed below. CHOICE 1: General Education Core Areas 12 Credits (See the "GENERAL EDUCATION" section above) Writing Core Area 3 Speech Communication Core Area 3 Science/Technology Core Area 3 Global Perspectives and Diversity Core Area 3 Mathematics Competency (See page 22 for information on how to fulfill this requirement) CHOICE 2: Advanced Flight Training 10 Credits AVFT 205 CFI Flight Training 3.5 AVFT 206 Flight Inst Instrument Flight 2.5 AVFT 207 Multi-Engine Flight Training 1.5 AVFT 208 Multi-Engine Instructor Flight 0.75 AVFT 224 Tail Wheel Transition 1 AVGS 222 Flight Instruct Ground School 4 AVST 215 Multi-Engine Flight Simulator 1 MINIMUM TOTAL 63 SUGGESTED COURSE SEQUENCE Students should see course descriptions to find out when departments plan to offer courses. Students who for any reason are unable to follow the course sequence suggested below (for example, those who are part-time, have transferred in courses from another school, or have prerequisites to fulfill) should contact an academic advisor or counselor for help with adjustments. I II III IV AVFT 201 AVFT 202 AVAF 134 AVFT 204 AVGS 101 AVGS 211 AVFT 203 AVST 214 AVST 211 AVST 212 AVGS 221 Lim.Ch. AVST 213 Lim.Ch. V VI Lim.Ch. Lim.Ch. Lim.Ch. Lim.Ch. Lim.Ch.


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Computer scientists enjoy some of the highest salaries and best job prospects in the country. Going to school in a major technological hub gives you an extra edge: Many of our graduates go on to jobs in software development and engineering. Companies like Amazon, Google, and Yahoo have offices in nearby Kendall Square, Cambridge.
Suffolk's computer science program is exceptionally hands-on. From the start, you'll get substantial experience with machine-level programming and direct exposure to computer architecture, networks, and programming for a thorough understanding of hardware and software systems.
Uniquely, our upper-level classes are taught during the late afternoon or evening. This allows you to work during the day to gain actual experience in the field. Many students also tutor on-campus at our Math/Computer Science center.
Computers continue to have an exciting and evolving influence on how we understand the world and how we communicate with one another. To this end, many Suffolk students go on to careers beyond software development. Engineering, advertising, television and film production, and video-game design are all popular choices that require computational expertise. Many students combine the major with courses in Math, Engineering, Art, and Design.
A Unique Location
Cambridge's Kendall Square, a quick train ride across the river, is one of the world's technological hubs. Here are just some of the top companies with offices here:
- Akamai Technologies
- Amazon
- Cambridge Innovation Center
- Computer Sciences Corporation
- ITA Software
- Yahoo


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For nearly three decades, Beaver motorcoaches have represented the very best luxury and comfort the recreational vehicle industry has to offer. From meager beginnings in a small central Oregon town, Beaver has cultivated a reputation for breathtaking woodwork, supple fabrics, plush furnishings and awesome power and performance. Those recreational vehicle enthusiasts who want to enjoy their adventures and still be cradled in comfort have always looked toward Beaver to deliver just that.
Let our dealers find it for you!
Sell it now for $24.95
Let RVTrader.com know how we can do better.


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Ackroyd, Peter
Peter Ackroyd 1949-
English novelist, biographer, nonfiction writer, critic, poet, and essayist.
The following entry presents an overview of Ackroyd's career through 2000.
A leading practitioner of "British historiographic metafiction," Peter Ackroyd has built his reputation upon a growing number of challenging novels and significant literary biographies that highlight the interplay of historical time, literary influence, and the problem of authorship. Ackroyd's unique literary vision is marked by a belief that writers find their voice through emulating writers of the past, a corollary to his theory that writing emanates not from life experiences, but from the writing that has preceded it. Accordingly, obscure references to English literature and shifting perspectives among author, protagonist, and other fictional and non-fictional characters abound in his texts. In acclaimed biographies such as T. S. Eliot: A Life (1984) and Dickens (1990), and novels such as Hawksmoor (1986), Chatterton (1988), and Milton in America: A Novel (1997), Ackroyd celebrates English culture and merges fact and fiction.
Biographical Information
The only child of parents who separated early in his life, Ackroyd was raised by his mother, Audrey Whiteside Ackroyd, and his maternal grandparents in a public housing project in West London. The family was Roman Catholic, and Ackroyd's religious heritage influenced both his critical work and his fiction. Early in life he was determined to escape his working-class origins, and at age ten he received a scholarship to attend a Catholic school in Ealing, Saint Benedict's. In 1968 he matriculated at Clare College, Cambridge, from which he graduated in 1971 with a double first in English literature. He then spent two years as a Mellon fellow at Yale University, where he was influenced by the avant-garde poetry of John Ashbery and Kenneth Koch. Ackroyd's early ambition was to be a poet, and his first published works, Ouch (1971) and London Lickpenny (1973), were volumes of poetry. While at Yale, Ackroyd produced Notes for a New Culture: An Essay on Modernism (1976), a literary manifesto that established him as an early proponent of postmodernism among his generation of writers. Upon his return to London, Ackroyd was hired as a literary editor for Spectator magazine. During this time, he produced Ezra Pound and His World (1980), the first of several large biographies of noted English authors. After eight years with Spectator Ackroyd resigned to devote himself to a full-time writing career. He has received many honors for his work, including the Somerset Maugham award for The Last Testament of Oscar Wilde (1983); the Heinemann award for nonfiction from the Royal Society of Literature for T. S. Eliot: A Life; and the Prix Goncourt, the Whitbread award, and the fiction prize from the Guardian, all for Hawksmoor. In addition, Chatterton was short-listed for the prestigious Booker Prize. Ackroyd has since served as the chief book reviewer for the London Times, a position he has maintained while producing an extensive body of work, nearly one book a year since 1978. Ackroyd acknowledged that his rigorous work schedule contributed to the massive heart attack he suffered in 1999.
Major Works
Most of Ackroyd's prodigious body of work resides in the realm of historiographic metafiction—an experimental, postmodern technique that blurs distinctions between imagination and historical fact. In particular, Ackroyd's prose explores the convergence of past and present time, and human lives associated with a place—generally London—through successive centuries. In The Great Fire of London (1982) Ackroyd began the practice of merging fact and imagination and traversing time through characters and plot. A skilled mimic, Ackroyd identifies strongly with various literary figures. This is especially evident in The Last Testament of Oscar Wilde, a novel purporting to be Wilde's autobiographical account of the last months of his life in exile in Paris. Ackroyd captures Wilde's voice, wit, and persona, offering insight into the author's psyche. Hawksmoor is perhaps the most successful example of Ackroyd's literary approach. Bold and structurally innovative, the novel transcends time, place, and even characters themselves in a plot that moves between the eighteenth and twentieth centuries. Historically, Nicholas Hawksmoor designed several well-known churches in London and lived a comfortable, cultured life. In Ackroyd's book, however, the architect becomes Nicholas Dyer, a Satanist, and the character named Hawksmoor is a twentieth-century detective attempting to solve a series of gruesome murders taking place in the very churches that the real-life architect Hawksmoor constructed two hundred years earlier. It is learned that the evil Dyer sacrificed an innocent young boy on the foundation of every church he created, and the modern murders appear to be connected to these earlier ones. The novel illustrates the similarities between the two protagonists and examines universal themes involving death and regeneration.
Ackroyd's Chatterton posits that Thomas Chatterton, the famed eighteenth-century faker of medieval texts, did not commit suicide at age seventeen; rather he fabricated his own death and survived to continue his fraudulent production of antique manuscripts. Ackroyd plays with the ideas of fraud and plagiarism, littering the plot with deceptions at every turn. In the course of the narration, Ackroyd exploits opportunities to examine themes important to him: the cyclical nature of history, the cross-genre aesthetic, and real and imagined people who both transform and are connected through time. The novel English Music (1992) contains two distinct narratives: a straightforward story about the early life of protagonist Timothy Harcombe during the 1920s and a series of visions involving encounters with various literary and historical figures. Presented in alternating chapters, Timothy's childhood and psychic leaps serve to evoke the distinct legacy and grandeur of English culture. The House of Doctor Dee (1993) mixes ghosts and images of a past historical figure with an imperfectly realized character in the present who stumbles back and forth in time. Dan Leno and the Limehouse Golem (1994), published in the United States as The Trial of Elizabeth Cree: A Novel of the Limehouse Murders (1995), features multiple narratives set in Ackroyd's favored locale, a squalid area of London. The narrative threads include the text of the trial of Cree, her own interior monologue, her husband's diary, and remarks by an omniscient observer. Milton in America places the revered poet in seventeenth-century Massachusetts, where he engages in various adventures with both settlers and Indians. A work of imagined history, Milton in America carries Ackroyd's tendency to mingle fact and fiction to an extreme. Rather than staying in London following the restoration of the Stuart monarchy, as the real Milton did, Ackroyd's creation sails for Massachusetts Colony with a Sancho Panza-like figure named Goosequill. Seemingly more puritanical than the Puritans themselves, Milton changes subtly following a sojourn in the wilderness with Native Americans. Milton's blindness is briefly healed, but then returns when he is shamed by having sexual relations with an Indian maiden. He returns to the Puritan settlement and conspires to start a holy war against a neighboring Roman Catholic village. The Milton of the novel effectively destroys a paradise, echoing the work of the historical Milton, who wrote Paradise Lost.
In his biographies, Ackroyd approaches his subjects in unusual and sometimes controversial ways, which notably includes the insertion of fictional episodes, a radical departure from accepted academic practice. In T. S. Eliot, a biographical undertaking limited by the highly restrictive rules governing Eliot's estate, Ackroyd used papers held in various university archives to produce a work that reveals an understanding of the poet and his writings. Ackroyd's massive and unconventional biography of Charles Dickens approaches its formidable subject from the standpoint of a fellow creative spirit. Through the unusual practice of inserting imaginative interludes in the text, Ackroyd interweaves lucid critical commentary about Dickens's novels, evocations of Victorian London, and speculation about Dickens's life with exposition on the meaning of biography itself. In the work Ackroyd presents scenes of Dickens walking the streets of London with various characters from his fiction, examining landmarks, and conversing about events of the day. A companion volume, Introduction to Dickens (1991), contains useful, authoritative introductions to Dickens's novels. In Blake (1995), Ackroyd attempts to elucidate the life of William Blake, the famed poet, engraver, and painter. Ackroyd has also produced the biography The Life of Thomas More (1998); The Plato Papers: A Prophesy (2000), a work of speculative fiction; and a "biography" of his beloved home city, London: A Biography (2000).
Critical Reception
Considered a prolific, accomplished, and highly creative writer, Ackroyd's work is both admired and maligned by critics—evidence of his reputation as a literary experimenter. Ackroyd's work is difficult to classify, perhaps because the author himself is reluctant to distinguish among genres. While many praise Ackroyd's postmodern fiction for its complex plotting, frequent temporal shifts, obscure allusions, and wide cast of historical characters, others find incoherence, contrivance, and epistemological evasions in these same attributes. His best fiction, including works such as The Last Testament of Oscar Wilde, Hawksmoor, Chatterton, and Milton in America, display his favorite themes—the convergence and interaction of past and present time, literary mimicry, and the tenuous relationship between historical reality and fiction. Ackroyd's finest work is considered on a par with that of Salman Rushdie and Rose Tremain, while its transitional nature has been compared to the work of Lawrence Durrell and John Fowles. Ackroyd's body of work insists on the primacy of the English cultural tradition, which he defines as "Catholic, visionary, and transhistorical," characteristics that echo throughout his writings. However, Ackroyd's nostalgic view of English culture—in particular, his suggestion in the widely-panned novel English Music that Englishness is historically and racially inherited—has been criticized by reviewers. Many reviewers have taken issue with Ackroyd's loose, interpretative approach to biography. His studies of Dickens, Blake, and More received mixed assessment, with most reviewers objecting to some aspect of Ackroyd's approach, typically his historical methodology or prose mannerisms. Yet, T. S. Eliot garnered acclaim for the inventive way Ackroyd handled the material and brought the poet to life, and Dickens was commended for its vivid, loving treatment of the great novelist. Even disdainful reviewers respect Ackroyd's wide knowledge, fertile imagination, and remarkable ability to evoke the settings and people of the past in convincing detail.
Principal Works
Ouch (poetry) 1971
London Lickpenny (poetry) 1973
Notes for a New Culture: An Essay on Modernism (criticism) 1976
Country Life (poetry) 1978
Dressing Up: Transvestism and Drag: The History of An Obsession (nonfiction) 1979
Ezra Pound and His World (biography) 1980; published as Ezra Pound, 1987
The Great Fire of London (novel) 1982
The Last Testament of Oscar Wilde (novel) 1983
T. S. Eliot: A Life (biography) 1984
Hawksmoor (novel) 1986
The Diversions of Purley...
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Joseph Rykwert (review date July 1986)
SOURCE: A review of Hawksmoor, in Art in America, Vol. 74, July, 1986, pp. 11, 13.
[In the following review of Hawksmoor, Rykwert praises Ackroyd's literary skill, but finds flaws in the novel's historical details.]
Christchurch, Spitalfields: St George-in-the-East; St Anne's, Limehouse; St Mary Woolnoth; St George, Bloomsbury; Little St Hugh, Moorfields—18th-century architecture buffs would expect the first five of these buildings to figure importantly in any book called Hawksmoor, but not the last one. The first five are among the masterpieces of Nicholas Hawksmoor (whom I think the greatest of all English architects). The last church is a...
(The entire section is 1660 words.)
Michele Roberts (review date 11 September 1987)
SOURCE: "Marvellous Boys," in New Statesman, September 11, 1987, pp. 27-8.
[In the following review of Chatterton, Roberts finds shortcomings in the dubious intellectual games and caricatures of Ackroyd's postmodern narrative.]
Just as Georgette Heyer may be said to have reinvented the late 18th century for several generations of modern romantics, so the poet-plagiarist Thomas Chatterton invented the mediaeval period for the early 19th-century Romantics. Finally, of course, he was exposed as a faker of texts, so now Peter Ackroyd offers this thriller-romance [Chatterton] about the quest of a modern poet-romantic to discover how and why Chatterton was...
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Peter Ackroyd with Amanda Smith (interview date 25 December 1987)
SOURCE: "PW Interviews Peter Ackroyd," in Publisher's Weekly, December 25, 1987, pp. 59-60.
[In the following interview, Ackroyd discusses his literary career, his imaginative historical fiction, and the interrelationship between his work as a biographer and novelist.]
At 38, Peter Ackroyd has stakes planted in several literary camps. Ackroyd came to prominence four years ago with his biography of T. S. Eliot. Since then, his novel Hawksmoor—a dark, violent tale that slips between past and present, rendered partly in 18th century prose—has become a cult phenomenon in his native England. His new novel Chatterton—based in part on the life...
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Michael Neve (review date January 1988)
SOURCE: "The Living Dead," in History Today, Vol. 38, No. 1, January, 1988, pp. 53-4.
[In the following review of Chatterton, Neve commends Ackroyd's commitment to "the limitless power of the imagination," though he finds fault in the novel's historical skepticism.]
The novels of Peter Ackroyd pose interesting questions for readers of history, and for those trying to write works of historical imagination: in asking the question 'what is history?', Ackroyd answers in what might be called the modern way; it is the resurrection of the dead. That is to say, in thinking about Oscar Wilde, or Nicholas Hawksmoor, or Thomas Chatterton, Ackroyd as novelist...
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J. D. McClatchy (review date April 1989)
SOURCE: "Mask and Passions," in Poetry, Vol. CLIV, No. 1, April, 1989, pp. 29-48.
[In the following excerpted review, McClatchy offers a negative assessment of Ackroyd's poetry in The Diversions of Purley and Other Poems.]
Peter Ackroyd's The Diversions of Purley is, in effect, a Selected Poems, incorporating as it does work from his previous collections, London Lickpenny (1973) and Country Life (1978). Whatever his other accomplishments—and Mr. Ackroyd is a marvelous novelist and biographer—his career in poetry has gotten nowhere over the years, and this representative view of it makes no strong or lasting impression. Frankly, his heart...
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Peter Firchow (review date Autumn 1989)
SOURCE: A review of Chatterton, in World Literature Today, Vol. 63, No. 4, Autumn, 1989, p. 681.
[In the following review, Firchow offers a positive assessment of Chatterton.]
Peter Ackroyd is rapidly becoming the next novelist to watch. One sign of his newly acquired status is the appearance of Chatterton, his third novel, in a plush paperback edition featuring gushing blurbs from the New York Times, Time, and other watched places. This event has taken place more than a year after the book's first publication in hardback and at about the same time as his most recent novel, First Light, is being hailed in triumph from London to New York to...
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John Sutherland (review date 27 September 1990)
SOURCE: "A Terrible Bad Cold," in London Review of Books, September 27, 1990, pp. 17-18.
[In the following review of Dickens, Sutherland expresses reservations about Ackroyd's reconstruction and interpretation of Charles Dickens's life.]
In the manner of old Hollywood movies, biographies like to open at a terminal point and then flash back to the start of things. It is a device that stakes out the territory while creating a sense of overall shape—something that even famous lives lack in the day-to-day business of living. Fred Kaplan's 1988 life of Dickens began with the vivid scene of his incinerating 'every letter he owned not on a business matter'...
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William H. Pritchard (review date Summer 1991)
SOURCE: "The Exaggerator," in The Hudson Review, Vol. XLIV, No. 2, Summer, 1991, pp. 301-08.
[In the following review of Dickens, Pritchard finds shortcomings in Ackroyd's "rhetorical habits" and the biography's contribution toward greater understanding of Charles Dickens.]
On his second reading tour of America in 1867–68, Dickens met Emerson, and although the sage of Concord was later assured by Dickens' hosts that the novelist was a man of great cheerfulness and high spirits, Emerson demurred: "You see him quite wrong, evidently, and would persuade me that he is a genial creature, full of sweetness and amenities and superior to his talents, but I...
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Laurence Lerner (review date 20 July 1991)
SOURCE: "The Long and Short of It," in London Spectator, July 20, 1991, p. 32.
[In the following review, Lerner provides a brief assessment of Ackroyd's Introduction to Dickens.]
Literary biographers are naturally committed to the view that an author's life provides the best context for understanding his work; and Peter Ackroyd has followed his huge biography of Dickens with a short volume [Introduction to Dickens] that claims to be both a condensed version of it and also a genuine original, and to put forward the argument for 'connecting the life and the work'. What, we may ask, does this fine phrase mean? We have long known that Dickens courted Dora...
(The entire section is 776 words.)
James Buchan (review date 30 May 1992)
SOURCE: "The Relics of Learning," in The Spectator, May 30, 1992, pp. 24-5.
[In the following unfavorable review of English Music, Buchan objects to Ackroyd's sentimental literary pastiche and the postmodern notion that originality is no longer possible.]
This novel starts well. A boy stands in the glare of gaslight on the wooden stage of an East End theatre, helping his father perform acts of faith healing. It is 1925 or thereabouts and the London air is crowded with the souls of the recent dead. Though he barely yet knows it, it is Timothy Harcombe, not the father he adores, who has the medium's power of communication with the departed spirits....
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Brian Finney (essay date Summer 1992)
SOURCE: "Peter Ackroyd, Postmodern Play and Chatterton," in Twentieth Century Literature, Vol. 38, No. 2, Summer, 1992, pp. 240-61.
[In the following essay, Finney provides an overview of Ackroyd's theoretical development and postmodern perspective—particularly his view of history, language, and authenticity, as revealed in his biographical works and fiction, notably Chatterton.]
Well known in Britain, less generally known in the United States, Peter Ackroyd is representative of a new breed of British novelists who can loosely be termed postmodernist. But, unlike their counterparts in the States, these British postmodernists do not necessarily cultivate...
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D. J. Taylor (review date 5 June 1992)
SOURCE: "Fogey Heaven," in New Statesman & Society, June 5, 1992, pp. 38-9.
[In the following review of English Music, Taylor finds irritating shortcomings in Ackroyd's didacticism and antiquarianism, but declines to pass final judgment on the novel.]
We read Peter Ackroyd's fiction in rather the same way that the Victorian critic George Saintsbury read Anatole France: to find out what Peter Ackroyd has been reading. As one dense and allusive novel gives way to another, that task has become progressively more arduous.
The Great Fire of London and The Last Testament of Oscar Wilde, the early novels, were easy ones: a bit...
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Chris Goodrich (review date 25 October 1992)
SOURCE: "Shadow Play," in Los Angeles Times Book Review, October 25, 1992, p. 3, 11.
[In the following review, Goodrich offers an unfavorable assessment of English Music.]
Peter Ackroyd, the English novelist and biographer, has published nearly a dozen books, among them Dickens: Life and Times, Chatterton, T. S. Eliot, The Last Testament of Oscar Wilde and Ezra Pound. It's not hard to see from this selected list that one of Ackroyd's major concerns is the writer at work, or to believe that Ackroyd really means it when he says, as he did to The New York Times last year, that he's only "a half-person, a shadow" when he's not writing...
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Verlyn Klinkenborg (review date 23 November 1992)
SOURCE: "Peter Ackroyd's Music," in The New Yorker, November 23, 1992, pp. 142-44.
[In the following review, Klinkenborg offers an unfavorable evaluation of English Music.]
In Peter Ackroyd's sixth novel, English Music, a great thickness of remembered time lies over the English landscape like a new fall of snow. "Yes," the book begins, "I have returned to the past." This voice belongs to Timothy Harcombe, narrating the events of his youth from a cavern deep in old age in 1992. Timothy is the son of Clement Harcombe, a fake medium who has prospered in London during the nineteen-twenties by using Timothy's (very real) psychic gifts, which the boy...
(The entire section is 1619 words.)
Michael Levenson (review date 18 January 1993)
SOURCE: "Tradition and the National Talent," in The New Republic, January 18, 1993, pp. 29-32.
[In the following review, Levenson traces the development of Ackroyd's literary preoccupations and criticizes his conservative nostalgia for English history and cultural identity as presented in English Music.]
"She walked between the leafless poplars and, when a woman crossed her path, instinctively Evangeline looked away. She looked down at the ground. So I have no connection with the world, she thought."
—Peter Ackroyd, First Light
"'I never know where anything...
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John Clute (review date 3 September 1993)
SOURCE: "Conjurors of Clerkenwell," in New Statesman & Society, September 3, 1993, p. 39.
[In the following review, Clute offers a positive assessment of The House of Doctor Dee.]
At first glance, the title of Peter Ackroyd's seventh novel, and the fourth to be named after a real person, seems to tell all. Indeed, it tells much. The House of Doctor Dee, as one might expect from memories of Hawksmoor, is a tale in which the past haunts the present, in which the London of some centuries ago lays its correspondences on the glass sepulchres of today, and in which a frail modern man seems doomed to fade into a shadow and parody of a dead but more...
(The entire section is 677 words.)
Francis King (review date 11 September 1993)
SOURCE: "The Older the Better," in Spectator, September 11, 1993, p. 27.
[In the following review, King concludes that The House of Doctor Dee is an "imperfect but always ingenious and arresting novel."]
Scientist, mathematician, geographer, astronomer, antiquarian, theologian, possessor of the greatest English library of his time, John Dee was described by Frances A. Yates as 'one of the most influential figures in the thought of Elizabethan England'. But parallel with this reputation as a scholar of outstanding achievement is one more sinister: that of a magus, in the manner of Pico della Mirandola or Henry Cornelius Agrippa.
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Gary Davenport (review date Spring 1994)
SOURCE: "Tradition and the English Novel Today," in Sewanee Review, Spring, 1994, pp. 326-33.
[In the following excerpt, Davenport pans English Music for its condescending attitude and its contrived and unconvincing nature.]
Is there life after postmodernism? We may soon find out, for signs of the end are everywhere: the architects of poststructuralist criticism are now speaking of their creation in the past tense; academic impresarios are busy organizing conferences with names like "The Ends of Postmodernism"; and that once hierophantic term itself has taken sluttishly to appearing in television commercials and other temporal contexts—for example, a...
(The entire section is 884 words.)
John Peck (essay date September 1994)
SOURCE: "The Novels of Peter Ackroyd," in English Studies, Vol. 75, No. 5, September, 1994, pp. 442-52.
[In the following essay, Peck provides an overview of the major literary themes and postmodern narrative effects in Ackroyd's fiction, including extended analysis of Hawksmoor, Chatterton, and First Light. Peck offers an unfavorable assessment of English Music and contends that First Light represents Ackroyd's most challenging novel to date.]
The publication of Peter Ackroyd's sixth novel, English Music (Hamish Hamilton, London, 1992), provides a good opportunity for an assessment of the nature of his fiction. It might be felt...
(The entire section is 6020 words.)
Nicholas Meyer (review date 25 June 1995)
SOURCE: "Goings-On in Old London," in Los Angeles Times Book Review, June 25, 1995, p. 12.
[In the following review, Meyer offers a positive assessment of The Trial of Elizabeth Cree.]
In the literary pantheon the mystery or detective novel is largely relegated to an inferior rung on the ladder. Yet isn't "Oedipus the King," when all's said and done, a detective story, complete with "surprise" final twist ending in which the detective discovers to his horror that the murderer he has been searching for is himself? The fact that "Oedipus" is a great deal more than a detective story ought not to obscure the fact that it is also nothing less—and one,...
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James Wood (review date 21 September 1995)
SOURCE: "Little Guignol," in New York Review of Books, September 21, 1995, p. 49.
[In the following review, Wood offers an unfavorable evaluation of The Trial of Elizabeth Cree and Ackroyd's fiction in general, which he views as contrived, overly derivative, and unsubtle.]
History, for Peter Ackroyd, is a puzzle for which the novel is a solution. The puzzle, broadly speaking, is coincidence; the solution, that there is no such thing as coincidence. For "Everything is part of everything … Everything is part of the pattern," as a character in his novel First Light puts it. His novels tend to follow the outline of a sensational historical mystery...
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Susana Onega with Peter Ackroyd (interview date 23 November 1995)
SOURCE: "Interview with Peter Ackroyd," in Twentieth Century Literature, Vol. 42, No. 2, Summer, 1996, pp. 208-20.
[In the following interview, originally conducted on November 23, 1995, Ackroyd discusses his early life, his literary influences, his development from poet to novelist and biographer, and his views on English culture, creative imagination, and Catholicism.]
Born in London in 1949, of working-class background, Peter Ackroyd—poet, biographer, reviewer, and novelist—won international repute after the publication of his third novel, Hawksmoor (1985), which was awarded the Whitbread Prize and the Guardian Fiction Prize, and was short-listed for...
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Trev Broughton (review date 30 August 1996)
SOURCE: "The Poet Crying in the Wilderness," in Times Literary Supplement, August 30, 1996, p. 23.
[In the following review, Broughton offers a generally favorable assessment of Milton in America, though he notes that it "is not a perfect novel."]
In the unlikely event that he ran out of ideas, Peter Ackroyd would have a number of choices. He could drive a London cab, bewildering his customers with arcane short-cuts and encyclopaedic chat. Or he might make a second fortune designing erudite Virtual Reality tours of Olde Whitechapel, pestilential smells included. Or maybe he would find another metropolis to be his Muse: preferably somewhere with richly...
(The entire section is 1173 words.)
John Clute (review date 27 September 1996)
SOURCE: "Pastures New," in New Statesman, September 27, 1996, p. 60.
[In the following review, Clute offers a tempered assessment of Milton in America, which, he concludes, "is a hard book to judge."]
It is his most presumptuous act of possession to date, Peter Ackroyd has already taken on five historical figures in his fiction, including Doctor Dee, Nicholas Hawksmoor, Dan Leno and Oscar Wilde. The stories he tells of them tend to invoke metaphors of possession, with buried aspects of the protagonists' selves signalling desperately for recognition. Now it is the turn of John Milton, who is too formidable a figure to mock with Shadows from the back...
(The entire section is 625 words.)
Helen Pike Bauer (review date Spring 1997)
SOURCE: "An Antinomian Born for Glory," in Cross Currents, Vol. 47, No. 1, Spring, 1997, pp. 114-17.
[In the following review, Bauer offers a positive evaluation of Blake.]
William Blake remains, for many readers, a distant, imposing figure. Those who enjoy his poetry are usually familiar with the early work, the seemingly simple Songs of Innocence and of Experience or The Book of Thel. The later prophetic books, Milton or Jerusalem, for example, with their declamatory tone and private mythology, may seem virtually impenetrable. It is one of the great virtues of his new biography, Blake, that Peter Ackroyd assumes the...
(The entire section is 1697 words.)
William Hutchings (review date Winter 1997)
SOURCE: A review of The Trial of Elizabeth Cree, in World Literature Today, Vol. 71, No. 1, Winter, 1997, p. 149.
[In the following review, Hutchings offers a favorable assessment of The Trial of Elizabeth Cree.]
With the detailed knowledge of Victorian London that was reflected in his biography of Charles Dickens, and with the ingeniousness of plot construction associated with his previous novels, Chatterton and Hawksmoor, Peter Ackroyd has written The Trial of Elizabeth Cree, an intriguing and meticulously detailed account of a series of brutal murders in the Limehouse district in 1880. It is in many ways a worthy successor of the...
(The entire section is 531 words.)
Aileen Ward (review date 1997)
SOURCE: A review of Blake, in Partisan Review, Vol. 64, No. 3, 1997, pp. 473-81.
[In the following review, Ward finds Ackroyd's biography of Blake lacking in original research and insight, but concludes that, despite its shortcomings, it represents a positive contribution to a complex subject.]
The explosion of critical interest in William Blake touched off by Northrop Frye's Fearful Symmetry in 1947 is still reverberating, though it has moved into new dimensions since then. Studies of his archetypal symbolism, explications of his metaphysical system, explorations of his political and religious thought, psychoanalytic interpretations both Freudian and...
(The entire section is 3828 words.)
Michael Glover (review date 6 March 1998)
SOURCE: "Fact as Fiction," in New Statesman, March 6, 1998, p. 47.
[In the following review, Glover offers an unfavorable assessment of The Life of Thomas More.]
It seems a long time since Peter Ackroyd published his last book, a novel about the surprising appearance of John Milton in the New World. Its single most memorable sentence would have made Sir Thomas More, the greatest of all defenders of the religion and values of pre-Reformation England, puke: "This missal," Milton remarks with contempt during some routine persecution of a poor woman caught at her miserable devotions, "is fit only to make winding sheets for pilchards."
Could it...
(The entire section is 522 words.)
Lavon B. Fulwiler (review date Spring 1999)
SOURCE: A review of Blake, in Christianity and Literature, Vol. 48, No. 3, Spring, 1999, pp. 374-76.
[In the following review, Fulwiler offers a positive evaluation of Blake.]
Effectively interweaving recurring topics of religion, spiritual matters, visions, the Bible, and the autodidacticism of William Blake, Peter Ackroyd repeatedly refers to the contraries, or oppositions, in the life and personality as well as the verbal and visual works of his subject [in Blake]; in so doing, he reminds the reader of Blake's own declaration that "Without contraries is no progression." From the three opening chapters treating the early religious influences on...
(The entire section is 1150 words.)
Eric Korn (review date 2 April 1999)
SOURCE: "In the Unreal City," in Times Literary Supplement, April 2, 1999, p. 21.
[In the following review, Korn offers an unfavorable assessment of The Plato Papers.]
Times when blind men into ditches lead the blind. … The 1920s and 30s may be fine examples of political myopia, but Peter Ackroyd's Plato (Plato prime, Plato II, neo-Plato) takes a longer view. He observes history (his history, our future) from his mid-fourth-millennium standpoint, a freelance Academic in a new Athens on the banks of the Thames but otherwise not much like London, a city clean and green where the people speak with a sweet slangless suavity, like the worst of Wells's futuropians....
(The entire section is 977 words.)
Leonard R. Koos (essay date Summer 1999)
SOURCE: "Missing Persons: Cherokee's Parrot and Chatterton's Poet," in Studies in Twentieth Century Literature, Vol. 23, No. 2, Summer, 1999, pp. 315–29.
[In the following essay, Koos discusses elements of pastiche and the detective novel genre in Ackroyd's fiction, particularly as found in Chatterton.]
Lönnrot thought of himself as a pure thinker, an Auguste Dupin, but there was something of an adventurer in him, and even a gamester.
—Jorge Luis Borges "Death and the Compass"
I will now play the Oedipus to the Rattleborough enigma....
(The entire section is 3085 words.)
Peter Ackroyd with Francis Gilbert (interview date 20 December 1999-3 January 2000)
SOURCE: "I Will Arise Again," in New Statesman, December 20, 1999-January 3, 2000, pp. 116-17.
[In the following interview, Ackroyd discusses his recovery from a near-fatal heart attack and comments on his literary career, personal life, and recent writings.]
Having heard that Peter Ackroyd had just suffered a major heart attack, and knowing that his lover died of Aids six years ago, I assumed the worst. So I was surprised to find that there were decorators painting his hallway as I arrived at his Islington home: does a dying man renovate his house? I was hurried through and walked past Blake's tortured face-mask in the living-room, down a spiral staircase, and...
(The entire section is 1864 words.)
Peter Green (review date 20 March 2000)
SOURCE: "Collapsophe," in The New Republic, March 20, 2000, pp. 31-4.
[In the following review, Green offers an extended negative evaluation of The Plato Papers and comments unfavorably on Ackroyd's postmodern aesthetic.]
What drives anyone to speculate, or, worse, to prophesy, about the future? Curiosity, and an interest in self-preservation: it isn't hard to see why Delphi commanded such a market for so long. And in the longer view, there is always the fun of seeing the guesses confirmed or refuted. Jules Verne got aviation more or less right, and H. G. Wells was depressingly accurate about the atom bomb; but Arnold Toynbee's...
(The entire section is 6120 words.)
Will Self (review date 16 October 2000)
SOURCE: "Into the Labyrinth," in New Statesman, October 16, 2000, p. 51.
[In the following review, Self offers praise for London.]
In a decade that has seen two large and structurally sound pillars erected in the ever-expanding historiographic monument of London—Roy Porter's London: A Social History and Stephen Inwood's A History of London—comes Peter Ackroyd's sublime capstone [London: A Biography]. Porter's work conceived of the city in terms of its inhabitants' quotidian lives, social mores, political organisations and their religious turmoils. Inwood's looked to the city as an entrepot of the Hegelian world spirit, detailing the...
(The entire section is 1517 words.)
Further Reading
Bemrose, John. "The Nation Within." Maclean's (10 August 1992): 47.
A positive review of English Music.
Davenport, Gary. "Tradition and the English Novel." Sewanee Review 102, No. 2 (Spring 1994): 326-33.
A negative review of English Music.
Gray, Paul. "Mark Ahead to the Past: The Plato Papers Imagines the View from the 3700s." Time (31 January 2000): 68.
A review of The Plato Papers.
Koos, Leonard R. "Missing Persons: Cherokee's Parrot and Chatterton's Poet." Studies in Twentieth Century...
(The entire section is 252 words.)


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well, sir...
baseball is a funny sport. while many fans may like to put blinders on and say their team is best...truth is, every year, only one team can be called champ. and, as a lifelong cub fan, i say there is nothing lovable about losing. every spring i sweat optimism that this will finally be the year. and we both know how that turned out. but i am beyond rooting for another team. my dad took me to wrigley at a youngster...and i've been hooked ever since. as far as baseball goes...i guess i am just stuck with my team. but it is infinately more frustrating than thrilling.
but few other teams are perfect, right? the braves (whom i admire) won, what? 10 consecutive (i think, maybe more) division titles? but only one series? that...appears to just as frustrating as not going to the playoffs for 100 consecutive years. and their fans seemed to feel it was a right of passage going to the playoffs. ignoring the first round of playoff series, because it didn't get serious till the world series. that...is arrogance, no?
who is it you hear from about those lovable losers? fans? underdogs are favored, you know that? right? who could possibly be more of an underdog than the cubs? those pathetic...underperforming...let you down in the end, cubs?
and dusty has won manager of the year more than once, right? but i agree, he's still a veteran loving stiff.
anyway, don't be a hater, bro. it's all good. if you are reds fan...sorry, they should blow this year. but the braves may stand a shot in a good division. the cubs, they are expected to win a weak division again, with only milwaukee expected to challenge. but after two years of making the playoffs without a victory to show for it...you won't be hearing from me till we make it to the world series. i look forward to being silent for the next few years.
be good.


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By Liz Holland / staff writer
PRINCESS ANNE -- (Aug. 15, 2011) -- After nine years at the helm of the University of Maryland Eastern Shore, Thelma B. Thompson has led a series of advances in academics, technology and commercial projects on the campus, but she is reluctant to take all the credit.
"No one achieves anything by herself," she said. "The synergy was right -- it was a united effort here."
Today is Thompson's last day as president of UMES before she retires to her home in Odenton, Md., which is closer to her 94-year-old mother and other family members.
A native of Jamaica, she came to UMES in July 2002 from Norfolk State University, where she had been the school's chief academic officer.
At the time, UMES had only four accredited academic programs, but that number grew to 26 during her tenure, including the most recent accreditation for the School of Business and Technology.
During Thompson's presidency, UMES added professional golf management, engineering and pharmacy programs.
This fall, UMES will offer a new bachelor's degree in urban forestry, and the campus is awaiting approval from the University (System) of Maryland Board of Regents for an emergency management program.
Thompson also created an office of commercialization and technology, which led to an orchid farm, the Hawk-Sat satellite project with the Wallops Flight Facility and a new solar farm on campus.
Believing that instruction should prepare graduates to work anywhere, Thompson placed emphasis on foreign travel and language instruction, including the recent opening of a Foreign Language Instruction Center on campus.
Her years at UMES included building stronger ties with Somerset County and Princess Anne officials.
"I told them, 'You support us with your tax dollars -- it's partially yours,' " she said. "The community responded."
The UMES golf program now has an agreement with the county-owned Great Hope Golf Course in Westover. Students in the program play golf there, and some work as interns. The university has held its annual Art Shell UMES Celebrity Golf Classic there for the past two years.
A few years ago, Princess Anne Town Commissioners held their first meeting on campus.
"Students were invited and got to be observers in how government works," Thompson said. "That was good for them."
Students from the campus also frequently volunteer for community service projects in town, including a recent cleanup of Manokin River Park by golf management and hotel and restaurant management majors.
Dennis Williams, president of the Town Commissioners, said Thompson was instrumental in making UMES a part of the Princess Anne Main Street Partnership.
"But what I'll miss most is dancing with her at the UMES Gala," he said.
Thompson said she hasn't decided yet how she will spend her time.
"I've received some calls," she said. "But I think I need a break."
She hopes to do some writing, including finishing a novel she started working on years ago. Eventually, Thompson said she may do some consulting work.
On Tuesday, Mortimer Neufville, a 14-year veteran at UMES who was vice president of academic affairs when he resigned in 1996, will assume the presidency on an interim basis.
A search is under way to find Thompson's permanent replacement.
As I prepare to leave the presidency of the University of Maryland Eastern Shore, I would like to thank the community for its support of the university. Much of the growth and improvements to which we have pointed over the past nine years were achieved because of the support of this local community.
Thank you for the letters of support, the many tickets you bought, the telephone calls and the time you have spent volunteering for various positions and projects. As a Public Land Grant University, UMES is committed to regional and workforce development to enhance life on the Eastern Shore. I ask that you continue to support the hard-working staff and faculty who meet the urgent needs of our deserving students.
I wish you well as I depart with many pleasant memories. Peace.
Thelma B. Thompson


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St. Patty's Day is nigh upon us and the Outdoor Cooking leprechauns have brought a little treat for their favorite time of year. They've shared a tasty treat that is the breakfast for champions in the leprechaun world... Dublin Coddle and Potato Cheddar Beer Bread. A not so known recipe when it comes to traditional St. Patrick's Day meals, but this could quickly replace the usual corned beef and cabbage line up for many. The St.
Our good friend, Gary House of Cooking Outdoorshas found an ingenious way to get his Dutch Oven up and out of the dirt to a convenient level to cook with. Easy to clean up too! ...And here's how he did it...
I will be going on a two-day campout with my family over the weekend. As I started going through my checklist of things to do this morning, I realized my previous list of time saving items was missing a few things.
So, here is an additional list of tips.
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Artists: Yann Black
Yann Black
Glamort Tattoo Parlor
4411 Rue Notre-Dame Ouest
Montreal, QC H4C 1S2
(514) 656-0699
What year did you start tattooing?
I first started tattooing about 20 years ago.
How did you get into tattooing?
I got into tattooing because I wanted to be tattooed myself. I bought a machine from some bikers and all I wanted was to do it on myself. I tried, showed my dad, and he was my first official piece of meat. With time, friends started asking me to tattoo them too. Eventually someone asked me to tattoo them with my own designs.
Where did you apprentice?
Honestly, I pretty much taught myself. Over the years I've met some key people, namely Paul from Brussels, who showed me certain things. How to weld my own needles, something I still do to this day. How to care for my machines, etc. But I didn't apprentice anywhere or under anyone in particular per se.
Do you have any special training?
I actually studied cartoon animation. My dream was to work in special effects for movies. I finished school, bought a tattoo machine at 18, and, well, truth be told, most of my drawings didn't really please my art teachers. It just goes to show, sometimes you have to stick to your guns and keep doing your thing if you really believe in it.
What conventions have you worked?
I'm not big on conventions just because I find they aren't a good environment, neither to work in nor to get tattooed in. I think my approach is too personal for such a public outlet.
Have you won any awards?
I get awards every day when I can give someone the design they were thinking of but couldn't quite put down on paper. That's the kind of satisfaction I strive for in my work.
How do you describe your style?
It would be somewhere between German expressionism, Russian constructivism, and children's drawings.
What inspires you as an artist?
Oddly enough, I try and stay away from outside sources of inspiration. I like to stick to what I do and just keep making that better. I want to remain original, and to do so, I feel like I need to be fully in my work and not constantly looking to see what others are doing tattoo- and art-wise. I guess what inspires me on a daily basis would be the ideas my clients bring me.
What sets you apart from other artists?
Mainly the fact that I try and stay away from "traditional" tattoo imagery. I don't want my tattoos to look necessarily like tattoos, and I don't feel the need to bend my art for whatever craze or fashion is going around. I design every piece freehand based on the client's ideas, and I think that helps me to stay on top of my art.
What other mediums do you work in?
I barely have time anymore to do anything other than tattoo, but everything I do today is based on what I used to do on paper and canvas before.
How have you branched out from tattooing?
I've participated in a few interesting projects recently. Dimitri Hk's tattoo handbook project, a few pieces of album artwork (Revok, Monarch, Un Premier Mai). Designed a snare for Think drums, a logo for a wine bottle and for a yogurt company, and a magazine cover for Nest. I like to accept projects that are different and that don't involve corporate companies.
What tattoo artists do you admire most?
The artists whose work I admire most would be Rob Admiraal and Xed Le Head. I also have a bunch of really talented friends—Lea Nahon, Jef, Kostek, Piet du Congo, Lionel from Out of Step, Topsi Turby, and Navette—who never cease to amaze me.
What kind of tattoos do you look forward to doing?
I look forward to doing whatever tattoo I'm going to do next. Every day clients come in with their ideas, which means I wake up every day not knowing what I'll be doing that day.
Before someone gets a tattoo what advice do you give them?
I think the advice I give people is mainly based on placement and design. I'm not anyone's but my daughter's parent, so I can't really tell people what or how they should do something. I just like to occupy space intelligently on someone's body, based on their existing tattoos, scars, and whatnot. If I were to have to give someone advice before getting a tattoo, it would be this: Rest well the day before, and come with a clear head and a full stomach.
Is there a tattoo that you haven't done yet that you are dying to do?
I have an ongoing project with my wife that I can't wait to do—she's currently pregnant so we're forced to put the project on ice for a while. A big back piece with a whale, a boat, and an iceberg. I'm really into doing marine-theme tattoos these days.


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Nutrition Facts
Serving Size ½ of recipe
Calories 336
Total Fat 17 g
Saturated Fat 3.5 g
Sodium 523 mg
Total Carbohydrate 10 g
Dietary Fiber 1 g
Protein 36 g
Ingredients and Preparation
Ingredients Measures
Pork tenderloin ¾ pound
Salt ¼ teaspoon
Dash of fresh ground pepper
Olive oil 2 + 2 teaspoons
Water ¼ cup
Pitted black olives in water, sliced ¼ cup
Balsamic vinegar 1 tablespoon
Honey 1 tablespoon
Chives, chopped ¼ cup
- Season the pork with the salt and pepper.
- Heat 2 teaspoons of the oil in a large skillet over medium-high heat. Place pork tenderloin in pan and cook for about 6-8 minutes, until browned on all sides. Pour ¼ cup water into the pan, cover, and cook for an additional 10 minutes, or until cooked through.
- Heat the remaining 2 teaspoons of oil in a small saucepan over medium-high heat. Add olives and sauté for about 2 minutes. Stir in the balsamic vinegar and honey, bring to a boil, and then remove from heat.
- Slice the meat and place onto 2 plates. Top with the chopped chives and the olive sauce.


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The importance of unity and support
To the editor:
Despite the cold temperatures and snow flurries last Saturday evening, Jan. 19, the warmth of communities coming together in a little school was felt by all. Milroy PTO put together an amazing night of donkey basketball and a baked potato feed. As communities came together from Tracy, Vesta, Wabasso and Milroy for some friendly competition, the support and care for one another was obvious. Throughout the evening and several times since then, the one question that was asked was, "Where is/was the principal and superintendent?"
This was a school/community event, and support from administrators at the local school would have been nice to see. We are caregivers and with all the talk of small schools all over the country in danger of closing due to lack of enrollment or staffing, the importance of unity and support from everyone involved is so important. It's upsetting to feel the lack of support for this event, especially knowing other communities were all coming together.
Firefighters, teachers, students and dance teams: If making an effort to be involved with the people and families that are working hard to hold our school together isn't important, it makes one wonder what else is taking a back seat?
Shannon Beck


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We had begun to produce this program weeks ago, and then the hard-to-get interview with Bishop Vashti McKenzie came through. And so forgiveness was put on ice, so to speak, while we lived correspondingly through the final, grueling, and at times recriminatory weeks of an election season. We did not really plan to put revenge and forgiveness on our schedule for the weekend after the election — it just landed there. And it does seem right, and good, and helpful. It is helpful with a decidedly real-world vigor and clear-sightedness. I'd been intrigued by what I knew of Michael McCullough's research, and I was hooked by this line at the beginning of his book, Beyond Revenge: "I wrote this book for people who want to bypass all of the pious-sounding statements about the power of forgiveness, and all of the fruitless sermonizing about the destructiveness of revenge. It's for people who want to see human nature for what it really is." As I've said many times before, part of my passion for the spiritual and religious aspect of life is my delight in the fact that here we dwell solemnly not only on God but on what is ordinary and human; we attempt to see human nature for what it really is, and find meaning and mystery right there. I first began to gain a solemnity about the revenge impulse in human life when we worked, in the early days of Speaking of Faith, on a show about the death penalty. I came to understand that revenge is the original "criminal justice system." For most of human history, prior to the rule of law, prior to structures of justice that transcend the messiness of human interaction, the threat of retaliation has been a primary tool humans possessed to pursue justice and also to regulate cycles of violence. The ancient "eye for an eye" teaching of the Hebrew Bible — which is often cited as a justification for extreme revenge — arose in this context. It was not designed to champion extreme punishment, but to limit revenge in terms of equity and fairness — as in, "you may not slaughter the entire family of the person who harmed you or your loved one; you may only take an eye for an eye." And now, as Michael McCullough lays out expertly and passionately, science is able to document how normal, and in a sense, how sensible, our instinct for revenge is. It has served a purpose in human life and in the primate world. We are hard-wired for what looks in the brain like a "craving" for revenge, a felt need that begs for satiation. And though we do range in this conversation into the realms of global geopolitics and murderous revenge on a societal scale, Michael McCullough is more interested perhaps in the mundane forms this craving takes: in our interactions with obnoxious neighbors and irritating co-workers or, for example, the political candidates we oppose. He notes that Americans have a tendency to see revenge as a mark of cultures more primitive than their own. But he points out, provocatively, that between 1974 and 2000, 61 percent of all school shootings in the U.S. had revenge — often for bullying — as a trigger. Here is the good news: science is also revealing how forgiveness, like revenge, is hard-wired in us — purposeful, and normal. We tolerate and excuse the deficits and mistakes of those we know and love and work with — and even those we don't love but need to work with — a hundred times a day without ever glorifying these moments with the lofty word "forgiveness." School shootings, ethnic slaughter, and road rage garner headlines, skewing our sense of our collective character. But my guest says, forgiveness doesn't work in real life as it too often works in media portrayals of dramatic stories of conversion and high emotion. Actually, we forgive, in good part, because it is in the interests of our genetic pool to do so. The evolutionary pay off for the forgiveness of mistakes by people we are close to or whose work we depend upon, for example, is survival. Michael McCullough says to think of forgiveness as a trait of the weak and the vulnerable reflects a simplistic imagination about human nature and evolutionary biology. And he has the science to give us a more complex imagination about both. This is science, in other words, that liberates us from reductive analyses of human nature — that is to say, of ourselves and those around us. If we accept the normalcy of our instincts both to revenge and forgive, we have more control over both. Among the practical tools McCullough offers for moving forward in this way, here is one of the most simple and challenging: we embolden the forgiveness instinct when we come to see others as having value. In this light, religious traditions have more than straight teachings on forgiveness to offer up to our culture. Perhaps more practically, they have rich, ancient, cross-generational resources for seeing, knowing, and honoring the dignity of "the other," whether enemy or friend, neighbor or stranger. On the cautionary side of McCullough's insight, there is a realization that, under the right conditions, we are all vulnerable to falling back on revenge as a form of justice. This helps explain the fact that sectarian cycles of revenge often erupt after the fall of dictatorships, like that of Saddam Hussein; such regimes take all the revenge function on themselves and keep normal human dynamics artificially in check. McCullough's science makes a sobering case for the necessity of the basic rule of law — in Iraq or in an American inner city — if human beings are to live up to their moral potential. The need to understand the instincts for revenge and forgiveness, and to govern them, may be attaining a new urgency in a globalized world, and one that is in the midst of a globalized financial crisis. I know that Michael McCullough's analysis has been ringing in my ears — anchoring both my concerns and my hopes — as I've watched that crisis unfold, and as I consider the prospect of national reconciliation in the wake of a hard-fought election.
Krista's Journal: Science That Liberates Us from Reductive Analyses
November 6, 2008
Recommended Reading
Author: Michael McCullough
Publisher: Jossey-Bass (2008)
Binding: Hardcover, 320 pages
This is a fascinating, lively, well-written book that is both interesting and practically useful — my favorite combination.
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is a professor of psychology at the University of Miami in Florida, where he directs the Laboratory for Social and Clinical Psychology. He's the author of Beyond Revenge: The Evolution of the Forgiveness Instinct.


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Jordon Rocker Recliner
by Home Meridian | Item #: 709740 | Model #: 175-181-001 |
We're sorry, this item is not available in your selected Club. Check another Club
About this item$99 Delivery
The casual elegance of the Jordon Rocker Recliner will provide relaxation and comfort for many areas in your home.
The Jordan Rocker Recliner is casual elegance with a contemporary flair. Every detail says comfort from the generously padded two-section back to the pillow top seating which cradles you in comfort. It is covered in a durable, soft poly suede.
The top stitching and the self welting accents the styling and adds to its durability. It features a hardwood frame and an all steel mechanism that offers both rocking and reclining actions.
- Brown poly suede
- Solid wood frames
- All steel mechanism
- Pocket coil seat spring
- Extra long sinuous spring suspension
- Hardwood used in all stress areas
- Reinforced with dowels, glue, screws, corner blocks and staples where needed
- Extra long sinuous spring suspension used in seats and backs
- All steel mechanism for durability, maximum performance and strength
- Heavily padded with premium fiber and/or foam designed for maximum comfort and durability
- Pocket coil seat spring construction help cushion maintain a crips shape & reduce sagging
- Double needle stitch seams with heavy duty nylon thread reinforced stress areas
- Durable poly suede covering is durable, soft to the touch and easy to clean
- Pillow top seating cradles you in comfort
- Deep padded arms and backs for maximum comfort
- Rocker Recliner mechanism features both reclining and rocking actions
- All steel mechanism and wood frame
Assembled Country
Assembled Size
39"W x 42"D x 41"H
Component Country


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|Grape Vines are one of the most rewarding, easy to
grow, home and patio plants available and they seem to grow best when neglected.
They add a wonderful accent to any garden or patio.
All our live Grape Vine plants are 2-4+ years old and are extremely well established. Grape Vines come in the growers pot with the growers soil mix (NOT BARE ROOT), are very well packed and only mildly trimmed.
Above, plants on the trim table being prepped for shipping. Plants in the foreground right are 4" pot specimens whereas the plants to the left and rear rear are in 6" diameter pots. These plants generally double in size in a few months if allowed room to grow in ground or in a larger pot.
Our growers always try to select the healthiest plants for your shipment. Plants above are trimmed and ready for packaging. Before leaving our growers all plants are inspected, watered and pruned if necessary. Your new Grape Vine is then bagged to keep the soil moist and to ensure that the soil stays in the pot not loose in the box.
Below is a general guideline and may or may not work in your environment.
Ideal use: Indoor Decor, Patio Containers and Desert Gardens.
Indoor Anywhere, Outdoor Zone 7 - 11 Depending on species. Avoid frost if possible. In very cold zones a containerized Grape Vine can be brought inside for the winter months. Most will survive a very light frost and quickly return to normal in spring.
Height - Grape Vine vary dramatically depending on species (see product). However your new Grape Vine may over or under perform, depending on the light, soil and humidity it is exposed to.
Recommended Container Size - Most gardeners don't realize that Grape Vine do very well in containers. Container size may vary depending on the growth rate of the plant. Allow enough room for growth generally a 12" to a 24" diameter, 10" deep container will do well.
Remember the looser the roots, the taller and healthier your plant will be. When the plant becomes root bound its growth will slow. At that point it is time for division and/or a larger pot.
Urban Tropicals Grape Vine come in a variety of colors, with or without thorns.
Water - Grape Vine must be treated like Cactus and water when nearly dry. Over watering will kill the plant. Remember the #1 cause of death to plants is over watering. Many decorative containers do not have drain holes at the bottom, so when a plant is regularly watered the roots in the bottom of the pot are subjected to an aquatic environment, with no hope for oxygen and the decay begins.
Light 75-100% Full sun is best. When planting outside expect the plant to go dormant while acclimating to its new environment. Grape Vines enjoy light. Try not to keep your Grape Vine in a shady area. If potted and the plant must be kept away from a natural light source, move it to a sunny location for a few days every once in a while to perk it up.
Soil - Well drained, sandy cactus mix. Remember try to stay away from wet, mucky soils.
Fertilize - Fertilizer can be detrimental to Urban Tropicals Grape Vine and too much can kill the plant so fertilize sparingly with 10-10-10 or 12-12-12, slow time release fertilizer is best. For in ground planting, broadcast a balanced granular fertilizer once a month. Grape Vine are light feeders, however unfertilized they will tend to grow very slowly and virtually remain dormant. For a rich, full look, feed them monthly but don't over fertilize. If a little is good, a lot is NOT always better.
When you receive your new Grape Vine - Open your box carefully and water if dry. Please take your time when opening. Most foliage damage occurs when the box is ripped open in the excitement of receiving new plants. Many plants, especially succulents, are very fragile and leaves will snap off easily if not handled cautiously. Our growers are shipping live plants intended for generations of enjoyment. If your plant become damaged, with broken or yellow leaves, do not worry this situation is only temporary, with proper care your new plant will bounce right back in a week or two.
Planting Information - Remove the plant carefully from its pot by laying it on its side and lightly tapping the sides of the container. Gently slide the plant out of the pot. In some cases where the roots have grown through the holes of the container you may need to cut the container off of the plant. If pups are present, plant as shown below.
Use a sharp knife or garden shears to make slits down the sides of the root ball. This will encourage accelerated root growth into the new soil. Be sure not to cut too deeply into the main root system. The object is to only score or cut through the secondary or feeder roots.
Plant in ground or in a container using well drained, sandy soil. Your Grape Vine should be planted flush with the soil line. Often we have found mixing a small amount of slow time release fertilizer into the lower level of the soil before planting speeds up the rate of growth. When planting in ground space plants to allow clumps to form and develop properly. If planted too tightly there will not be enough room for root expansion and plants will not reach their full height and bloom potential.
Urban Tropicals Offsets or cuttings work well for the propagating of most Grape Vine.
New plants come very well established w/ pot.
Cut through the roots to separate plantlets.
Divide each plant and separate their roots.
Start new plantlets with fresh well drained soil.
Seeds & Pups Grape Vine will eventually produce seed however pups from the flower stalk will grow much faster than seedlings which take 3-9 weeks to germinate.
Beautiful shafts appear summer to fall.
Grape Vine species produce seeds & pups.
Carefully plant seeds or pups 1/4 in. deep.
Pups are planted the same as offsets.
Best Grape Vines for patio containers
Urban Tropicals Grape Vine make an excellent addition to any interior or patio. They are incredibly hardy and drought tolerant.
You'll also find Grape Vines require little of your attention and grow well in just about any environment but prefer high light condition. They are shipped UPS Ground grower direct and include the growers pot.
Grape Vines arrive at your door very well rooted and depending on the species, can often be immediately divided into 4 or more plants.
We recommend you visit Huntington Botanical Gardens, The Getty Museum, or The Los Angeles County Arboretum to enjoy these ancient plants.
Find these plants and more at Urban Tropicals. Copyright All rights protected. Urban Tropicals inc.


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Now, We Need You!
On July 15, we heard the voices and saw the faces of our fellow Chautauqua County citizens as they addressed the New York State Public Service Commission.
Over 2,000 teachers, firefighters, senior citizens, business owners, and residents from across Chautauqua County mustered in the Williams Center at SUNY Fredonia. This powerful forum was made possible by the strong leadership of state Sen. Cathy Young. Her masterful testimony was punctuated by Assemblyman Andy Goodell who skillfully questioned the presenters to peel back the layers of rhetoric and expose the truth. Then, over 70 speakers covered the devastating impact on our community if NRG Dunkirk Power is not repowered with state of the art clean natural gas. At 11:35 p.m., the hearing adjourned.
So now what?
Every now and then there comes a time and a cause when our citizens rise up to a challenge. Remember the words: "I fear we have awakened a sleeping giant." Although we are not facing a wartime attack, we are facing a threat to our economic security and quality of life here in Chautauqua County. The stakes are enormous: reliable power, clean energy, $500 million private investment, hundreds of jobs and $8.3 million in tax payments affecting our property taxes and the education of our kids. New York State Governor Andrew Cuomo was just here in Chautauqua County discussing the 30-year declining Western New York economy. When questioned by the media on the NRG repower initiative, he said to let the Public Service Commission's public comment process play out. My fellow citizens, the time has come for each of us to respond through our written comments to the PSC to get your feelings in the official record.
For those who were unable to testify Monday evening, your comments will be accepted by the PSC through Aug. 16. We need you to make your comments known to both Governor Cuomo and PSC Chairman Brown. Reference Case No. 12-E-0577. Please mail your comments to:
Hon. Andrew M. Cuomo, Governor
Executive Chamber
NYS Capitol
Albany, NY 12224
Chairman Garry A. Brown
Acting Secretary Jeffery Cohen
NYS Public Service Commission
Agency Bldg. 3. Empire State Plaza
Albany, NY 12223
Information can be found online at www.dps.ny.gov by searching Case No. 12-E-0577. Comments may be submitted online, by mail or by calling the PSC at 800-335-2120.


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