text:
Disc brakes afford advantages over drum brakes on the rear wheel of a motorcycle. The brake surface is greater on a disc, or rotor, and heat dissipates faster. Overheating can lead to a compounding reduction of stopping power, known as "brake fade." Moisture introduced into a brake drum diminishes performance, while disc brakes benefit from wet conditions by cooling quicker. Disc brake calipers are simple structures, but they may be adversely affected by minor discrepancies.
Things You'll Need
- Cylinder hone
- Drill
- Wrenches
- Denatured alcohol
- Protective eyewear
- Hammer C-clamp
Caliper Rebuild
Remove the rear caliper from the bike following manufacturer's recommended procedure. Remove the caliper bleed screw and drain all fluid. Discard fluid according to local regulations or laws. Examine the bleed screw thread bore of the caliper. Replace any caliper that exhibits damaged or missing screw bore threads.
Remove the brake pads and any attaching hardware. Remove the piston from the caliper by directing a short burst of compressed air into the bleed screw bore. Continue removal of the piston by hand once it emerges past the dust boot. Remove the dust boot from the caliper.
Remove the rubber seal ring from the piston. Examine the piston exterior surface and cylinder bore. Replace any parts that show heavy rust, pitting or scoring. Remove minor defects in the cylinder bore with the proper size and grit bore hone. Clean all parts with denatured alcohol.
Remove and replace all rubber parts left in the caliper. Lubricate any guide bushings or boots with a light coat of silicone-based brake lube. Install a new seal ring on the piston and lightly lubricate the entire piston with brake fluid specified for use with your model motorcycle.
Install a new dust boot into the cylinder bore and ensure that it is seated. Place a brake pad over the boot and drive it in evenly using a C-clamp. Ensure the boot is completely seated. Position the piston over the center of the dust boot. Apply light air pressure to the bleed screw bore while pressing the piston past the inflated boot.
Ensure the piston is fully seated. Install the bleed screw and brake pads into the caliper. Replace the caliper on the bike by reversing the removal procedure. Bleed the caliper according to manufacturer's recommendations.
Tips & Warnings
- Use an air nozzle that allows precise control for piston installation. Distracting noises from the dust boot are common during this procedure.
- Use protective eyewear when using compressed air to safeguard against injury. Never re-use brake fluid or sealing washers on brake hose fittings.
Related Searches
- "Honda 700-1100Cc V-Fours 1982-1988: Service, Repair, Maintenance"; Ed Scott
- Photo Credit Jupiterimages/Creatas/Getty Images
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text:
Need an HTLV Test in Ladue, MO? Simply order online 24/7 and get a fast, affordable HTLV Test at a lab near you (Find More Locations):
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The HTLV Test is a medical lab test for HTLV 1 and 2. People in Ladue, MO order the HTLV Test for general screening or when interested in being a donor.
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The price for the HTLV Test includes the doctor's order that you need to get tested in Ladue, MO, all lab fees and taxes, and a pdf copy of your results. For current prices, please CLICK HERE.
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subset: commoncrawl


text:
3 Keys to tonight's Stanley Cup Final Game 5
Rangers' Keys to Game 5
1. The power play: They've proven they can be the Kings' equals for stretches at even strength. If that's the case, finding a way to convert on the power play should be the tipping point. So far in this series, the Rangers are 1 for 17, though with a Game 4 caveat. The Rangers were 0 for 3 on the scoresheet in their 2-1 victory, but Benoit Pouliot's first-period goal came just two seconds after Willie Mitchell's high-sticking penalty expired, so essentially the Rangers still were up a man as the defenseman raced out of the penalty box. The Rangers took seven of their 19 shots on the power play.
2. Goalie battle: Both Henrik Lundqvist (right) and the Kings' Jonathan Quick are proving why they're among the NHL's best, if not the league's two best. Quick was the best player on the ice in making 32 saves in the Kings' 3-0 Game 3 win at Madison Square Garden as the Rangers dominated puck possession. Lundqvist was just as good in making 40 saves in Game 4. And Lundqvist thrives in elimination games, of which the Rangers have won an NHL record eight straight at home. In this year's postseason, Lundqvist is 5-0 with a 1.00 goals-against average and a .971 save percentage with the Rangers facing elimination, which they will be for the duration of this series. With the goalies playing so well, it's usually the simplest mistake that is the difference between victory and defeat.
3. Build on the momentum: All the Rangers wanted was a chance to return to Los Angeles for Game 5. Having done that, they can't think about anything other than another win and getting the series back to the Garden for a Game 6 on Monday night. The Rangers are clearly comfortable in this situation, having rallied from a 3-1 series deficit against the Penguins in the second round. The Rangers are still a long way from a historic rally, but a win in Game 5 could allow some doubt to creep into the Kings' psyche.


text:
Release Date: 13 October 2008 | Certificate: Parental Guidance
Featuring: Burt Reynolds, Ryan O'Neal and Brian Keith
£9.79 includes FREE UK Postage (other delivery options available)
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An affectionate reconstruction of the early days of the movies centring on an unlikely group who head for California to shoot a film.
Release Date: 13 October 2008
Certificate: PG - Parental Guidance
Actors: Burt Reynolds, Ryan O'Neal, Brian Keith and Tatum O'Neal
Directed by: Peter Bogdanovich
Region 2
Aspect Ratio: 16:9 Anamorphic Wide Screen
Sound: Dolby Digital
Running Time: 118 minutes
Production Year: 1976
Main Language: English
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Catalogue No: OPTD1409


text:
- Fours
- Sixes
- Wickets
- MEK Hussey 5
- WP Saha 13
- SK Raina 63*
- S Badrinath 34
- MS Dhoni 45*
- R Sharma 1/27
- B Kumar 0/24
- KW Richardson 1/35
- AB Dinda 0/41
- AM Nayar 0/23
- LJ Wright 1/12
Richardson to Hussey, OUT, he has struck off his third ball! Big one this! It was angled in from round the wicket and it just straightens a touch, enough to beat the batsman's defensive poke, then hits the offstump
MEK Hussey b Richardson 5 (9m 8b 1x4 0x6) SR: 62.50
Sharma to Saha, OUT, he plays a premeditated sweep to a delivery that is pitched short in length around leg stump! The batsman misses as he was nowhere near the pitch of the ball, gets hit around the knee roll of his front pad.. The umpire reckons that would have flicked the leg stump
WP Saha lbw b Sharma 13 (23m 15b 1x4 1x6) SR: 86.66
Wright to Badrinath, OUT, caught at long off! And as so often happens when Badri tries to play a lofted shot, it goes straight into the hands of the fielder
S Badrinath c Smith b Wright 34 (49m 31b 2x4 0x6) SR: 109.67


text:
Cross-Cultural Reactions to Academic Sexual Harassment: Effects of Individualist vs. Collectivist Culture and Gender of Participants
DOI: 10.1007/s11199-005-1295-3
- Cite this article as:
- Sigal, J., Gibbs, M.S., Goodrich, C. et al. Sex Roles (2005) 52: 201. doi:10.1007/s11199-005-1295-3
- Citations
- 516 Downloads
Male and female university students from the United States, Canada, Germany, the Netherlands, Ecuador, Pakistan, the Philippines, Taiwan, and Turkey read a standardized scenario in which a male professor was accused of sexually harassing a female graduate student. Respondents from individualist countries judged the professor to be guilty of sexual harassment more often than did those from collectivist countries. Women rendered significantly more guilty judgments and assigned more severe punishments to the accused professor than did men. Implications for the individualist–collectivist classification system and cross-cultural research are discussed.
Keywordssexual harassment culture gender
Copyright information
© Springer Science + Business Media, Inc. 2005


text:
"No matter what the season, every day is an adventure"
Alabama and
DeKalb County
are full of many delightful surprises, all waiting to
be discovered. It is a place to enjoy the sights and
sounds of all four seasons.Springtime brings a
renewal to the mountainous terrain as first the
Redbud and Dogwood announce their arrival in a showy
display of purple and white flowers along the
Mountain Parkway. Then the hills
come to life with blooms of pink and bright fuchsia
colored Rhododendron. Mountain Laurel and Wild
Azalea blossoms adorn her side. Pink Lady Slippers
and Jack in the Pulpits gracefully raise their heads
from the forest floor.Summer brings children squealing with delight as
they frolic and play at the many
summer camps in
Mentone atop Lookout Mountain.
104-foot DeSoto Falls
Lookout Mountain!
Come See...Just for
the Fun of It!
Join us on...
Read more about Lookout Mountain's Fort Payne, Mentone and Rainsville on TripAdvisor.
Take a Virtual Tour
Don't Forget...
April 20 - 23 & 26 - 30 NACC Theatre Presents
"Shrek the Musical"
April 22 Taste of the Mountain and Art Auction
April 29 First State Bank 5K Run/Walk Fun Run
May 5 -6 Spring Vintage Pickin Barn Sale
May 6 Wildflower Saturday
May 6 Friends of the Depot Silent
Auction & Gala
May 12 - 13 Downtown Art Walk with
May 12 Miss Rhododendron Pageant
May 18 – 21 US 11 Antique Alley Yard
May 20 - 21 Mentone Rhododendron Festival
Did You Know? The Lookout Mountain Parkway was
named by Readers Digest as one of America's Most
Scenic Drives!
Lookout Mountain Parkway
Request a FREE
Visitor's Guide to DeKalb County Alabama &
Lookout Mountain.
Click Here to Order or view our Interactive Brochure Here
Did You Know? DeKalb
County Alabama is home to:
Traveling to NE Alabama? Take our short survey to help us better understand you travel needs.
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or contact us via email here
©Copyright 2010 DeKalb
County Tourist Association
1503 Glen Blvd. SW Fort Payne, AL 35968


text:
Courtney Love, Mark Ronson, Alison Mosshart Perform at Fleetwood Mac Fest
Plus Sarah Silverman, Will Forte, Carly Rae Jepsen, and others
Tonight marked the first night of Fleetwood Mac Fest—the two-day L.A. benefit concert celebrating the music of Fleetwood Mac. Proceeds from the shows will benefit Sweet Relief Musicians Fund and the Sweet Stuff Foundation. Joanna Newsom, Courtney Love, Mark Ronson, the Kills' Alison Mosshart, Sarah Silverman, Carly Rae Jepsen, Will Forte, Karen Elson, and Weezer's Brian Bell were among the night's numerous performers. Find footage below.
Courtney Love ("Silver Springs"):
Courtney Love singing Silver Springs oh my lord #fleetwoodmacfest pic.twitter.com/yajSfiIOMR— maeve mcdermott (@maeve_mcdermott) February 10, 2016
Mark Ronson and Alison Mosshart ("Dreams"):
Sarah Silverman ("Go Your Own Way"):
Stevie-off part 2: @SarahKSilverman! #fleetwoodmacfest pic.twitter.com/NjLAbzBqXX— maeve mcdermott (@maeve_mcdermott) February 10, 2016
Karen Elson, Will Forte, Weezer's Brian Bell ("Stop Draggin' My Heart Around"):
Carly Rae Jepsen ("Hold Me"):
.@carlyraejepsen killing it at #fleetwoodmacfest can't wait to see her and @FGSaints on tour! pic.twitter.com/hki8LO0AzE— Kimberly Knoller (@paid2rock) February 10, 2016
God bless @carlyraejepsen #fleetwoodmacfest pic.twitter.com/4NVkVTUmyo— maeve mcdermott (@maeve_mcdermott) February 10, 2016
Perry and Etta Farrell ("Gold Dust Woman"):
Finale ("The Chain," "Don't Stop"):


text:
Item: SLG294
1,000 mcg methylcobalamin nuggets
Suitable for vegetarians
Gluten, dairy and wheat free
1,000 mcg 60 Ct
Serving Size: 1 Nugget
|Amount Per Serving
|%Daily Value
|Vitamin B12(as methylcobalamin)
|1,000 mcg
DV = Daily Value
Other Ingredients: Mannitol†, Vegetable Stearic Acid, Silica, Vegetable Magnesium Stearate, Natural Cherry Flavor, Vegetable Cellulose.
†Provides a dietarily insignificant amount of sugar alcohol.
SUGGESTED USE: As a dietary supplement for adults, take one (1) nugget daily, preferably with a meal or as directed by a healthcare practitioner; place nugget under the tongue for 30 seconds before swallowing.
If you are pregnant, nursing, taking any medications or have any medical condition, please consult your healthcare practitioner before taking any dietary supplement. Discontinue use and consult your healthcare practitioner if any adverse reactions occur. Keep out of reach of children. Store at room temperature. Do not use if outer bottle seal is missing or damaged.
.29 lbs
1,000 mcg methylcobalamin nuggets
Suitable for vegetarians
Gluten, dairy and wheat free
Solgar Sublingual Methylcobalamin nuggets deliver 1,000 mcg of vitamin B12 (as methylcoblamain). A better absorbed form of vitamin B12, methylcobalamin supports healthy nerve tissue and brain cells. Free of yeast, wheat, soy, gluten, sugar, salt and dairy products and formulated without the use of artificial preservatives, flavors or colors.
"With my personal 100% money-back satisfaction guarantee, you have nothing to lose and great savings to gain."
Lee Swanson, Founder of Swanson Health Products
If you are dissatisfied for any reason, we'll give you a full refund and pay return shipping.
We are dedicated to offering the highest quality products at the best price. Find out more about how we ensure such a high standard in everything we do.Learn More
1,000 mcg 60 Ct
1,000 mcg 30 Ct


text:
Search and browse 0 cars currently available from Mc Motors, a car dealer in Coalville. You can also read reviews of this dealer from customers who have bought cars there, or contact the dealer directly to discuss what you're looking for.
Call dealer nowTel: (07772) 281156 Tel: (01530) 510775
About this dealer
Mc Motors
"Established since 1990 we are a family run garage working from a village location. Over the years we have built up a sizeable client base, and are proud to have a high level of repeat and referral business. Our expert car buyer, with many years experience in the trade, carefully chooses all of our cars. Our vehicles are selected to represent both quality and value."
Services offered
Show more


text:
Performance Assessment Scoring
Measurement Incorporated has led the field in performance assessment scoring for over 30 years. The handscoring of written essays was our original primary business, although our experience and capabilities have continued to expand. We offer a variety of assessment scoring technologies in addition to supporting traditional paper-and-pencil assessments.
Our reader/evaluators score more than 10 million tests annually. This volume includes evaluation of written essays; constructed-response items in language arts, mathematics, science, and social studies; and other performance assessment tasks. We have the capacity and expertise to handle a large volume of high-stakes statewide assessments and have the flexibility to apply the scoring criteria and standards demanded by each unique client.
Reliable results are assured by conducting rangefinding sessions with the client to define the range of score points; recruiting qualified scoring staff; providing them with thorough training and high-quality training materials; and conducting multiple readings of the student responses by independent scorers and then comparing and analyzing score data.
Our scoring staff consists of 30 full-time professionals (project managers and assistants) as well as hundreds of seasonal scorers, team leaders, and scoring directors at each of our 10 scoring centers. Our staff has expertise in a wide variety of fields, and many are former teachers. We are experts at establishing new or temporary scoring centers in the client's choice of location. On numerous occasions we have had the opportunity to work with states and districts to train local educators to score constructed-response items and performance tasks as part of their standards-based summative and formative assessment systems.
Scanning and Machine Scoring
MI makes use of several NCS/Pearson scanners in collecting demographic information and selected-response answers from student test booklets. The equipment is also used in capturing the scores assigned by our reader/evaluators in paper-and-pencil performance assessments. Net production rate at our headquarters is in excess of 17,500 sheets scanned per hour, with additional scanners used at each of our other scoring centers.
MI also utilizes imaging technology to collect student data. Imaging technology permits online scoring plus the ability to provide clients with images of student documents to facilitate storage and retrieval. All imaging is accomplished at the corporate offices in Durham, NC, through the use of state-of-the-art BancTec® IntelliScan® XDS color scanners. Net production rate is in excess of 79,200 sheets imaged per hour.
Score results are delivered to the client through a variety of secure reporting methods.


text:
The Border Figure Skating Club will perform Disney's version of "Beauty and the Beast" when it stages its annual ice show this weekend at Memorial Arena.
Close to 100 skaters, aged three to 17, will take to the ice for two shows, running between 90 minutes and two hours. The first goes Saturday at 7 p.m. while the second is slated Sunday at 2 p.m.


text:
"Changing a tampon outs you."
Society ain't what it used to be, but that doesn't have to be a bad thing. In fact, breaking away from our binary, outdated, and even suffocating societal norms is a good thing, so long as we move together towards a brighter and more inclusive future.
One of the scariest things about dealing with mass societal change is feeling like nothing makes sense anymore, and that fear, which strikes many millions of Americans to their core, is perfectly normal. To put it simply: imagine that for your whole life, there are only circles and squares, and everybody is happy with the two shapes and the inherent differences between them. Then, suddenly, a triangle comes along. How are you supposed to understand what feels like an unorthodox and unexpected change?
For this very reason, transgender people today are finding themselves at the forefront of an assault by social conservatives who cannot and will not understand what it means to live a life that exists, at least while transitioning, somewhere between the two sexes.
One issue you may never have thought of, given the numerous taboos that have buried it deep from the standard topics of polite conversation, is that of male menstruation. And yup, it really is a thing.
This is the reality of men who get their period, and the important message they want you to know.


text: Next Story > CFO Journal. CFO Moves: Morningstar, Dynasil, The Pantry By James Willhite James Willhite The Wall Street Journal CANCEL BiographyJames Willhite @jimwillhite Jan 10, 2013 2:55 pm ET Morningstar's chief financial officer plans to step down from the role, but is still deciding whether to leave the company; The Pantry found a successor to its CFO who resigned last March; Dynasil's new CFO was most recently at Pennichuck. To Read the Full Story, Subscribe or Sign In Previous The Morning Ledger: Tax Hike Fears Spurred CEO Stock Sales Next CFOs Expect More Duties This Year: Report


text: It has been a long hard road to get my book re edited and fully revised. Harder still was formatting it to meet smashwords style guide. Thanks to a dear friend and fellow author Tom Williams it is now available. I did get it on NOOK, and now hope to have it on Kindle soon. The Wardrobe is a thriller and to tell you the truth I think I like writing historical romance better. It is creepy writing something based on historical events that deal with demons and witchcraft. One of Tom's books, A Guide to Skinny Dipping is a fun read for those who like real life love stories. He is also on smashwords, worth checking out. Now it's off to do research for the sequel and start the edit job on another book. If I learned one things this year, it is never give up. You can write a book and get it out on ebooks for others to enjoy. Also it helps to have other authors as friends, they can be a world of support. I have made many friendships on fb who are published authors and others like myself, who are just starting out. It's worth the time to befriend such great people. Enjoy your holiday and keep writing.


text:
You missed it This great deal for Tribeca Flashpoint Media Arts Academy is over. But don't despair, we've got more great deals every day.
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Tribeca Flashpoint Media Arts Academy
Digital Media Workshop Gives High Schoolers Real-World, Industry Experience
High school students can dive into the world of film or music production, game design, and much more with these career-focused professional workshops:
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Perfect for any high schooler who's curious about digital media, this hands-on training lets teenagers make an original short film, CD, animated character, playable game, or design package. Young people will definitely be ahead of the competition after they've worked with professional equipment and knowledgeable, passionate experts in the field.
PAID VALUE EXPIRES ON May 23, 2022
PROMOTIONAL VALUE EXPIRES ON August 2, 2013


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For any questions related to Cvent, feel free to contact our Customer Care team.
AKENA City Albi Gaillac is located at Brens in France. The Akena City Albi Gaillac has a total of 49 well-equipped guest rooms with all amenities. Located in the commune of Brens, some 20 minutes from the UNESCO-listed heritage site of Albi and 40 minutes from Toulouse Airport, the Akena City Albi ...
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text:
Family Treeby Barbara Delinsky
For as long as she can remember, Dana Clarke has longed for the stability of home and family. Now she has married a man she adores, whose heritage can be traced back to the Mayflower, and she is about to give birth to their first child. But what should be the happiest day of her life becomes the day her world falls apart. Her daughter is born beautiful and healthy,
For as long as she can remember, Dana Clarke has longed for the stability of home and family. Now she has married a man she adores, whose heritage can be traced back to the Mayflower, and she is about to give birth to their first child. But what should be the happiest day of her life becomes the day her world falls apart. Her daughter is born beautiful and healthy, and in addition, unmistakably African-American in appearance. Dana's determination to discover the truth about her baby's heritage becomes a shocking, poignant journey. A superbly crafted novel, Family Tree asks penetrating questions about family and the choices people make in times of crisis.
Editorial Reviews
—Nora Roberts
"Full of complex and fascinating family dynamics as its characters are forced to come to terms with issues such as faith, race, and loyalty, Family Tree is thought provoking and memorable. . . . Delinksy will be 'discovered' by a new generation of readers."
"Delinksy smoothly challenges characters and readers alike to confront their hidden hypocrisies."
—Publishers Weekly
"A page-turner that you'll be discussing with your friends."
—News and Sentinel
"Delinsky delves deeper into the human heart and spirit with each new novel."
—Cincinnati Inquirer
"Fail-safe delivery of an issue-packed story perfect for reading groups."
Product Details
- 9780739326510
- Publisher:
- Diversified Publishing
- Publication date:
- 02/06/2007
- Edition description:
- Large Print
- Pages:
- 496
- Product dimensions:
- 6.40(w) x 9.53(h) x 1.36(d)
Read an Excerpt
Family Tree
By Barbara Delinsky
DoubledayCopyright © 2007 Barbara Delinsky
All right reserved.
Chapter 1
Something woke her mid–dream. She didn't know whether it was the baby kicking, a gust of sea air tumbling in over the sill, surf breaking on the rocks, or even her mother's voice, liquid in the waves, but as she lay there open–eyed in bed in the dark, the dream remained vivid. It was an old dream, and no less embarrassing to her for knowing the script. She was out in public, for all the world to see, lacking a vital piece of clothing. In this instance, it was her blouse. She had left home without it and now stood on the steps of her high school--her high school--wearing only a bra, and an old one at that. It didn't matter that she was sixteen years past graduation and knew none of the people on the steps. She was exposed and thoroughly mortified. And then--this was a first--there was her mother–in–law, standing off to the side, wearing a look of dismay and carrying--bizarre--the blouse.
Dana might have laughed at the absurdity of it, if, at that very moment, something else hadn't diverted her thoughts. It was the sudden rush of fluid between her legs, like nothing she had ever felt before.
Afraid to move, she whispered her husband's name. When he didn't reply, she reached out, shook his arm, and said in full voice, "Hugh?"
He managed a gut–low "Mm?"
"We have to get up."
She felt him turn and stretch.
"My water justbroke."
He sat up with a start. Leaning over her, his deep voice higher than normal, he asked, "Are you sure?"
"It keeps coming. But I'm not due for two weeks."
"That's okay," he reassured her, "that's okay. The baby is seven–plus pounds--right in the middle of the full–term range. What time is it?"
"Don't move. I'll get towels." He rolled away and off the bed.
She obeyed him, partly because Hugh had studied every aspect of childbirth and knew what to do, and partly to avoid spreading the mess. As soon as he returned, though, she supported her belly and pushed herself up. Squinting against the sudden light of the lamp, she took one of the towels, slipped it between her legs, and shuffled into the bathroom.
Hugh appeared seconds later, wide–eyed and pale in the vanity lights. "What do you see?" he asked.
"No blood. But it's definitely the baby and not me."
"Do you feel anything?"
"Like terror?" She was dead serious. As prepared as they were--they had read dozens of books, talked with innumerable friends, grilled the doctor and her partners and her nurse–practitioner and the hospital personnel during a pre–admission tour--the reality of the moment was something else. With childbirth suddenly and irrevocably imminent, Dana was scared.
"Like contractions," Hugh replied dryly.
"No. Just a funny feeling. Maybe a vague tightening."
"What does 'vague' mean?"
"Is it a contraction?"
"I don't know."
"Does it come and go?"
"I don't know, Hugh. Really. I just woke up and then there was a gush--" She broke off, feeling something. "A cramp." She held her breath, let it out, met his eyes. "Very mild."
"Cramp or contraction?"
"Contraction," she decided, starting to tremble. They had waited so long for this. They were as ready as they would ever be.
"Are you okay while I call the doctor?" he asked.
She nodded, knowing that if she hadn't he would have brought the phone into the bathroom. But she wasn't helpless. As doting as Hugh had been lately, she was an independent sort, and by design. She knew what it was to be wholly dependent on someone and then have her taken away. It didn't get much worse.
So, while he phoned the doctor, she fit her big belly into her newest, largest warm–up suit, now lined with a pad from her post-delivery stash to catch amniotic fluid that continued to leak, and went down the hall to the baby's room. She had barely turned on the light when he called.
"In here!"
Buttoning jeans, he appeared at the door. His dark hair was mussed, his eyes concerned. ""If those pains are less than ten minutes apart, we're supposed to head to the hospital. Are you okay?"
She nodded. "Just want a last look."
"It's perfect, honey," he said as he stretched into an old navy tee shirt. "All set?"
"I don't think they're less than ten minutes apart."
"They will be by the time we're halfway there."
"This is our first," she argued. "First babies take longer."
"That may be the norm, but every norm has exceptions. Indulge me on this, please?"
Taking his hand, she kissed his palm and pressed it to her neck. She needed another minute.
She felt safe here, sheltered, happy. Of all the nurseries she had decorated for clients, this was her best--four walls of a panoramic meadow, laced with flowers, tall grasses, sun–tipped trees. Everything was white, soft orange, and green, myriad shades of each highlighted with a splotch of blue in a flower or the sky. The feeling was one of a perfect world, gentle, harmonious, and safe.
Self–sufficient she might be, but she had dreamed of a world like this from the moment she had dared to dream again.
Hugh had grown up in a world like this. His childhood had been sheltered, his adolescence rich. His family had come to America on the Mayflower and been prominent players ever since. Four centuries of success had bred stability. Hugh might downplay the connection, but he was a direct beneficiary of it.
"Your parents expected pastel balloons on the wall," she remarked, releasing his hand. "I'm afraid I've disappointed them."
"Not you," he answered, "we, but it's a moot point. This isn't my parents' baby." He made for the door. "I need shoes."
Moving aside knitting needles that held the top half of a moss green sleepsack, Dana carefully lowered herself into the Boston rocker. She had dragged it down from the attic, where Hugh hid most of his heirloom pieces, and while she had rescued others, now dispersed through the house, this was her favorite. Purchased in the 1840s by his great–great–grandfather, the eventual Civil War General, it had a spindle back and three–section rolled seat that was strikingly comfortable for something so old. Months ago, even before they had put the meadow on the walls, Dana had sanded the rocker's chipped paint and restored it to gleaming perfection. And Hugh had let her. He knew that she valued family history all the more for having lived without it.
That said, everything else was new, a family history that began here. The crib and its matching dresser were imported, but the rest, from the changing pad on top, to the hand–painted fabric framing the windows, to the mural, were custom done by her roster of artists. That roster, which included top–notch painters, carpenters, carpet and window people, also included her grandmother and herself. There was a throw over one end of the crib, made by her grandmother and mirroring the meadow mural; a cashmere rabbit that Dana had knitted in every shade of orange; a bunting, two sweaters, numerous hats, and a stack of carriage blankets--and that didn't count the winter wool bunting in progress, which was mounded in a wicker basket at the foot of her chair, or the sleepsack she held in her hand. They had definitely gone overboard.
Rocking slowly, she smiled as she remembered what had been here eight months before. Her pregnancy had just been confirmed, when she had come home from work to find the room blanketed with tulips. Purple, yellow, white--all were fresh enough to last for days. Hugh had planned this surprise with sheer pleasure, and Dana believed it had set the tone.
There was magic in this room. There was warmth and love. There was security. Their baby would be happy here, she knew it would.
Opening a hand on her stomach, she caressed the mound that was absurdly large in proportion to the rest of her. She couldn't feel the baby move--the poor little thing didn't have room to do much more than wiggle a finger or toe--but Dana felt the tightening of muscles that would push her child into the world.
Breathe slowly...Hugh's soothing baritone came back from their Lamaze classes. She was still breathing deeply well after the end of what was definitely another contraction when the slap of flip–flops announced his return.
She grinned. "I'm picturing the baby in this room."
But he was observant to a fault. "That was another contraction, wasn't it? Are you timing them?"
"Not yet. They're too far apart. I'm trying to distract myself by thinking happy thoughts. Remember the first time I saw your house?"
It was the right question. Smiling, he leaned against the doorjamb. "Sure do. You were wearing neon green."
"It wasn't neon, it was lime, and you didn't know what the piece was."
"I knew what it was. I just didn't know what it was called."
"It was called a sweater."
His eyes held hers. "Laugh if you want--you do every time---but that sweater was more angular and asymmetrical than anything I'd ever seen."
"Modular," he repeated, pushing off from the jamb. "Knit in cashmere and silk--all of which comes easily to me now, but back then, what did I know?" He put both hands on the arms of the rocker and bent down. "I interviewed three designers. The others were out of the running the minute you walked in my door. I didn't know about yarn, didn't know about color, didn't know about whether you were any kind of decorator, except that David loved what you did for his house. But we're playing with fire, dear heart. David will kill me if I don't get you to the hospital in time. I'm sure he's seen the lights."
David Johnson lived next door. He was an orthopedic surgeon and divorced. Dana was always trying to set him up, but he always complained, saying that none of the women were her.
"David won't see the lights," she insisted now. "He'll be asleep."
Placing her knitting on the basket, Hugh hoisted her--gently--to her feet. "How do you feel?"
"Excited. You?"
"Antsy." He slid an arm around her waist, or thereabouts, but when he saw from her face that another contraction had begun, he said, "Definitely less than ten minutes. What, barely five?"
She didn't argue, just concentrated on slowly exhaling until the pain passed. "There," she said. "Okay--boy or girl--last chance to guess."
"Either one is great, but we can't just hang out here, Dee," he warned. "We have to get to the hospital." He tried to steer her toward the hall.
"I'm not ready."
"After nine months?"
Fearful, she put her hand on his chest. "What if something goes wrong?"
He grinned and covered her hand. "Nothing will go wrong. This is my lucky tee shirt. I've worn it through every Super Bowl the Patriots have won and through the World Series with the Red Sox."
"I'm serious."
"So am I," he said, all confidence. "We've had tests. The baby's healthy. You're healthy. The baby's the perfect birth size. It's in the right position. We have the best obstetrician and the best hospital--"
"I mean later. What if there's a problem, like when the baby is three? Or seven? Or when it's a teenager, you know, like the problems the Millers have with their son?"
"We aren't the Millers."
"But it's the big picture, Hugh." She was thinking of the dream she'd had prior to waking up. No mystery, that dream. It was about her fear of being found lacking. "What if we aren't as good at parenting as we think we'll be?"
"Now, there's a moot point. A little late to be thinking of it."
"Do you realize what we're getting into?"
"Of course not," he said. "But we want this baby. Come on, sweetie. We have to leave."
Dana insisted on returning to the master bath, where she quickly washed her face, rinsed her mouth, and brushed her hair. Turning sideways for a last look, she studied her body's profile. Yes, she preferred being slim--yes, she was tired of hauling around thirty extra pounds--yes, she was dying to wear jeans and a tee shirt again. But being pregnant was special.
"Dana," Hugh said impatiently. "Please."
She let him guide her down the hall, past the nursery again and toward the stairs. In architectural circles, the house was considered a Newport cottage, though "cottage" downplayed its grandness. Built in a U that faced the sea, with multiple pairs of French doors opening to a canopied patio, a large swath of soft grass, and a border of beach roses that overlooked the surf, it was a vision of corbels, columns, white trim and shingles gently grayed by the salt air. One wing held the living room, dining room, and library: the other, the kitchen and family room. The master bedroom and nursery were in one wing of the second floor, with two additional bedrooms in the other. The dormered attic housed an office, complete with a balcony. Every room in the house, with the sole exception of the first–floor powder room, had a window facing the sea.
It was Dana's dream house. She had fallen in love with it on sight. More than once, she had told Hugh that even if he had turned into a frog with their first kiss, she would have married him for the house.
Now, approaching the nearer of two staircases that descended symmetrically to the front hall, she asked, "What if it's a girl?"
"I'll love a girl."
"But you want a boy deep down, I know you do, Hugh. It's that family name. You want a little Hugh Ames Clarke."
"I'd be just as happy with Elizabeth Ames Clarke, as long as I don't have to deliver her myself. Careful here," he said as they started down the stairs, but Dana had to stop at the first turn. The contraction was stronger this time.
She was prepared for pain, but the fact of it was something else. "Can I do this?" she asked, shaking noticeably as she clung to his arm.
He held her more tightly. "You? In a minute."
Hugh had trusted her right from the start. It was one of the things she loved. He hadn't hesitated when she suggested barnboard for the floor of his otherwise modern kitchen or, later, when she insisted that he hang his family portraits--large, dark oil paintings of Clarkes with broad brows, square jaws, and straight lips--in the living room, though he would have gladly left them packed away in the attic.
He took his heritage for granted. No, it was more than that. He rebelled against his father's obsession with heritage, said that it embarrassed him.
Dana must have convinced him that he was a successful figure in his own right, because he had let her hang the oils. They gave the room visual height and historical depth. She had splashed the large leather furniture with wildly textured pillows, and Hugh liked that, too. He had said he wanted comfort, not stuffiness. Butter–soft leather and a riot of nubby silk and chenille offered that. He had also said he did not like the settee that had belonged to his great–grandfather because it was stern, but he gave her wiggle room there, too. She had the oak of that settee restored, the seat recaned, and cushions and a throw designed to soften the look.
Excerpted from Family Tree by Barbara Delinsky Copyright © 2007 by Barbara Delinsky. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Meet the Author
BARBARA DELINSKY is a New York Times bestselling author with more than thirty million copies of her books in print. She lives with her family in New England.
Brief Biography
- Hometown:
- Newton, Massachusetts
- Date of Birth:
- August 9, 1945
- Place of Birth:
- Boston, Massachusetts
- Education:
- B.A. in Psychology, Tufts University, 1967; M.A. in Sociology, Boston College, 1969
Customer Reviews
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Most Helpful Customer Reviews
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I found the book to be a fascinating read. I adored each of the characters and enjoyed the variety from the New Englanders who vacationed on the Vineyard to the elderly women in the kniting store. Although we supposedly live in a "post-racial" America, race is an extremely touchy subject these days; this book explores race in an enlightening perspective. I really liked how Dana was a strong, protective mother who handled birthing a baby that obviosuly had black genes with grace and care while the world around her crumbled. I highly recommend the book and think it would be an awesome selection for a book club. I would have NEVER guessed the outcome.
This was a book I really enjoyed reading.. it was kind of predictable but entertaining and well worth the time spent reading it.
Wow !!! This book is a page turner. I could not put it down. It had love, devotion, suspense and an ending I was not expecting. I would love to know how Eaton handled what he had uncovered, so I hope Barbara writes a sequel and soon.
This book was amazing i couldn't put it down literally. i enjoyed the storyline and i just hope that there is a sequel to this because i will love to know what happens to the different characters down the line. How their lives changed especially what happens to the Clarke's Family.
He dotes on his wife while she adores her husband. Both Hugh and Dana Clarke are eagerly awaiting the birth of their first child but when Lizzie is born, both parents are shocked to see she has Afro-American features including skin color and hair. The Clarke family came over on the Mayflower and the patriarch is a rich published author who lives in a wealthy neighborhood whose residents are old money. When they come to the hospital to see their grandchild, Hugh¿s father becomes furious, claiming his daughter-in-law had an affair with a black man or if not she has black blood in her ancestry. Other relatives and friends comment on Lizzie¿s features and Hugh asks for a paternity test in the hope that it will shut people up. Dana is heartbroken that her husband made such a request and a schism in their loving marriage opens. Hugh needs to know what relatives in Dana¿s family are black and the only person it could be is her unknown father. Yet when they confront him, he provides positive proof that there is no African blood in his family. Dana doesn¿t care because she thinks how Lizzie looks is insignificant but Hugh pursues the subject and ends up shocked at what he learns. --- This is one of Barbara Delinsky¿s finest books because she raises interesting social issues and leaves it to the reader to form their own opinions. Hugh is not a bad man but is a product of his blue blood upraising. He loves his wife and daughter very much and is shocked at himself when he sees things differently because his daughter is not totally a Caucasian. Dana feels that a DNA test was irrelevant and loves her daughter just as she is and hopes Hugh can do the same. The protagonists are great characters because they are not saints but people who are products of their environments. FAMILY TREE is a heartwarming family drama. --- Harriet Klausner
Hugh and Dana Clark are excited about the upcoming birth of their child. A shock is in store for them when the baby is born of obvious African / American decent. This is a well done, well written lesson to all of us that love supersedes all. There are lots of heartwarming elements in this lovely novel. I highly recommend!
I found the book to be fascinating despite its predictibility. I liked the characters and the book lends to a great discussion for a book club. Race is a touchy subject in America. This book deals with it in an interesting way. It is a good book which deals with the long term affects of keeping family secrets. They can destroy a family. I liked that the women bonded around Knitting. Although this seems to be a common theme of late. Dana was a protective mother who handled the situation of her child being born looking African American while everyone else deal with the fallout. There are possibilities for a sequel to this that could go much deeper. I would look forward to it. Overall a good read. Check it out.
This was a really awesome read. Somewhat predicatable at some points but ending with a fact you did not expect!
A real look into how much we know about our partner's and our families. How we normally perceive each other might not be at all true during difficult times. Lies are brought forth and loyalties challenged. This challenges you to look into your own heart and mind and try to figure out how you would react to a similar situation.
The plot of this story evoked my curiousity. Hugh and Dana, a 'Lily' white couple, give birth to a baby with African features. Given that the father's family is openly concerned about image and bloodlines, the birth of this baby becomes a grave occasion rather than a joyous one. As the couple conceived this baby through conventional intercourse, there is no immediate explanation for the baby's skin color and features, thus the plot of the story and the reason I was so compelled to turn the pages. Besides the desire to find out the outcome of the story, it was also interesting to observe the reaction of the characters as they are forced to examine their rather superficial aspirations. In a very good read, Delinsky tackes issues of race, class, wealth and privilege and manages to do it in a way that is thought provoking but not too heavy.
This book looks at human responses when a black child is born to 2 white parents. It explores family biases that are carried from generation to generation, DNA testing, the meaning of family, friendship and much more. As usual, Barbara Delinsky introduces the reader to complex characters, and a plot filled with unexpected twists and turns. I picked up the book, planning to read at a leisurely pace, but I could not tear myself away until I reached the final page.
I read this book in a couple of days -- I just couldn't put it down. This is a real winner -- don't miss it. I loved this author's 'Three Wishes', and thought it couldn't get any better. Barbara Delinsky is truly a pro -- I eagerly await each new book.
This is a most excellent book which looks at what do you do if you find out you are not what you have always taken for granted you were. Dana and Hugh become parents to an obviously african american child although they are both middle class white. They, particularly Hugh has always taken his 'whiteness' as his only given right and due with all that goes along with it such as the country club, etc. First he accuses his wife of adultery and them blames her for the race of the child. Now he has to wonder, as well as his father does, what would he have become and how he would have lived and been received by his peers if it had been always know he was not lily white. He has to reexamine all that he is and just how deep his 'political correctness' goes. A most interesting spin on an idea. What would one do if one found this out about one's self??? Strong and compelling handling of the flip side of bigotry. How may people secretly worry about the same issue in their own families? I loved this book. This is the best book that Barbara Delinsky has written as far as subject matter and timeliness is concerned.
A softly spoken tale of infidelity which manifests itself, through the wonders of Biology 101, in newborn baby Lizzie. Very obviously white parents Hugh and Dana are left in middle class bewilderment when one of their recessive genes darkens their newborn's skin and beautifies her exotic features. The results of familial investigations are somewhat predictable. But remember, this is a soft, lilting tale of a newborn who, while the center of the book's focus, becomes irrelevant from birth to plotline to conclusion. Barbara Delinsky whisks the story forward, like a creme brulee with a sweet, smooth crusty topping that takes a lot of polite abuse before the creme can be eaten.
As a keeper of a family tree, I particularly captured by the title of this book. It was a good story line, but rather predictable. Most folks will enjoy it.
It is for Book Club in June. I will try to remember to write a review after reading it late May. AnneC
Greypebble (tom, WaterClan) and Holllyflight (she, WaterClan) are the parents of Bluestar. They later adopted Whitefoot. Greypebble later left Hollyflight for Smallmouth (she, SnowClan). They had two kits together, Sneakshadow and Waterripple. (Next four results will be more in depth on each of the kits.)
Good book, poor grammer.
Family Tree, Impossible are two of the most amazing books i have ever read. I got Impossible from Target and Family Tree from Savers. Both books i have had for about 2-3 years. I have went over these books with friends and Ex boyfriends (boyfriends at the time) they seemed to love the books too. These books i have posted on here have great plot lines and amazing relatible people. Knowing this i canvmake a little story in my head on how every little thing plot setting clings together as one whole story. Sometimes i wish i had someone i can put my words and heart into like these two ladys did in these two books. I was about in middle school when i have read these two amazing books i am now in my almost a senior in high school. I really wish theu could have read these books in my high school and middle school years. I would enjoy reading more.


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Alson Skinner Clark
(1876 - 1949)
Alson Skinner Clark was active/lived in California, Illinois. Alson Clark is known for landscape and figure painting, illustration, mural.
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Alson Skinner Clark
Biography from the Archives of askART
A landscape painter strongly influenced by the French Impressionists, Alson Skinner Clark spent much of his career traveling and living in foreign countries and then settled in Southern California where he became a
painter, art educator and muralist. From there, he also traveled extensively in Mexico and the Southwest.
Alson Clark was born in Chicago to a prosperous family comfortably supported by the father's commodities business. He showed early art talent, which his family encouraged by enrolling him in evening classes at the Art Institute. They also took him on a two-year trip around the world where he gained much exposure to European art.
Graduating from high school, he again enrolled at the Art Institute but unhappy with his teacher, he left after six months, and in 1896, went to New York to study with William Merritt Chase at the Art Students League. He also followed Chase to his own school, which opened shortly after, and enrolled in the Chase summer school of
painting at Shinnecock.
In 1898, Alson Clark went to Paris where he was a student for several months at the Academie Carmen, whose director was James McNeill Whistler. Although Whistler was a difficult, demanding personality, Clark respected his teaching, stayed at the school until it closed, and ever acknowledged Whistler's influence on his Impressionist style.
In 1901, Clark returned to America and married Atta Medora McMullin, whom he met when she modeled for him at Comfort Island, near Watertown, New York, his family's vacation spot. From 1902 to 1914, they lived in Paris until the war broke out, and during that time, he took up plein-air painting. The couple also spent time at Giverny in 1910, and Clark painted with his friends Lawton Parker, Guy Rose, and Frederick Frieseke.
Traveling extensively throughout Europe, the Clarks were supported by successful sales from galleries representing his work in New York and Chicago. Exhibition venues included the National Academy of Design, Pennsylvania Academy, Paris Salon and Art Institute of Chicago. His work included many landscapes, cityscapes, interiors, and figure studies especially of his wife, who continued to serve as his model.
Although his work ever showed the influence of Whistler, on a summer trip to France in 1907 and two years later to Spain, Clark adopted a much stronger Impressionist style with lighter palette.
In the spring of 1913 the building of the Panama Canal inspired the Clarks to go to the Canal Zone, where construction was nearly complete. Clark decided he wanted to be a part of the history-making venture, and made connections so that he had nearly open access to the construction site, labor trains and workers. He painted furiously in horrendous heat to capture on canvas the final construction phase of the Canal and its railroad. By June, he had many works completed and contacted John Trask, Director of the Fine Arts section of the forthcoming Panama-Pacific International Exposition in San Francisco. Trask was impressed enough that he gave Clark a room for solo exhibition of eighteen paintings, which put him in the rank of only a few other American artists afforded such status: Frank Duveneck, James Whistler, William Merritt Chase, Childe Hassam and John Singer Sargent. The display of his Panama Canal paintings earned Alson Clark a Bronze Medal at the Panama-Pacific International Exposition in 1915. Some of the paintings, which were huge, he and his wife had hand-carried out of Europe because of being stranded at the outbreak of World War I.
The Clarks lived with friends in New England and visited Charleston, South Carolina in the winter of 1917, just before the declaration of war by America, and, much impressed by the charm, culture and history of that area did atmospheric paintings including Saint Michael's Cathedral. Shortly after, at age forty one, Alson Clark enlisted in the Navy and, with language ability, was sent to France as a military photographer. Doing aerial photography, he dangled from airplanes, an experience that caused him deafness in one ear.
Told that condition could be solved by living in a warm climate, he and his wife, in 1919, went to California for the first time. Settling in Pasadena and renewing his friendship with Guy Rose, who had returned there in 1914, Alson Clark regained his hearing and was re-invigorated for painting. Favorite subjects were the Mission San Gabriel and Mission San Juan Capistrano, and he traveled the desert and mountain landscapes in California, the Southwest and Mexico in a rebuilt Dodge truck. In Mexico, he was especially taken with Cuernavaca and Taxco, doing scenes of the big Taxco Cathedral.
Clark joined Rose as a teacher at Rose's newly formed Stickney Memorial School of Art, and in 1921, when Rose had a stroke, Clark became Director of the School. That same year, in addition to having a son, Alson Jr., Alson Sr. had his first California solo exhibition, which was hosted by Earl Stendahl, then regarded as the most influential dealer in southern California.
In 1925, Alson Clark took up mural painting, which began with a commission from the Pasadena Playhouse to paint the stage curtain, 20 feet by 32 feet. This job was followed by a series of murals on the history of California for the Carthay Circle Theater in Los Angeles, murals at the Pasadena First Trust and Savings Bank and eight mural-size paintings for a men's club in Los Angeles. In addition, he accepted decorative commissions for private homes, designing wall paper and painting screens and wall murals. He also pursued his own painting interests, much of it plein air that combined tight drawing with impressionist strokes. He was untouched by the debate between modernism and impressionism and stayed with his own approach.
The Clarks continued with their travels, taking a one-year trip across America in 1933 and a final trip to Europe in 1935. In 1940, the Los Angeles County Museum hosted a self-curated retrospective of his twenty of his paintings. During World War II, he organized craftsmen to produce military instruments. Following the War, his health deteriorated, and in March 1949, he had a paralyzing stroke and died a week later.
Deborah Epstein Solon, 'The Art & Life of Alson Skinner Clark',
American Art Review
, March 2005
Michael David Zellman,
300 Years of American Art
Edan Hughes,
Artists in California, 1786-1940
Martha Severens,
The Charleston Renaissance
Biography from the Archives of askART
Born in Chicago, Illinois on March 25, 1876, Alson Clark, at age 11 enrolled at the Art Institute of Chicago, continued in New York City at the Art Students League, and with William Merritt Chase and Frank Duveneck.
Late in 1898 he went to Paris for further study at Académie Carmen under James Whistler. Returning to the U.S. in 1901, he established a studio in Watertown, New York, and then returned to Chicago where in 1903 sales in a successful exhibition allowed for travel in Canada and Europe.
After serving as an aerial photographer in WWI, he settled in southern California where in 1922 he and Guy Rose formed the teaching faculty of Pasadena's Stickney Art School. During this period he also had a studio in Palm Springs. He taught landscape classes at Occidental College in Eagle Rock in the late 1930s.
Clark died of a heart attack in Pasadena on March 22, 1949. One of southern California's most renowned painters, his early portraits and figure studies evince the somber tonalities of Whistler. After painting in Giverny with Guy Rose and other impressionists, by 1910 his palette had begun to brighten considerably.
American AA of Paris; Chicago Society of Artists; LA AA; Salmagundi Club; SWA; Calif PM. Exh: Paris Salon, 1901; Louisiana Purchase Expo (St Louis), 1904 (bronze medal); AIC, 1906 (solo); PPIE, 1915 (bronze medal); Calif. Art Club, 1920-30; LACMA, 1922, 1924 (prizes), 1929; Southwest Museum (LA), 1923 (grand prize); Stendahl Gallery (LA), 1923; San Diego FA Gallery, 1923, 1937 (solo); Painters of the West (LA), 1924; Pasadena Art Inst., 1925, 1931 (2nd prize), 1933 (1st prize); Pasadena Society of Artists, 1927; Pasadena Public Library, 1928; LA AA, 1937; GGIE, 1939; Calif. WC Society, 1940.
Victoria & Albert Museum (London); AIC; LACMA; Muskegon (MI) Art Gallery; San Diego Museum; Watertown (NY) Public Library; Gardena High School; CSL; Pasadena Community Theatre; First Nat'l Bank of Pasadena (mural); Univ. Club (Pasadena); Irvine (CA) Museum; Women's Athletic Club (LA); Fleischer Museum (Scottsdale); Orange Co. (CA) Museum; Cathay Circle Theatre, LA (murals).
Edan Hughes,
"Artists in California, 1786-1940"
Who's Who in America
Who's Who in California
California Impressionism
(Wm. Gerdts & Will South);
American Art Annual
Who's Who in American Art
Artists of the American West
Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs
(Bénézit, E);
Dictionary of American Painters, Sculptors & Engravers
(Fielding, Mantle);
Southern California Artists
(Nancy Moure);
Plein Air Painters
(Ruth Westphal); NY Times, 3-24-1949 (obituary).
Nearly 20,000 biographies can be found in
Artists in California 1786-1940
by Edan Hughes and is available for sale ($150). For a full book description and order information please click
Biography from Spanierman Gallery (retired)
California Impressionist Painter
Alson Skinner Clark, a noted painter of vivid California landscapes, was born in Chicago. At the exceptionally young age of fourteen, he moved to New York where he enrolled at the Art Students League. Stifled by the highly disciplined course of study, he abandoned the League with a group of fellow students under the leadership of William Merritt Chase, who subsequently founded the Chase School of Art. As a student at the school, Clark was greatly influenced by Chase's masterful sense of composition, brushwork and color, and he incorporated it into his own distinctive style. At Chase's suggestion, Clark traveled to Paris in 1899, where he studied at the Académie Julian, and briefly under James A. McNeill Whistler, the well-known American expatriate painter. In the spring of 1901, Clark's conservative, dark picture
The Violinist
was accepted at the Paris Salon, bringing him his first official commendation.
With this recognition in hand, Alson Skinner Clark returned to the United States in 1902, establishing his studio in Watertown, New York. Here he began to paint winter scenes of the surrounding countryside, a theme which he would come back to later in his career. His return to the United States was marked, in 1902, by a highly successful exhibition at the Anderson Gallery in Chicago, where nearly all of his forty-six European works on display were sold within a two-week period. Another important Chicago show followed in 1905, this time composed mostly of Chicago cityscapes. Clark's The Coffee House won the Cahn Prize at the Art Institute and entered its permanent collection the same year. Among the many visitors to the show was Chase, who paid his former pupil the ultimate compliment of purchasing
The Bridgebuilders
for his own collection.
Pursuing his interest in winter scenes, Clark traveled to Quebec in the fall of 1906. Equipped with snowshoes and a charcoal burner built into a palette to keep his paintings from freezing, he ventured outdoors to capture the magical effects of northern light. Other trips in search of exotic painting sites followed. In 1909 Clark journeyed to Spain; in 1912, Prague; and in 1913, Dalmatia and Panama, where he executed
The Digging of the Panama Canal
, which was exhibited at the 1914 Paris Salon.
After World War I, in which Clark served as one of the first aerial photographers, he went to California to recover from a hearing disability incurred during the war. At first reluctant to resume his painting career, he found the desert, coast and mountains of the varied southern California landscape too fascinating to resist. Forsaking his earlier style of small, intimate and at times somber compositions, he began working on large plein-air landscapes in a looser, brighter mode, which eventually expanded into murals. These full-scale wall decorations were so successful that the artist received commissions for them until the end of his life.
Alson Skinner Clark's first California exhibition, held in 1921 at the Stendahl Galleries in Los Angeles, established his reputation as a first-rate Southern California Impressionist and brought him a following large enough to insure his financial success. In 1922, Clark joined with Guy Rose, a colleague from his days in Paris, to found the Stickney Art School in Pasadena. Except for three trips to Mexico and a trip to Europe in 1936, the artist remained in Southern California until his death in 1949.
Alson Clark's work is represented in the collections of the Art Institute of Chicago, the San Diego Museum of Art, the Victoria and Albert Museum in London, as well as various other public and private collections.
© The essay herein is the property of Spanierman Gallery, LLC and is copyrighted by Spanierman Gallery, LLC, and may not be reproduced in whole or in part without written permission from Spanierman Gallery, LLC, nor shown or communicated to anyone without due credit being given to Spanierman Gallery, LLC.
Biography from
Heritage Auctions
One of California's most well-known painters, Alson Skinner Clark specialized in Tonalist portraits and figure studies as well as in brighter Impressionist landscapes. He trained assiduously and broadly, studying at the Art Institute of Chicago, the Art Students League in New York with William Merritt Chase and Frank Duveneck, and the Académie Carmen in Paris with James McNeill Whistler. In 1901, Clark opened a studio in Watertown, New York, and he mounted a successful exhibition in Chicago in 1903, which funded his travels throughout Canada and Europe over the next decade.
Clark's early Impressionist landscapes evince his interest in architecture, especially industrial structures like railroads, bridges, and factories. It was no surprise, therefore, that the building of the Panama Canal in 1913 would prompt veteran traveler Clark to venture to South America to capture this historic moment. Gaining access to the construction site, he painted dozens of landscapes, eighteen of which were subsequently exhibited in a solo room at the 1915 Panama-Pacific International Exposition in San Francisco, where Clark won a bronze medal.
The Victoria and Albert Museum, London; Los Angeles County Museum of Art; San Diego Museum of Art; and Fleischer Museum, Scottsdale, are among the notable institutions showcasing Clark's paintings.
Biography from
William A. Karges Fine Art - Carmel
Born in Chicago, Alson Clark enrolled at the Art Students League at an early age, following with further study at the Art Students League in New York, and in Paris. With his success in Chicago, Clark was afforded many years of European travel and study.
Returning to the U.S. in 1919, Clark settled in Pasadena where he, along with Guy Rose, taught at the Stickney School in Pasadena. Clark died in 1949, and is remembered as one of southern California's finest early Impressionists.
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Alson Skinner Clark
Born: 1876 - Chicago, Illinois
Died: 1949 - Pasadena, California
Known for: landscape and figure painting, illustration, mural
Essays referring to
Alson Skinner Clark
The California Art Club
Impressionists Pre 1940
San Francisco Panama-Pacific Exhibition 1915
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text: Which version of lvm2-cluster are you using? Are you subscribed to the Beta channel for Cluster Storage? I am running the "standard" version, but there is a later one in the Beta channel: root# rpm -q lvm2-cluster lvm2-cluster-2.02.26-1.el5 Thanks, Kevin -----Original Message----- From: rhelv5-list-bounces redhat com [mailto:rhelv5-list-bounces redhat com] On Behalf Of Nuno Fernandes Sent: Saturday, May 03, 2008 2:30 PM To: rhelv5-list redhat com Subject: Re: [rhelv5-list] Clustered LVM On Monday 28 April 2008 07:57:39 Zavodsky, Daniel (GE Money) wrote: > Hello, > I have been experiencing exactly the same issues... and I found the > trick with restarting clvmd myself too. :-) It looks like the problem > happens when you are using both non-clustered and clustered LVM. I'm also using both clustered and non-clustered lvm on the same machine and i don't have that problem.. Everything is working fine. Best regards, Nuno Fernandes > I don't think you are doing anything wrong. > > Regards, > Daniel > > > > _____ > > From: rhelv5-list-bounces redhat com > [mailto:rhelv5-list-bounces redhat com] On Behalf Of Collins, Kevin > [Beeline] > Sent: Friday, April 25, 2008 9:08 PM > To: rhelv5-list redhat com > Subject: [rhelv5-list] Clustered LVM > > > > Hi, > > I am working through the process of building my first GFS > installation and cluster. So far, things are going well. I have shared > SAN disk that is visible to both nodes, I've got the basic cluster up > and I am now starting to create my LVM structure. > > I spent a lot of time trying to determine why I was seeing errors > similar to the following when trying to create LVs in a new VG: > > root# lvcreate -L 50M /dev/vgtest > Rounding up size to full physical extent 52.00 MB > Error locking on node cpafisxb: Volume group for uuid not found: > IC070PzNGG68uEesi33dH902E4GeGEvwcAccZY4AdnJRkPHUL7EYJzL0Xxkg3eqV > > Error locking on node cpafisxa: Volume group for uuid not found: > IC070PzNGG68uEesi33dH902E4GeGEvwcAccZY4AdnJRkPHUL7EYJzL0Xxkg3eqV > > Failed to activate new LV. > > I noticed that I did not have a /dev/vgtest on the node where I created > the VG. I discovered (by googling the error message above) that another > person had seen a similar problem and resolved it by restarting the > clvmd service. I did the same thing and the problem was resolved - I > don't see that error when creating LVs in that VG, and I now have a > /dev/vgtest and associated files (only on the node I created it on). > > Now, I created a new VG, try to create a new LV within it and see the > same error! I see in the clvmd man page that there is a "-R" option, > which sounds like maybe what should be done instead of restarting clvmd. > Tried it, but no luck - same error and no /dev/ directory created. > Restart clvmd, instant fix. > > So - what am I doing wrong here? I can't imagine I am supposed to > restart clvmd every time I create a new VG, am I? > > Additionally, I can see the clustered VGs and LVs on my other node, but > there are not any files in /dev for the clustered VGs - is this normal? > I have also restarted clvmd there with no effect. > > Thanks, > > Kevin _______________________________________________ rhelv5-list mailing list rhelv5-list redhat com https://www.redhat.com/mailman/listinfo/rhelv5-list


text:
Restoration Hardware Progresses in Repositioning Brand
November 29, 2004,
Corte Madera, Calif. — In ongoing efforts to reposition its brand, Restoration Hardware achieved significant progress in the third quarter with an 8.7 percent increase in comparable-store sales, a 23 percent increase in net revenue to $118.2 million and a 78 percent increase in direct-to-customer net revenue.
The company also launched a revamped larger catalog in August to communicate brand repositioning and differentiation.
He added that the quarter's comp-store sales increase on top of increases in the two years prior represents compounded comp-store sales growth of 29 percent since the launch of its revised merchandising strategy. Friedman said, "These results clearly demonstrate the company's ability to gain market share even during a difficult economic environment."
The company continues to seek strength in areas it is currently merchandising — textiles, bath, hardware and furniture — in order to build a competitive barrier against other retailers. "We need to become more dominant and authoritative in the areas we are already in before we enter into new businesses, such as tabletop, for example," Friedman explained, adding that current categories tend to be less seasonal and offer higher margins.
Friedman said, "Although pleased with our overall sales performance and product margin expansion in the third quarter, we experienced higher than anticipated advertising, distribution and compliance costs, which resulted in flat earnings per share for the quarter compared to last year. While making progress in improving execution in our distribution centers, identifying optimum catalog circulation strategies and improving internal controls, these items negatively impacted earnings in the quarter by approximately 5 to 6 cents per share."
During the quarter, the company continued to make investments in its supply chain and distribution center operations. It hired a new chief operating officer and a senior vice president of supply chain operations.
In addition, the company has employed the services of outside consultants to manage its East and West coast distribution centers and related transportation network since the first quarter of 2004.
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