Piketty Day Notes

Piketty Day Notes
Piketty's literary sources are Jane Austen and Balzac; our modern conceptions, even among liberals worried by rising inequality, tend to be shaped by the likes of Oliver Stone. Yet it turns out that Gordon Gekko is an increasingly outmoded archetype …
Read more on New York Times (blog)

Colombian president denies Garcia Marquez battling cancer
Colombian President Juan Manuel Santos on Wednesday denied a newspaper article stating that Gabriel Garcia Marquez has been diagnosed with an advanced form of cancer, saying the Nobel literature laureate is merely recovering from a bout of pneumonia …
Read more on Fox News Latino

ITV Studios, Komixx Ink Development Pact
Komixx, which recently expanded to the U.S., sources rights through a range of partnerships including its exclusive relationship with book publisher Random House Group. The pact provides Komixx — and now ITV — access to one of the largest sources of …
Read more on Hollywood Reporter

Fire Is Good for Prairie: Mark Leach Discusses His Research at the Learners’ Lounge


Menomonie, Wisconsin (PRWEB) April 06, 2014

“Fire is the best conservation tool for Wisconsin’s prairies,” said Dr. Mark K. Leach, 59, author and scientist. Leach will discuss his long-time research into the role of fire in conserving and restoring Wisconsin’s prairie vegetation at the Raw Deal. “I am very pleased that the Raw Deal asked me to speak on fire at their Learners’ Lounge,” said Leach. “Usually I speak before natural resource professionals and fellow scientists. The Learners’ Lounge is great; anyone can learn while enjoying a craft beer or their other favorite beverage.

“Science is too often taught as an endless collection of facts to memorize,” said Leach, a retired professor. “What I’ll be talking about on Thursday is science as a process, specifically, how research deepens our understanding of how fire affects prairie. Many people know fire was part of the historical prairie, but using fire for conservation has been controversial. Over the years, I’ve tested many suppositions–hypotheses–about fire, mostly by resampling sites that had been sampled decades earlier. Some had burned; many hadn’t. Comparing the data from different decades revealed some strong patterns: such as the lack of fire hammers the shortest species. About a fifth of native prairie plant species are in severe regional decline. The data clearly reveal that fire benefits prairie. The bottom line is that fire helps bring back these beautiful ecosystems from the edge of annihilation.”

Dr. Leach has been a researcher and teacher at University of Wisconsin-Madison, Northland College, and U.W-Stout. He is the author of numerous scientific papers and two e-books: “Positive Participation with Nature: Ecological Restoration in Wisconsin” and, with Alexandra Zelles, “The Nineteenth Century Flora of Dane County, Wisconsin.” Both are published by Economo E-Books.

This Learner’s Lounge presentation is co-sponsored by The Prairie Enthusiasts-Chippewa Savannas Chapter and Economo E-Books.







Find More Ebook Press Releases

Nice Elizabeth Wall Rogers photos

Check out these Elizabeth Wall Rogers images:

The Public Weighbridge House – Half Moon Street, Sherborne
Elizabeth Wall Rogers

Image by ell brown
A walk around a rainy Sherborne in Dorset.

This was the Sunday that had heavy rain at the end of April 2012.

A few days after my visit The Queen and the Duke of Edinburgh visited the town as part of the Queen’s Diamond Jubilee visits to towns and cities around the country.

Sherborne was the nearest town to our holiday cottage in Dorset.

Sherborne is an abbey town.

On Half Moon Street near the abbey.

The Sherborne Abbey area. It dates from the 15th century.

Grade I listed.

Abbey Church of St Mary, Sherborne

689/1/1 ABBEY CLOSE
28-NOV-50 ABBEY CHURCH OF ST MARY

GV I

Revision Number: 2

ABBEY CLOSE
1.
1625
Abbey Church of
St Mary
ST 6316 1/1 28.11.50.
GV
2.
Saxon west wall below clerestory with foundations of Saxon tower and transepts
facing west. C15 Church of All Hallows built against this wall; lower
part of north aisle wall remains as a boundary wall between Sherborne School
and Abbey Close. South front of Abbey early C12 (work of Roger of Caen)
and C15. Central Tower with Saxon-Norman base and C15 work above. Nave:
5 irregular bays; piers with C15 casing to a Saxon are Late C15 fan vaulting.
North aisle: C12 and late C15; lierne vault. North Transept: Norman walls.
Wykeham Chapel: Norman walls and C15 vault. Choir of 3 bays and north
and south choir aisles: C15. Reredos: C17 to design of R H Carpenter.
Bishop Roger’s Chapel: C13. Vestry: C16, part of former headmaster’s house
[1560] which extended across the whole of the width of the east end of
the Abbey. Lady Chapel: 1 bay of C14 work and 1 bay further east of C20
work, 1921, to design of W D Curoe. Chapel of St Mary le Bow: C15 and
C16; east wall and south windows built 1560 as part of-Headmaster’s House
[See Vestry]. Chapel of Holy sepulchre: C14 and C15 rebuildings. South
Transept: early C12 and C15 work; Digby Memorial. St Katharine’s
Chapel:
C12, and C13 and C14. South Aisle: early C12 and C15. Porch: early C12,
restored 1849-58.
1849-58: restoration of transepts, choir and Norman porch by R C Carpenter
and W Slater.
1884: restoration of Tower by R H Carpenter.
[See J H P Gibb "Sherborne Abbey" RCHM "West Dorset", J Fowler, "Medieval
Sherborne."].
[All {the listed} {build[ggs in Ah @+lppe [pgp a_ Rrpy.$ _wi+h the east _end}]
of No 1 Finger Lane.

——————————————————————————~

This was the Public Weighbridge House (near the abbey) in Sherborne.

The bridge was removed for road widening in 1950.

Grade II listed.

Public Weighbridge House, Sherborne

HALF MOON STREET
1.
1625
(North-west Side)
Public Weighbridge House
ST 6316 1/337
II GV
2.
C18. Small semi-circular structure with curved surface of brick to rear
and arch of stone to street. Peaked roof. Round-headed arch with panelled
spandrels, panelled pilasters and architrave, frieze and cornice over.
Wood door with cover strips which bears a plaque stating that the weigh-
bridge itself was removed for road widening in 1950.

Public Weighbridge House and Former Church House form a group with the
Hospital of Saints John the Baptist and John the Evangelist and with the
Abbey Church of St Mary in Abbey Close.

Listing NGR: ST6380216434

Sherborne Abbey – Sherborne
Elizabeth Wall Rogers

Image by ell brown
A walk around a rainy Sherborne in Dorset.

This was the Sunday that had heavy rain at the end of April 2012.

A few days after my visit The Queen and the Duke of Edinburgh visited the town as part of the Queen’s Diamond Jubilee visits to towns and cities around the country.

Sherborne was the nearest town to our holiday cottage in Dorset.

Sherborne is an abbey town.

On Half Moon Street near the abbey.

The Sherborne Abbey area. It dates from the 15th century.

Grade I listed.

Abbey Church of St Mary, Sherborne

689/1/1 ABBEY CLOSE
28-NOV-50 ABBEY CHURCH OF ST MARY

GV I

Revision Number: 2

ABBEY CLOSE
1.
1625
Abbey Church of
St Mary
ST 6316 1/1 28.11.50.
GV
2.
Saxon west wall below clerestory with foundations of Saxon tower and transepts
facing west. C15 Church of All Hallows built against this wall; lower
part of north aisle wall remains as a boundary wall between Sherborne School
and Abbey Close. South front of Abbey early C12 (work of Roger of Caen)
and C15. Central Tower with Saxon-Norman base and C15 work above. Nave:
5 irregular bays; piers with C15 casing to a Saxon are Late C15 fan vaulting.
North aisle: C12 and late C15; lierne vault. North Transept: Norman walls.
Wykeham Chapel: Norman walls and C15 vault. Choir of 3 bays and north
and south choir aisles: C15. Reredos: C17 to design of R H Carpenter.
Bishop Roger’s Chapel: C13. Vestry: C16, part of former headmaster’s house
[1560] which extended across the whole of the width of the east end of
the Abbey. Lady Chapel: 1 bay of C14 work and 1 bay further east of C20
work, 1921, to design of W D Curoe. Chapel of St Mary le Bow: C15 and
C16; east wall and south windows built 1560 as part of-Headmaster’s House
[See Vestry]. Chapel of Holy sepulchre: C14 and C15 rebuildings. South
Transept: early C12 and C15 work; Digby Memorial. St Katharine’s
Chapel:
C12, and C13 and C14. South Aisle: early C12 and C15. Porch: early C12,
restored 1849-58.
1849-58: restoration of transepts, choir and Norman porch by R C Carpenter
and W Slater.
1884: restoration of Tower by R H Carpenter.
[See J H P Gibb "Sherborne Abbey" RCHM "West Dorset", J Fowler, "Medieval
Sherborne."].
[All {the listed} {build[ggs in Ah @+lppe [pgp a_ Rrpy.$ _wi+h the east _end}]
of No 1 Finger Lane.

——————————————————————————~

Ray Bradbury – The Martian Chronicles … Sci-Fi Scribes on Ray Bradbury: ‘Storyteller, Showman and Alchemist’ (Jun 6th 2012, 22:59) …item 2.. Ray Bradbury dies at 91 (June 06, 2012) …
Elizabeth Wall Rogers

Image by marsmet521
With books like Fahrenheit 451 and The Martian Chronicles, sci-fi writer Ray Bradbury made a lasting mark on pop culture by taking readers to strange new worlds. And talk about changing the future: His fantastic, mind-expanding tales also shaped the storytelling of a generation of scribes who came after him.
.

…….***** All images are copyrighted by their respective authors …….

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…..item 1)… Anymes Anymes … anymesanymes.koolcentre.in … Underwire … Taking the Pulse of Pop Culture

Sci-Fi Scribes on Ray Bradbury: ‘Storyteller, Showman and Alchemist’
Jun 6th 2012, 22:59

anymesanymes.koolcentre.in/2012/06/underwire-sci-fi-scrib…

Ray Bradbury in a previously unpublished photo from 1966. Photo: Ralph Nelson

With books like Fahrenheit 451 and The Martian Chronicles, sci-fi writer Ray Bradbury made a lasting mark on pop culture by taking readers to strange new worlds. And talk about changing the future: His fantastic, mind-expanding tales also shaped the storytelling of a generation of scribes who came after him.

All of us who were fans of Bradbury mourn his loss, but perhaps none so much as his colleagues in the field of science fiction and fantasy, many of whom saw him and his work as a guiding light, and took a life-long dose of inspiration from him.

As word of Bradbury’s death spread Wednesday, Wired contacted some of the greatest authors in sci-fi and fantasy to hear how the legend influenced their own work.

Ray Bradbury, 1920 – 2012:

• How Ray Bradbury Brought the West to Science Fiction

• Ray Bradbury on Sci-Fi, God and Robots: The Late Author’s Biggest Ideas

• Remembering Ray Bradbury: A Roundup of Tributes and Memorable Clips

—–Ursula K. Le Guin, author of A Wizard of Earthsea

My mother and I read and loved The Martian Chronicles in the early ’50s, when it was new. It was newer than new, because there’d never been anything quite like it, nor has there been since. SF is so often a control freak’s genre, and Ray Bradbury was never under control — his own or anybody else’s. He took risks in his writing that could send him over into incoherence and sentimentality or take him straight to beauty, which is always new and always rare. And then with Fahrenheit 451 he gave us the rarest thing of all: a genuine, inescapable Myth for Our Time. His was a courageous heart and a generous soul. May his memory be blessed.

—–Joe Hill, author of 20th Century Ghosts (and recipient of a Ray Bradbury fellowship)

Think about what a shock it must’ve been the first time moviegoers saw a picture with sound; the first time those giants on the screen opened their mouths and sang. That kind of describes the shock I felt when I first discovered the stories of Ray Bradbury. Everything I read before that was a silent movie. Bradbury provided a vast library of melodies, shouts and sound effects to jolt my timid 11-year-old imagination into full wakefulness and attention. His dreadful merry-go-rounds spun to the vertiginous shriek of the Wurlitzer; his trees whispered bleak secrets in the brisk October breezes; his rockets scaled the skies in a chorus of grinding roars; his children ran through libraries, refusing to be shushed.

Maybe that’s all too lyrical. Here it is, more simply: I didn’t know, until Bradbury, that a book could make you feel so much. To this day, I cannot think about certain subjects without using Bradbury as a reference point — subjects like Halloween and circuses and sea monsters and the word “wonder” in both noun and verb form.

I met him in San Diego a few years ago. He was being pushed along in a wheelchair, surrounded by people who were in glory to see him, and hear his voice. We were at Comic-Con, marooned among booths selling ray guns and comic books and maps of Martian worlds. Every third person who walked by wore a cape.

“All this,” I said, pointing around us, “is your fault.” I had to shout to be heard. His hearing wasn’t good.

He laughed — it was one hell of a laugh — and nodded and said, “You know, some of it probably is.”

He was pleased to be found guilty of inspiring a whole country to imagine more, better, louder, crazier. I got to put a kiss on his shaggy white hair. He didn’t seem to mind. Then he was pushed away, at the head of a parade of giddy, euphoric followers. Hey: He led that parade most of his life. I was goddamn glad to be part of it.

Bradbury’s The Martian Chronicles is beloved by sci-fi fans.

—–Daniel H. Wilson, author of Robopocalypse

Bradbury honed his craft for a long time. By the time I was a kid, the used bookstore that I hit up with my dad every weekend was full of Bradbury’s dog-eared masterpieces. His short stories were spread like pearls throughout countless dense anthologies. I never thought of these stories as science fiction. Instead, Bradbury’s name reminded me of fireflies on a hot Oklahoma night, or the cold wind that would fall through dead leaves as we ran through the neighborhood on Halloween.

Somehow, he captured the feeling of being a child — the new raw mystery lurking in the seams of what soon becomes the pedestrian background scenery of our lives. As a child, I recognized and dismissed this remarkable authenticity. The way he wrote was simply the way I felt.

Bradbury was not about the shiny gadgets provided to me by the more technically oriented minds of Clarke and Asimov. Instead, it was the emotion and atmosphere of his writing that sank into my psyche and eventually began to resonate. The sweet, haunting futility of our robotic creations after we are gone in “There Will Come Soft Rains.” Or the sick, ash-mouthed dread that pervades “The Scythe.” As an adult, I came to appreciate Bradbury for holding onto the feel of childhood long after mine had faded. And if I’ve taken anything away from his work, it’s that writing should not be about the gadgets, especially not science fiction.

—–Jonathan Maberry, author of Rot & Ruin

I met Bradbury when I was 14; it was amazing. He took so much time to talk with me and offer advice about writing. That Christmas he gave me a signed copy of Something Wicked This Way Comes. That copy is put away safe, but I buy a new copy every year and read it on Halloween. Bradbury is one of a small group of writers whose books will be read forever.

—–Mort Castle, co-editor of Shadow Show: All-New Stories in Celebration of Ray Bradbury

For me, the first Bradbury hit came when I was 13 or so and that was Something Wicked This Way Comes, showing me poetic language was not something removed from life and story, something that had to be interpreted according to rules established by a high school teacher and Cliff Note Coercion.

Not long thereafter came the short stories: “I See You Never,” with its perfect depiction of regret and inevitability that any Zennist would understand — even without being called a Zennist — and “There Will Come Soft Rains,” because, hey, this baby boomer grew up waiting for the A blast.

But perhaps most significant for me as a writer, well … here is the afterword to “Light,” my story in Shadow Show:

I was fourteen or fifteen, reading like the Looney Tunes Tasmanian Devil set loose at the Olde Country Book Buffet, and couldn’t help noting that too many artists and writers died young and often not well. Then Ray Bradbury came along on this glutton’s word menu and showed me with his “Forever and the Earth” that no, Thomas Wolfe did not have to stay dead — not when we needed him.

Years later when the story of Marilyn Monroe seized me — she was “the saddest woman in the world,” said her short-term husband Arthur Miller — I set out to give her something a little better than what foolish choices, DNA tics and the Wheel of Cosmic Fortune handed her. This is my third Marilyn story. There will likely be more in the future. Perhaps one day I’ll get it completely right.

But for now, I’ll borrow Mr. Stan Laurel’s derby and tip it to his very good friend and advocate Mr. Ray Douglas Bradbury: He showed me the way.

—–Gordon Van Gelder, editor of The Magazine of Fantasy & Science Fiction

Ray Bradbury had some of the world’s best nightmares and I’m eternally grateful to him for sharing them with us.

He did a lot of other things, too — showed us that dreams of the future are compatible with nostalgia for youth, taught us the poetry of rocketry, and gave us many smiles — but it’s the nightmares I value most. Some of them came with the carnival, some lurked in the sea. One of them was just about being locked in a closet.

“I don’t try to describe the future,” said Ray Bradbury. “I try to prevent it.” For me, that one comment defined an entire style of science fiction, an approach that will always be valid as long as we have a future. I’m glad to live in a world where people learned from Bradbury’s nightmares.

—–Robin Hobb, author of The Farseer Trilogy

The work of Ray Bradbury that resonated with me the most was Dandelion Wine. The imagery he wrought in that tale comes back to me in the blink of an eye, even though it has been years since I’ve read it. The new hi-top sneakers, the sound of the push mower, the smells of the cooking…. It’s a door to a world that I cherish.

My other favorite is The Martian Chronicles. Each of those stories is like a carefully cut gem, shining in its own individual way, but when they are combined in the one book, they form a whole that is much greater than the sum of its parts.

Most inspiring to me was that Bradbury’s writing spans such a broad spectrum. It defies the limits of genre and “literature” to become something that annihilates all boundaries. His books and stories are simply the Bradbury works. Don’t try to fence them in; it’s just as hopeless to exclude them from any classification.

Fahrenheit 451 was probably Bradbury’s most well-known novel.

—–Elizabeth Bear, author of Range of Ghosts

My first conscious memory of reading a Bradbury story is not, as it was for so many, Fahrenheit 451. Instead, it was “All Summer in a Day,” a story of life on Venus and the cruelty of children that must have been assigned to us in a grade-school reader. I’ve written about that story, and I remember being impressed by how thoroughly this grownup understood and could demonstrate the casual cruelty of children and the way they’ll gang up on any kid who seems different, who doesn’t fit in.

It remains my favorite Bradbury to this day, although rereading it as an adult what I see in it is the craftsmanship, the terrible pellucid language, the way Bradbury takes a tiny domestic dilemma set on a fantastical Venus and forges it into a commentary on human nature and the eternal tension between science and superstition. We hammerers-out of sweeping epics could learn a few tricks from Bradbury’s detail work, his precision.

But I’m pretty sure I’d read Bradbury before then — I grew up in an SF-reading household, being a second-generation fan on either side of the family. I was encouraged to read things far beyond my putative grade level, and I know we had paperback copies of The Illustrated Man and The Martian Chronicles. I can’t remember ever having not read them. Bradbury’s work is part of the Zeitgeist.

And that is the thing that strikes me most about Bradbury. More than any other science fiction writer — by his craft, his humaneness, his skill — he’s permeated the world we live in with his vision.

Like Shakespeare, Bradbury is quoted by people who have never read his work.

Ray Bradbury was very good at his job.

—–Kim Stanley Robinson, author of 2312

I felt a bond with Ray Bradbury, because we were both born in Waukegan, Illinois, then were moved by our parents to Southern California when we were children. I feel that we both ended up as science fiction writers partly because of this childhood history; southern California has been a science fictional place for a very long time.

Bradbury was one of the first break-out stars from the science fiction community into mainstream American culture, and this was no coincidence but because of his open and welcoming style, and the way his science fiction always focused on the human side of things, adding strong emotions to what had previously been perhaps drier or simpler. He was a great ambassador to the world for science fiction, and was beloved in the science fiction community as well. He was a truly inspirational figure to many, because of his positive nature and his boundless enthusiasm for reading, which he conveyed so well, and for life in general. His fiction always reminds us that no matter what strange future we move into, human emotions will stay central to our story. His best stories and books will be a permanent part of American literature. We were lucky to have him and I’m sorry he’s gone.

—–David Morrell, author of Creepers

Ray Bradbury is a permanent monument in my imagination. I can’t think of another writer who wrote so many fascinating, evocative, meaningful novels. To me, he was a triple master. He not only created stories that extended the boundaries of what I imagined was possible, but he also gave them a hypnotic atmosphere that gripped me as much as his plots. And they were about something. They had meaning and texture and importance. Some writers can do one or two. But not all three. If Bradbury had written only one book, Fahrenheit 451, he would have been a permanent part of our culture. But he wrote so many other wonders. I felt honored to contribute a story to an upcoming anthology, Shadow Show, in celebration of his work. But of course, in celebrating him, no one could equal him. Now the man from the October country has regrettably returned home.

The short story collection A Medicine for Melancholy contains Bradbury’s short story ‘Dark They Were, And Golden-Eyed.’

—–Greg Bear, author of Darwin’s Radio

Ray Bradbury is, for many reasons, the most influential writer in my life. Throughout our long friendship, Ray supplied not only his terrific stories but a grand model of what a writer could be, should be, and yet rarely is: brilliant and charming and accessible, willing to tolerate and to teach, happy to inspire but also to be inspired, happy to share and even re-live a youngster’s awkward joy at discovery. We first met in 1967 and immediately began a lifelong correspondence. My friends and I attended so many Bradbury lectures and events in Southern California that he would spot our grinning faces in the audience and tell us, with a wag of his beefy finger, “I’m not changing a word just because you’ve heard it already!” Throughout my high school years, my classmates and friends were happy to inform our English teachers that we had the straight scoop on one of Ray’s stories, direct from the man himself. I wonder if they actually believed us!

In 1969, Ray took three of us and my Grandmother, who drove (Ray did not drive and we had neither car nor license), out to lunch in Beverly Hills – hamburgers and shakes at Frascati. There, he told us about eating his first steak in Mexico. He was in his mid-twenties, very poor – and from that cross-border odyssey, neither entirely happy nor sane, came so many stories, including “The Life Work of Juan Diaz,” where he tried to exorcize the horror of descending into the catacombs of Guanajuato. He concluded our memorable meal by telling us, “When you’re rich, you can take me out to lunch!” And so we did – but before we were rich.

In 1970, we invited Ray to be our guest at the first Comic-Con in San Diego, and the fact that he agreed (along with Jack Kirby and a select group of other luminaries) made all of us, the fledgling committee, believe we were creating something real and glorious. He attended every single Comic-Con until just a couple of years ago, when his health would no longer permit it, and drew huge crowds for his talks and interviews.

From the beginning, Ray enthusiastically supported my artwork and writing. As I sold more stories, and finally bundled them into collections, I would deliver freshly printed books to him and he would cry out, “Wonderful! Wonderful!” and encourage me to do more. He never treated me as anything other than a colleague – and for us, he was always that amazing, miraculous kid we got to hang out with. You know, the kid who told his readers they could send him letters care of Life magazine, or spin stories of hanging out with Walt Disney, or of having Ray Harryhausen as the best man at his wedding.

Ray expressed his admiration for Nikos Kazantzakis and his “The Saviors of God: Spiritual Exercises.” Later, I relayed Ray’s enthusiasm for Kazantzakis to the translator, Kimon Friar, and helped them exchange addresses. When Ray produced his own play of “Leviathan 99″ at the old MGM studios in LA, I posted fliers at my college, went to LA, met him after the performance – and commiserated when it folded a week later, leaving him tens of thousands of dollars in the hole. I still have a few of those fliers – and his letter announcing he was back to another round of lectures to pay it all off. He dearly loved theater, and to this day, his plays are performed in Los Angeles and around the world.

It was my privilege to arrange for the Science Fiction Writers of America to present Ray with his Grand Master Nebula in 1989. Nowhere near full payback.

“Ray was storyteller, showman and alchemist — a master who remixed his own life and made it the stuff of legend.”
So I spent a lot of fine times with the man. But behind it all was the genuine love I have for Ray’s fiction. To this day, I can’t begin a Bradbury story without feeling his immediate presence, his amazing ability to make me nostalgic for a place I’ve never been, or recognize an emotion or a connection I may not have experienced. Ray was storyteller, showman and alchemist — a master who remixed his own life and made it the stuff of legend, the core within much of the myth of The Twilight Zone and modern American fantasy in general.

For our last visit, just a couple of months ago, my wife and I drove out to the Bradbury family home in the Cheviot Hills of Los Angeles, as we had so many times before. Ray was bedridden, but sitting up, receiving visitors, cheerful, as always, it seems now – and we spent a good hour talking about movies, about work, about new books and writing. As always. I noticed a hefty volume of the collected Buck Rogers newspaper strips, left on the floor by staff or family or previous visitors, and held it for Ray to see — “You did the intro for this, Ray!” “I did?” “Here’s your name. A great intro.” “Read it to me!” Ray could no longer read much, and friends would come by to read to him…

But I’m drifting again into that awkward tense. This story has to end.

And so here’s my ending, and it’s all true: I read aloud to Ray his own words, the story of his first love for science fiction, the wonder and joy of discovering Buck Rogers at age 10. One of his literary sons sits by his bedside, reading that fine introduction, and then lifts up, brings close to his pale, difficult eyes, the first page of 1920s-era strips, and Ray is suddenly 10 years old, he’s Ray Douglas Bradbury, starting all over, and he beams and cries, “Wonderful! Wonderful! It’s all still wonderful!”

And it is.

—–R. A. Salvatore, author of Charon’s Claw

The beauty of Ray Bradbury is that you can’t classify him as a science-fiction writer or a fantasy writer or any other (insert genre here) writer. Leave out the qualifier, please, unless that adjective is “brilliant.” So brilliant that he could subtly terrify a reader with softly apocalyptic views of the future, or stun a reader with shocking twists (“The Small Assassin,” a truly devilish short story). Few other writers of the last century could stand beside him; when he showed up at San Diego for Comic-Con a few years ago, his name was whispered with somber reverence throughout the hall. So now he is gone, and the world is diminished. But we still have his work, so much of it, and so good is that work that you can read each piece over and over again and come away with different and profound insights each time.

Rest well, Mr. Bradbury. You’re already missed.

—–Lev Grossman, author of The Magicians

Bradbury is one of the few writers who can crush you – casually – with just a title. Something Wicked This Way Comes — I had nightmares about it before I even read it, just seeing its spine on the shelf of my grade-school library was enough. “Dark They Were, and Golden-Eyed.” “The Day It Rained Forever.” “The Million Year Picnic.” (My adolescence was ruled – as was every nerd’s adolescence in the Boston area – by the comic shop of that name in Cambridge, Massachusetts.) Even before you read them those titles open up spaces inside you, where strange things can start happening. And that’s before the show even starts.

Bradbury was the writer who broke me out of the child’s understanding of science fiction – which is, more or less: I’m getting information about the future! – and made me understand that I was getting information on another axis, from a different dimension entirely, not ahead but underneath. It is not true that you can breathe the air on Mars, the way they do in The Martian Chronicles; I understand that now. What is true, however, is that there are aliens living in our unconscious, and we meet them every day, we can’t escape them, whatever planet we’re on. Because they are us.

Bradbury was not a soul-mate for me. His home planet was the American Midwest, which to a kid growing up in Massachusetts was as weird a place as Mars. He was also tougher than me: he wrote horror, and I was a wuss. As a child I wasn’t ready to face those dark places that Bradbury moved through apparently fearlessly and with impunity. (Like the air on Mars, he found the atmosphere there perfectly breathable.) They freaked me out too much. I was like those astronauts at the end of “Dark They Were, and Golden-Eyed”: I couldn’t accept what was right in front of me.

But as I get older and I slowly learn to accept those truths, and I remember and think, yes, Bradbury was right. He warned me about this a long time ago. I should have seen it coming. The Martians were the colonists, all along.

- – -

Other prominent authors posted lengthier articles elsewhere on the web Wednesday, including Neil Gaiman (The Graveyard Book), John Scalzi (Redshirts), Carrie Vaughn (the Kitty Norville series) and David Brin (The Uplift series).
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…..item 2)…. Los Angeles Times … articles.latimes.com/2012 … (Page 3 of 4)

Ray Bradbury dies at 91; author lifted fantasy to literary heights

Ray Bradbury’s more than 27 novels and 600 short stories helped give stylistic heft to fantasy and science fiction. In ‘The Martian Chronicles’ and other works, the L.A.-based Bradbury mixed small-town familiarity with otherworldly settings.

June 06, 2012|By Lynell George, Special to the Los Angeles Times

articles.latimes.com/2012/jun/06/local/la-me-ray-bradbury…

Bradbury married Marguerite McClure in 1947, the same year he published his first collection of short stories — "Dark Carnival" (Arkham House) — a series of vignettes that revisited his childhood hauntings.

His first big break came in 1950, when Doubleday collected some new and previously published Martian stories in a volume titled "The Martian Chronicles." A progression of pieces that were at once adventures and allegories taking on such freighted issues as censorship, racism and technology, the book established him as an author of particular insight and note. And a rave review from novelist Christopher Isherwood in Tomorrow magazine helped Bradbury step over the threshold from genre writer to mainstream visionary.

"The Martian Chronicles" incorporated themes that Bradbury would continue to revisit for the rest of his life. "Lost love. Love interrupted by the vicissitudes of time and space. Human condition in the large perspective and definition of what is human," said Benford. "He saw … the problems that the new technologies presented — from robots to the super-intelligent house to the time machine — that called into question our comfy definitions of human."

Bradbury’s follow-up bestseller, 1953′s "Fahrenheit 451," was based on two earlier short stories and written in the basement of the UCLA library, where he fed the typewriter 10 cents every half-hour. "You’d type like hell," he often recalled. "I spent .80 and in nine days I had ‘Fahrenheit 451.’ "

Books like "Fahrenheit 451," in which interactive TV spans three walls, and "The Illustrated Man" — the 1951 collection in which "The Veldt" appeared — not only became bestsellers and ultimately films but cautionary tales that became part of the American vernacular.

"The whole problem in ‘Fahrenheit’ centers around the debate whether technology will destroy us," said George Slusser, curator emeritus of the J. Lloyd Eaton Collection of Science Fiction, Fantasy, Horror and Utopia at UC Riverside. "But there will always be a spirit that keeps things alive. In the case of ‘Fahrenheit,’ even though this totalitarian government is destroying the books, the people have memorized them. There are people who love the written word. That is true in most of his stories. He has deep faith in human culture."

Besides books and short stories, Bradbury wrote poetry, plays, teleplays, even songs. In 1956, he was tapped by John Huston to write the screenplay for "Moby Dick." In 1966, the French auteur director Francois Truffaut brought "Fahrenheit 451" to the screen. And in 1969 "The Illustrated Man" became a film starring Rod Steiger.

Bradbury’s profile soared.

But as he garnered respect in the mainstream, he lost some standing among science fiction purists. In these circles, Bradbury was often criticized for being "anti-science." Instead of celebrating scientific breakthroughs, he was reserved, even cautious.

Bradbury had very strong opinions about what the future had become. In the drive to make their lives smart and efficient, humans, he feared, had lost touch with their souls. "We’ve got to dumb America up again," he said.

Over the years he amassed a mantel full of honors. Among them: the National Book Foundation Medal for Distinguished Contribution to American Letters (2000), the Los Angeles Times’ Robert Kirsch Lifetime Achievement Award (1998), the Nebula Award (1988), the Science Fiction Hall of Fame (1970), O. Henry Memorial Award (1947-48) and a special distinguished-career citation from the Pulitzer Prize board in 2007, which was "an enormous nod of respect from the mainstream media," Lou Anders, editorial director of the science fiction and fantasy imprint PYR, told the New York Times.

Bradbury helped plan the Spaceship Earth at Disney’s Epcot Center in Orlando, Fla., as well as projects at Euro Disney in France. He was a creative consultant on architect Jerde’s projects, helping to design several Southern California shopping malls including the Glendale Galleria, Horton Plaza in San Diego and the Westside Pavilion in Los Angeles.

Even in his later years, Bradbury kept up his 1,000-words-a-day writing schedule, working on an electric typewriter even when technology had passed it by. "Why do I need a computer … all a computer is is a typewriter."

Though he didn’t drive, Bradbury could often be spotted out and about Los Angeles. A familiar figure with a wind-blown mane of white hair and heavy black-framed glasses, he’d browse the stacks of libraries and bookstores, his bicycle leaning against a store front or pole just outside.

A stroke in late 1999 slowed him but didn’t stop him.

He began dictating his work over the phone to one of his daughters, who helped to transcribe and edit. In 2007 he began pulling rare or unfinished pieces from his archives. "Now and Forever," a collection of "Leviathan ’99" and "Somewhere a Band Is Playing," was published in 2007 and "We’ll Always Have Paris Stories" in 2009.
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The Iron Horse And The New York Yankees

While playing for the New York Yankees Louis Gehrig participated in 2,130 games, he had four hundred and ninety three home-runs and had thirteen continuous 100-RBI seasons, three hundred and forty was his average for his career and he was in six world series. He had a dream of reaching 2,500 continuous games before he ended his career, if he hadn’t been diagnosed with ALS he would probably have achieved that dream.

 

Henry Louis Gehrig also known as The Iron Horse lost his battle to ALS in 1941, 2 years after he said goodbye to all his fans at the Yankee Stadium. Louis Gehrig loved baseball and enjoyed every day and every minute that he played.

 

People have a lot of respect for for someone who loves their job and does it every single day and every single year which was seen 10 yrs ago in 2002 when the moment most remembered in major league history was Carl Ripkin Jr. Breaking The Iron Horses consecutive game record.

 

First baseman Wally Pipp was replaced by the Iron Horse in 1925. He never missed a game unless ALS had him down. When he was a kid he would do his best not to miss class, he told someone once that he was ill one day and his mom asked him to stay home but as soon as she was out the door to work he left for school, she wind up having to go get him. Gary Cooper appeared in the movie “Pride of The Yankees” as Louis Gehrig.

 

The day he started with the team he hadn’t brought a bat so once him and the team manager got to the cages he pulled a bat off the fence, he didn’t know it but this bat belonged to Babe Ruth and was his preferred bat, astonishingly he didn’t make him replace it instead he just said hi.

Louis Gehrig batted after Babe Ruth in the line up, his RBI stats stayed extremely high.

 

The record for the American League is one hundred and eighty four to this day which Gehrig had in 1931. Louis Gehrig made forty seven home runs in the 1927 season, Babe Ruth is the one person who has gotten more. He is amongst the top ten best baseball players in the major league. In 1939 he was placed in the Baseball Hall of Fame. Louis Gehrig received a football scholarship to attend college instead of baseball. It is rumored that if he had been drafting age at the start of World War II he would have enlisted in the Navy. When he was young he enjoyed gymnastics, playing football and baseball.

 

Louis Gehrig was born In New York on June 6, 1903. He was 14lbs when he was born. His parents were German immigrants. He grew to be 6 feet tall and weigh 200lbs. His Jersey #4 was the 1st number to ever be retired in American professional sports.

 

Of four children he was the one who made it past infancy, one passed before him and two passed after him. His parents names were Heinrich and Christina Gehrig. Louis Gehrig held a wonderful profession playing for the New York Yankees before he died in 1939.

Bobbie Barton is a fitness trainer She likes SportsFanTreasures.com and recommends you check out their info on San Francisco Giants Blanket and Minnesota Twins Blanket

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Caltech and NYU economists call for Apple ebooks trial verdict to be overturned

Caltech and NYU economists call for Apple ebooks trial verdict to be overturned
Apple's prospects of a successful appeal against the ruling in the ebooks trial may be improved by a brief filed by two economists from Caltech and NYU who suggest that the ruling was in error and call for it to be reversed. Apple was found guilty of …
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The Tribune's partner, Agate Digital, sees eBooks as way to monetize
The Chicago Tribune's partner in its new eBooks project is Agate Publishing, an Evanston, Illinois book publisher, established in 2003. The publisher has a number of different imprints inlacing Surrey Books, which publishes food, dining and drink books …
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Top 10 Best-Selling Ebooks — Week of March 1
Veronica Roth's Divergent series still tops the Digital Book World Ebook Best-Seller lists, taking the Number 1 and 2 spots with Divergent and Insurgent. The popularity of the books is being driven in part by the upcoming Divergent movie, which hits …
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Gary Mercers First Book Guilty On All Counts is a Mind Bending Trek into a Dark Murder Mystery

(PRWEB) February 25, 2014

Gary Mercer, a retired officer with the New York City Police Department and now a Senior Director of Operations with FJC Security Services, has completed his first book “Guilty On All Counts”: a gripping and potent descent into the deepest reaches of moral relativity with a theme that confounds and holds the mind spellbound.

Regarding his work Mercer says: “My writing is a blend of my own first hand experience on the force and my ability to create realistic fiction. I would like to thank my wife, Elizabeth, for her support in my life and in my writing.”

Published by New York City-based Page Publishing, Gary Mercer’s poignant tale destroys the boundaries of typical mystery novels and ventures into unknown areas of the animalistic side of the human psyche.

A horrific crime takes place: a family of five, the O’Brien’s, are murdered in a small community on Staten Island, New York. Dean Taylor, an ordinary man and detective with the N.Y.P.D is assigned to the case. He follows the clues and the evidence, which leads him to uncover the reasons behind the murder of the O’Brien’s, and an additional two murders.

Follow Dean and his partner as they uncover clues and deceptions until the true murderer and the reasons behind this crime are unveiled.

Readers who wish to experience this compelling work can purchase “Guilty On All Counts” at bookstores everywhere, or online at the Apple iTunes store, Amazon, Google Play or Barnes and Noble.

For additional information, review copies or media inquiries, contact Page Publishing at 866-315-2708.

About Page Publishing

Page Publishing is a traditional New York based full-service publishing house that handles all of the intricacies involved in publishing its authors’ books, including distribution in the world’s largest retail outlets and royalty generation. Page Publishing knows that authors need to be free to create – not bogged down with complicated business issues like eBook conversion, establishing wholesale accounts, insurance, shipping, taxes and the like. Its roster of authors can leave behind these tedious, complex and time consuming issues, and focus on their passion: writing and creating. Learn more at http://www.pagepublishing.com.







Finding The Best Deals On A Key West Hotel

Article by Christine OKelly

It is easy to find a good deal on your Key West vacation. Knowing how to book your Key West hotel or a Key West inn is important when making your reservations and planning your vacation budget.

Finding the right price for your Key West vacation doesn’t have to be hard and you don’t have to pay too much to get great accommodations on your next vacation. Follow these simple steps to book a Key West hotel and Key West inn for a price that won’t break your bank and will leave you with plenty of extra cash to spend on having fun in the sun.

Book Early For The Best Prices

Just as you would an airline ticket, train ticket, or hotel normally, when booking a Key West inn or Key West hotel it helps to book your stay early. Typically, if you book two weeks prior to your visit, you can find the best prices on your stay.

If you are hoping to hit Key West during a peak time, make sure to book further in advance in order to get the best price possible. A good mantra for travel planning in general: the early bird gets the worm. In this case, the early bird gets the best Key West hotel and inn at the best possible price.

Book Your Stay Starting In The Middle Of The Week

If you are willing and able (meaning you can get the time off of work), starting your stay in the middle of the week is the perfect way to find great deals on posh suites, Key West inn lodging, and a Key West hotel.

Once again, it is a suggestion borrowed from the airline industry. If you book when others are working and can’t travel, you reap the rewards and benefits. Since it is a slow time for Key West hotel and Key West inn suites, managers are more likely to give you deep discounts to attract your business.

Know What You Need And Let It Guide You

Nothing beats knowing exactly what you require before booking your stay in a Key West inn or Key West hotel. If you have a firm grasp of your needs and wants, you will be better able to find the right price for your stay.

If you or someone in your party has a food allergy, you will want to make a different choice than you would if you were without allergy. Knowing which inns and hotels to book for your needs and wants will help you find the right price to help make your vacation in Key West all it can be.

Regardless of where you decide to stay, make sure to take the price, amenities, and location into account when choosing your hotel, Key West inn, or bed and breakfast. Key West is filled with activities, local cuisine, and nighttime hot spots. Choose a place that gets you close to anything that seems interesting to you and has everything you could possibly want for your home away from home.

About the Author

Christine O’Kelly writes for the Key West inn experts at Key West Historic Inns. They provide information for booking a Key West hotel.

Use and distribution of this article is subject to our Publisher Guidelines

whereby the original author’s information and copyright must be included.

Christine O’Kelly writes for the Key West inn experts at Key West Historic Inns. They provide information for booking a Key West hotel.












Use and distribution of this article is subject to our Publisher Guidelines

whereby the original author’s information and copyright must be included.

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Bookend Chronicles Reviews Yankee Gold


Yankee Gold by Elizabeth Rogers

This is an impressive novel by Elizabeth Rogers, which takes place within the backdrop of the worst war on American soil. It is a historically accurate narrative that achieves forward motion in its intriguing plot line. Rogers successfully exhibits a difficult conflict within a gradually remorseful climate.

"Fire and smoke concealed the movement of people in the street. It was unclear whether the moving bodies were civilians, enemy, or allies. Occasionally, there would be a clearing."

Steve Elkins begins to blur the lines of societal acceptance. He is an abolitionist attorney in a less than tolerant territory. Though he is brave enough to stand up for his beliefs and politics, it also causes a major hindrance in his personal life.

"'Or they steal from the public coffers'... 'Or take bribes'..."

"He must prove fraud, forgery, bribery, and perjury. Additionally, it appeared he must take on the chief judge of the Supreme Court to force a resignation."

There is a definitive coyness when delving into the incredibly intricate story line. It prevents the reader from understanding the true focus of the ultimate ending. Yet, gradually, as the characters play into the metaphorically sanctioned subplot, Steve Elkins must decide where his loyalties lie.

An interesting character that snagged my attention was Editor Sullivan. As Steve says in a most succinct way: "...he professes in his columns, that he is against peonage, but antagonistic to Radicals. Of course, that's a contradiction in itself." Sullivan plays a thin line and personifies an image of what I would call a troubling epidemic, symbolic in this day and age.

Rogers vividly conveys an empowered and credible narrative. Though Yankee Gold had a slow beginning for this reader, including heavily laden moments of minutiae, the ultimate story is moving and intriguing. It is a unique story that gives every reader an idea of the old politics that our forefathers ventured and braved in a frighteningly new world.

Elizabeth Wall Rogers has been published in the New Mexico Historical Review. She is a member of the Virginia Historical Society and is active in several Virginia writers' clubs.

KIRKUS REVIEW


Yankee Gold

KIRKUS REVIEW

Rogers’ debut historical novel delivers a highly detailed account of nation-building in New Mexico after the Civil War through the eyes of spy, lawyer and politician Steve Elkins.

Elkins, like other major characters in the book, was a real person, and the author presents him as a clever observer and manipulator of the baffling, violent political scene west of the Mississippi during Reconstruction. Elkins flees wartime Missouri, with rebel bandits at his heels, to New Mexico, where he rises from a laborer and land surveyor to a lawyer and elected official. He takes charge of two different murder trials, and took part in efforts to draft a state constitution, woo the railroad and eradicate “peonage,” a form of feudal slavery unique to the region. But although Rogers includes all the raw materials for a riveting tale (war, espionage, slavery, bank robberies, gold mines and murder among them), the book reads more like a dry biography of Elkins than a novel. The author takes considerable care to tell the story with accuracy and detail; as a result, however, the prose is almost exclusively expository. Much of the book consists of fact-laden, wooden dialogue, with minimal, awkward efforts to convey the characters’ internal lives (“ ‘Chaves’ arrogance at having set off the cannon that killed Slough, and his insisting on keeping the unrepentant Heath, is more than I can stand,’ Steve said”). At times, the book reads somewhat like a legal brief, with the characters conveying the emotionless delivery of police officers on a witness stand. There are some moments when this reportorial style engagingly supports the storyline—the murder scenes, for example, or during courtroom set pieces when Steve’s scheming intelligence earns readers’ admiration—but these moments are few in an otherwise dense, dispassionate narrative.

A dry but exhaustively researched novel that will most interest aficionados of New Mexico’s history.

Books: Virginia Book Notes


One of Richmond’s many nicknames is “The City of Monuments” — and deservedly so. Although first thoughts might go to those along lovely Monument Avenue, the city abounds in others that merit attention.

And that’s what Glen Allen writer Robert C. Layton and Henrico County photographer Phil Riggan showcase in “Discovering Richmond Monuments: A History of River City Landmarks Beyond the Avenue” (190 pages, The History Press, $19.99).

You’ve probably seen Confederate Gen. Robert E. Lee and tennis great Arthur Ashe on Monument Avenue, but how about entertainer Bill “Bojangles” Robinson, or civil rights icon Oliver Hill, or the miniature Statue of Liberty, or Sunday the dog, or former Virginia Commonwealth University President Eugene P. Trani, all in other locations?

They — and more than 100 others — are featured in prose and photos in Layton and Riggan’s book, as well as a glossary of art terms, a chronology of the monuments’ placements and even suggestions for future tributes. You’ll find history you likely didn’t know — and a useful guide for a walking/driving tour.

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Virginia is for enthusiasts of all kinds — of history, of nature, and yes, dogs.

In “Fido’s Virginia: Virginia Is for Dog Lovers” (239 pages, The Countryman Press, $18.95), Ginger Warder, who grew up in Northern Virginia, offers a plethora of places travelers can visit with their canine pals, including historic sites, wineries, bed and breakfasts, malls and bodies of water.
A member of the Society of American Travel Writers, Warder specializes in journeys with pets and luxury trips. As she writes, “For the most part, canines are considered to be family in Virginia — except, unfortunately, by the Commonwealth of Virginia’s Health Department, which strictly prohibits all but service dogs from the premises of restaurants, including patios and decks.”
But not to worry — “Fido’s Virginia” gives readers a multitude of options for excursions with their best buds.

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Given Richmond’s reputation as a city of churches — St. John’s Episcopal on Church Hill and St. Paul’s Episcopal near Capitol Square are particularly noteworthy — it’s not unusual for houses of worship to revel not only in their message but also their history.

Last year, First Presbyterian Church celebrated its bicentennial and this year marked the occasion with “Footprints of the Saints: A Narrative History of First Presbyterian Church, Richmond, Virginia, 1812-2012” (348 pages, First Presbyterian Church/The Dietz Press, $40), by former pastor R. Jackson Sadler in collaboration with longtime member F. Claiborne Johnston Jr.

Richly detailed and lavishly illustrated, the book recounts the history of the church and its congregation, its leaders and its mission work, among many other topics. It’s available at the church office at 4602 Cary Street Road. For details, call 358-2383.

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Kevin Powers, whose debut novel, “The Yellow Birds,” vividly depicts the war in Iraq, has been awarded the Anisfield-Wolf Book Prize for First Novel by the Cleveland Foundation.

Powers, who attended James River High School in Chesterfield County, joined the Army when he was 17 and served as a machine gunner in Mosul and Tal Afar in 2004 and 2005. After being honorably discharged, he enrolled in Virginia Commonwealth University and graduated in 2008. He recently received a master’s degree in fine arts as a Michener Fellow at the University of Texas at Austin.

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Also:

• Former Richmond Times-Dispatch columnist and current Boomer magazine editor Ray McAllister adds to his canon about coastal North Carolina with “Ocracoke: The Pearl of the Outer Banks” (242 pages, Beach Glass Books, $19.95), which follows his previous appreciations of Topsail Island, Wrightsville Beach and Hatteras Island. This time out, in addition to exploring the history, charm and residents of the site, he also presents a proposal from Stephen Leatherman, director of the Laboratory for Coastal Research at Florida International University, that Ocracoke become basically car-free. “The proposal is worth serious consideration,” McAllister writes. “Ocracoke could become a smaller Ocracoke again. A quieter Ocracoke. A less crowded Ocracoke. A better Ocracoke.”

Sarah Kennedy, a professor of English at Mary Baldwin College in Staunton, focuses her novel
“The Altarpiece” (224 pages, Knox Robinson Publishing, $27.99), on Catherine Havens, the adopted daughter of the prioress of the Priory of Mount Grace in an English village during King Henry VIII’s attack on the Roman Catholic Church and its properties.

• Henrico County resident Elizabeth Wall Rogers’ historical novel “Yankee Gold” (312 pages, Story Merchant Books, $15.99), is set in New Mexico during the Civil War.

• Two Chihuahuas play detective — and join forces with mutt Jog, mockingbird Moc and loggerhead turtle Big Mama — to foil turtle-egg snatchers on Bald Head Island, N.C., in Falls Church resident Rhoda Canter’s children’s book, “The Adventures of Starfoot and Brown” (119 pages, CreateSpace, $16.50).

Katie D. Anderson, a Richmond native and a 1989 graduate of Collegiate Schools, has written her first book, “Kiss and Make Up” (320 pages, Skyscape, $16.99), a young-adult novel.

• Retired Times-Dispatch science writer Beverly Orndorff has published an e-book, “George Gamow: The Whimsical Mind Behind the Big Bang” ($6.99), about the Russian-born American physicist.

Jay Strafford

Civil War Photos 1861 - 1865



The quality of some of these photos are just amazing when you consider that they were taken 150 years ago…


Civil War Photos 1861 - 1865 

Journey To Publication Reviews Yankee Gold

4.0 out of 5 stars Inspirational


My book review today is on the historical book Yankee Gold by Beth Rogers. This book takes place in the civil war and the years following it.It is easy to see that Beth has done massive amounts of research on this time in history. Unfortunately I found the historical facts and statistics to be a hindrance to the actual story, it was so full of facts and details it was hard to stay on the story line. It is a great accomplishment for Beth. If you are a history buff I know you will want to read this book
 

This story was about a man's struggle to stay true to his principals in a world of corruption, slavery, and changing times. Steve Elkins is a young attorney who had served as a spy through the war, he has now moved to the southwestern part of the country. He is sent to the area to write contracts for several mines. The army was being paid to protect the mines and although they aren't doing much with the mines there is resentment towards Steve. He is in office when a family emergency sends him home, while there he marries and brings part of his family back with him. Steve strives for statehood for New Mexico. Though the politicians want the benefits from statehood there is much resistance to his efforts. He faces great personal and political difficulties with from his efforts.

This man's struggle with his faith and his principals is an inspiration to us all. I hope you enjoy the book you may find it on amazon. God Bless you all. Have a really good weekend.  

YANKEE GOLD – IT’S SIGNIFICANCE

Steve Elkins
Tom  Catron


Yankee Gold unlocks the secret of the “Santa Fe Ring”, one of the great mysteries of western lore. The Santa Fe Ring was a creation of Congressman Chaves and his surrogate, A. P. Sullivan, editor of the Santa Fe Post. They conceived the idea of a New Mexico power ring at the same time the Tweed Ring was notorious for stealing public monies in New York City. Giving a similar name to the associates of Steve Elkins would throw evil aspersions on their political enemy who was a member of their own party, a fellow Republican. At the same time, Chaves could have the power of appointments to office which he used liberally.

The Republicans appointed to New Mexico offices in the Lincoln administration were almost entirely abolitionists. However, Lincoln was persuaded by an old friendship with John Watts, another former Illinois attorney, to make James Carleton the general in charge of martial law in the territory after Confederates attacked in 1861. Carleton was a Democrat and would support McClellan in the 1864 presidential election. During this period only about 1500 easterners lived as settlers in New Mexico and around 50,000 Spanish speaking former Mexicans lived there.

Frank Chaves’ family owned a half million acre land grant based in the central district of New Mexico and on the Rio Grande River. The family was dependent on the labor of peons, several hundred Indian “debt slaves” for their farming income. These enormous land grants supplied the Army during the war with food and provisions. Chaves’ father had sent him east for an education with the admonition, “The heretics are going to over-run all this country. Go and learn their language and come back prepared to defend your people.”

Chaves’ primary concern was to protect his and other land grant owners’ rights to their huge properties granted under the Treaty of Guadalupe Hidalgo, a hastily conceived treaty which served the purposes of early eastern and Missouri traders with Mexican commercial interests. The ownership of these estates was not established by the usual requirements of land ownership in the United States: valid surveys. Furthermore, these estates were so vast that only slavery could make them economically feasible. Chaves’ secondary concern was a private prejudice against former Confederate officers whom he held were not entitled to hold offices in the territory. Following the Civil War, a significant political faction held this view. Chaves made possible the creation of the second Republican newspaper, the Santa Fe Post, to take positions which would make Steve Elkins and his programs appear subversive.

Steve Elkins entered New Mexico as a teamster, escaping death from Quantrill’s Raiders in Missouri. The Raiders were an outlaw band which supported the Confederates since the Confederate army was prohibited from operation in Missouri. Steve had been a spy for the Union and, as such, functioned in opposition to his friends and family. He ferociously guarded this secret his whole life. While in New Mexico he never wavered from the position that he had served neither side in the Civil War. 


One of the reasons Steve maintained his position as a non-combatant was that in 1861-1862 he had taught a number of Quantrill’s youngest outlaws. Among them was the son of his own family’s close friends, the family of Cole Younger. The Younger family was seriously abused by a Union officer and the men of the 5th Missouri Militia. The latter company crashed a wedding party and was insulted by the refusal of a Younger daughter to dance with the outfit’s captain, a married man. The wedding party was primarily of southern sympathies. The grudge was carried to extremes, the Younger father was killed and the family home was destroyed. Steve felt a terrible responsibility for the later deaths of several women, wives, sisters, and sweethearts of these young men whom he had taught. These women were imprisoned for abetting their husbands, brothers, and fiancés. 


After the war Steve aided his best childhood friend and his former college roommate as well as his own family by providing them with positions which would support them in New Mexico. His roommate, Tom Catron, became a Republican and his law partner in Santa Fe. His childhood friend, a Democrat, would become another law partner and by 1876, New Mexico’s Supreme Court Chief Justice. The theme of Steve’s life after the war became redemption. His need to become a hero, to win statehood and a railroad for the territory, were attempts to fulfill his need for redemption.




—PHOTOS COURTESY OF PALACE OF THE GOVERNORS, NEW MEXICO DEPARTMENT OF CULTURAL AFFAIRS, NEG. 50616.

American West Photographer Timothy O'Sullivan

Famous photographer Timothy O'Sullivan whose childhood and background are the subject of debate among photographic scholar was of Irish ancestry. It is known that as a teenager he worked in the studio of the legendary 19th century photographer Mathew Brady, who is seen as the father of photo-journalism. A veteran of the American Civil War in its first year, O'Sullivan turned his hand to photographing the horrors of war in during the final three years of the conflict before setting out on his cross-continental expeditions.


Timothy O'Sullivan, who used a box camera, worked with the Government teams as they explored the land. He had earlier covered the U.S. Civil War and was one of the most famous photographers of the 19th century.

He also took pictures of the Native American population for the first time as a team of artists, photographers, scientists and soldiers explored the land in the 1860s and 1870s.

The images of the landscape were remarkable - because the majority of people at the time would not have known they were there or have ever had a chance to see it for themselves.

O'Sullivan died from tuberculosis at the age of 42 in 1882 - just years after the project had finished .

He carted a dark room wagon around the Wild West on horseback so that he could develop his images. He spent seven years exploring the landscape and thousands of pictures have survived from his travels.


Gayle Pace of Book Review, Etc. Gives Yankee Gold Four Stars!




The author wrote a historical learning book about a territory that strove to become a state. It tells how some of the people in New Mexico resisted statehood. They did want all the good things that went with it though. During this time the Civil War made the mining of  precious ores difficult. 

When the character Steve Elkins came into the picture, martial law was in effect. The Army was being paid to protect private mining and was doing a little mining themselves. Elkins came to New Mexico to write contracts for several mines where the Army had agreements with investors. 

The author is telling a story that no one else has tried to tell. Ms Rogers put in twenty years of research for the book. To me, this is the desire to write a factual book, a desire to do the best you can at what you do. This is dedication. She wrote from a male point of view which must have been difficult to begin with. You would have to get the feel of how a man saw things, which most often is very different from a woman's view.I recommend this book to History lovers or anyone  who is interested in Mexico, the Civil War or just a darn good read.

At the end of the novel, the author puts in an article which gives evidence that Steve Elkins was a  Civil War Spy.

I give this book 4 Stars





OVERVIEW (FROM AMAZON)

Passion, power, politics--intrigue on the frontier.

A young attorney with a secret leaves the Missouri Civil War for the southwestern territories and is threatened by a bitter rivalry. At stake are the fortunes of land grant settlement and the destiny of New Mexico.

An abolitionist in a slave state, Steve Elkins’ principle puts him at odds with local authority and general practice. Steve’s vision of what a territory must be to attain statehood sets a pattern for his personal goals. Patience, diplomacy, and skillful use of his legal expertise guide him. As the war ends, party identities re-form and tensions increase. Steve faces vicious attacks in his aggressive moves against slavery, robbery, assassination, murder, and cattle rustling. When he's faced with a personal crisis and a crucial election at once, can he strike a bargain with his wife, Sallie and his best friend, Tom? He struggles for a private life while the exertions of his public role erode his quest to achieve a business environment for New Mexico.

Can Steve Elkins survive the clash between his allies for a railroad; and the traditional fears, loyalties, and envy of native Mexicans?

Timothy O'Sullivan's Pictures Show the Landscape As It Was Charted for the Very First Time

These remarkable 19th century sepia-tinted pictures show the American West as you have never seen it before - as it was charted for the first time.

The photos, by Timothy O'Sullivan, are the first ever taken of the rocky and barren landscape.

At the time federal government officials were travelling across Arizona, Nevada, Utah and the rest of the west as they sought to uncover the land's untapped natural resources.


19th century housing: Members of Clarence King's Fortieth Parallel Survey team explore the land near Oreana, Nevada, in 1867
19th century housing: Members of Clarence King's Fortieth Parallel Survey team explore the land near Oreana, Nevada, in 1867. Clarence King was a 25-year-old Yale graduate, who hired Irish tough guy O'Sullivan for his Geological Exploration of the Fortieth Parallel. Funded by the War Department, the plan was to survey the unexplored territory that lay between the California Sierras and the Rockies, with a view toward finding a good place to lay railroad tracks while also looking for mining possibilities and assessing the level of Indian hostility in the area.

Incredible: Tents can be seen (bottom, centre) at a point known as Camp Beauty close to canyon walls in Canyon de Chelly National Monument, Arizona. Photographed in 1873
Incredible: Tents can be seen (bottom, centre) at a point known as Camp Beauty close to canyon walls in Canyon de Chelly National Monument, Arizona. Photographed in 1873 and situated in northeastern Arizona, the area is one of the longest continuously inhabited landscapes in North American and holds preserved ruins of early indigenous people's such as The Anasazi and Navajo.

On this rock I build a church: Old Mission Church, Zuni Pueblo, New Mexico pictured in 1873
On this rock I build a church: Old Mission Church, Zuni Pueblo, New Mexico pictured in 1873 where the Zuni people of North have lived for millennia. O'Sullivan was famous for not trying to romanticise the native American plight or way of life in his photographs and instead of asking them to wear tribal dress was happy to photograph them wearing denim jeans.

Land rising from the water: The Pyramid and Domes, a line of dome-shaped tufa rocks in Pyramid Lake, Nevada, seen on camera for the first time ever in 1867
Land rising from the water: The Pyramid and Domes, a line of dome-shaped tufa rocks in Pyramid Lake, Nevada photographed in 1867. Taken as part of Clarence King's Geological Exploration of the Fortieth Parallel, O'Sullivan's mesmerising pictures of the other-wordly rock formations at Pyramid Lake committed the sacred native American Indian site to camera for the first time

Sangre De Christo

Rich in history, religion, culture, and bio-diversity, the area preserves a special place in our nation's history where the villages and lifestyles of some of America's earliest Spanish settlements still exist alongside newer railroad communities.

Sangre De Christo [sic] Range from Bull Hill

Carlos Beaubien
When the Sangre de Cristo Land Grant was awarded in 1843, the vast tract extended along the flanks of the Sangre de Cristo Range, from an area north of contemporary Questa, New Mexico into the San Luis Valley of southern Colorado. Encompassing Ute Territory the grant included mountains, watersheds, and an array of wildlife. Like the Quebecois manorial class from which he descended, Carlos Beaubien (the subrosa owner of the grant) controlled all aspects of development on his inland estate. After an unauthorized colony attempted to inhabit the land grant the group was forcefully evicted by Beaubien's men. Preferring to lay claim to this vast landscape on his terms, Beaubien recruited pobladores (settlers) from the Taos Valley, handpicked leaders, and authorized French and German merchants to establish trading posts.

Just after the onset of the American Period, Taosenos moved in two surges into lateral watersheds on the grant; first at the Rio Costilla late in the 1840s and on the Rio Culebra in 1853. Initially plazas in the Rio Costilla and Rio Culebra were similar despite being situated eighteen miles apart. Though separated by distance los primeros pobladores (first settlers) in both communities were interrelated by kinship, culture, and religion. In 1861, the grant was severed when Congress appropriated part of New Mexico to create the Territory of Colorado. Two years after annexation, Beaubien authored a covenant granting an easement to pobladores to use the surrounding uplands to graze and gather wood, designated a community commons near villages, and deeded varas, or long lots, extending from rivers to foothills. 


Subsequent to Beaubien's death, his heirs sold the grant to William Gilpin, the first Territorial Governor of Colorado. In accordance with Beaubien's wishes the sale required Gilpin to acknowledge the pobladores' private property and communal rights. Disingenuous from the onset, Gilpin circumvented the terms of the agreement.

Author's Journal: Drafting Your Story



Exactly when you decide to venture a draft of your story no one can predict. Some people start at the end and work backwards. Others take the more traditional path and determine a beginning. It’s best to know your ending before you start. I knew my story was a ten year account of my character’s early career as an attorney. My story was about how such a young attorney became a congressman in such a short time.  It took a while for me to see how he made his living and acquired wealth. Almost immediately after arriving in NM he became the territory’s most successful lawyer. He had an engaging personality, was better and more recently educated. He learned the Spanish language so quickly most people were amazed. His most important asset, aside from these, was his mentors, men whose advice he sought and followed judiciously. He made friends easily and helped others who cooperated with him, partnering with several on various projects.

I wrote many drafts of my story. I can only laugh at the early attempts now. I had very little to follow since most stories of the West of this period are of the Indian wars and personal accounts of “gunslingers” and outlaws.


The greatest difficulty I had in writing my book was in merging all of the information I’d gathered. I finally hung chronologies of my central character’s personal life, the progress of the Maxwell Grant, progress of the Sangre de Cristo, the major political events of the Republican Party, the advance of the Maxwell Grant’s survey, the conflict between my character and each of his adversaries (Chaves’ surrogates), and a chain of events related to NM’s land grants on the wall. I then used cards to form a storyboard of scenes. Through these I established a draft that provided a reasonable continuum until I could begin to reduce the mass to the pattern of fiction. You may start with an outline, most writers do. My goal was perhaps too ambitious and thereby too complex, but it represents what I wanted to know.


Blackmore Collection


Studio portrait of a Native North American sitting on a chair, wearing ear ornaments, a peace medal(?), a cloth tunic, an embroidered sash, a blanket around his waist, and holding a hat.

Henry Connelly Governor of the New Mexico Territory

Henry Connelly (1800–1866) was Governor of the New Mexico Territory during the American Civil War. He was appointed by President Lincoln and served from September 4, 1861 until July 6, 1866. During his term, the territory broke into two, and then three parts due to the Civil War and administrative problems.

  
Early years


Connelly was born in Spencer County, Kentucky. In 1828, he received a medical degree from Transylvania University in Lexington, Kentucky. He practiced medicine and ran a store in Liberty, Missouri from 1820 until 1824, when he traveled the Santa Fe Trail from Independence, Missouri to Santa Fe, New Mexico with other merchants. During and following these years of travel and trading, he no longer practiced medicine, except in the case of an emergency. In 1828 he moved to Chihuahua, Mexico where he lived until 1848, continuing to make business journeys to Missouri and New Orleans. He married a Mexican woman there in 1838, with whom he had three children. Sometime in the 1840s he moved to Peralta about 17 miles south of the town of Albuquerque, New Mexico. Connelly participated in negotiations between governor Manuel Armijo and James W. Magoffin in Santa Fe, prior to Kearny's 1846 bloodless Capture of Santa Fe during the Mexican-American War.


New Mexico military rule


In 1849, after the death of his first wife, Connelly married Delores Perea. Perea was the widow of Don Mariano Chaves, one of the governors of New Mexico while it was under the rule of Mexico. She was also the mother of Don Mariano's son, José Francisco Chaves,who served three terms in the United States House of Representatives as Delegate from the New Mexico Territory, 1865 to 1871.


By 1850, although there were strongly opposed political factions in New Mexico, most were united in opposing the military government. The governor, Col. John Munroe, convened a constitutional assembly in May, which ratified a state constitution by 6,771 votes to 39.The constitution was adopted on 20 June 1850, and state officers were elected.[4] Henry Connelly, who was absent from the territory at the time, was elected Governor and Manuel Alvarez Lieutenant-governor. However, Colonel Munroe forbade the assumption of civil power by the elected officials. On 9 September 1850 the U.S. Senate passed a compromise bill that included an act to organize a government for New Mexico as a territory, and this overrode the state legislature.


New Mexico state


Connelly was an associate in the incorporation of the New Mexican Railway Company in support for construction of a transcontinental railroad via the southern route through New Mexico in 1860. He was a main force behind the repeal of the New Mexico Slave Act in 1861. He was governor of New Mexico during the Civil War and General Sibley's New Mexico Campaign. During the Battle of Valverde, he was at Fort Craig, then moved the territorial capital from Santa Fe to Las Vegas, New Mexico prior to the Confederate occupation of Santa Fe.Connelly was in ill health during a large part of his administration. He was absent from office due to illness for about a half year between the fall 1862 and the spring of 1863, during which Secretary William F.M. Arny acted as Governor. He died of an opium overdose on Aug 12, 1866 in Santa Fe after leaving office, July 16, 1866

 

Author's Journal: Organizing Your Research





I recommend a three or four pronged attack on research organization. Yours may vary from mine somewhat because I save none of my research on the computer. You will need to keep many files: chronology files, character files, setting files, procedure files, cultural practices files, and many others. I have four filing drawers in two cabinets beside my desk. The rest of my files are in crates – four of them, in fact. Those eight file “drawers” represent one story. Two of those drawers are devoted to the operation of my computers and my printer, my professional contacts, and my writers’ organizations. I also keep some files on my submissions in these.

I also have two sets of book shelves and I use sticky notes to indicate pages containing important information – which I label. My books fall into two primary categories: books related to my story and those on technique.


Aside from all this, I have two large boxes which contain copies of old newspapers of my period and place. I use sticky notes on these as well since my story is a political and business story which progresses chronologically. I label these by topic and date and fasten them together in six month periods. They represent the 10 years of my story. They all come from microfilm I’ve had to copy. I can thank these papers for knowing the comings and goings of nearly all of the primary characters of my story.

Raven Reviews Interviews Beth Rogers Regarding YANKEE GOLD



Elizabeth Rogers wrote the book, Yankee Gold, a historical fiction novel focusing on the Civil War.  I became infatuated with the Civil War somewhere between Harriet Tubman and Gone With the Wind.  This book has such a different perspective on the Civil War, I had to stop Beth Rogers and talk to her about it. The interview below captures some key questions I thought you might also be interested in:

1. How did you choose the title?
The fact that the Union mined for gold and silver during the Civil War and for at least two years afterward is the motivation for my protagonist to go to New Mexico.

2. A novel doesn’t usually reveal the true names of characters. Why have you identified your protagonist and named him a Civil War spy?
Because Steve Elkins never admitted he served either side in the Civil War. The story begins in New Mexico a little over a year before the war ended. Little has been told of this important era in New Mexico. Around four thousand Texas Confederates invaded New Mexico in 1861. They were met by four thousand New Mexican and Colorado Volunteers in the winter of 1861-1862. The Confederates were defeated and forced out of New Mexico by the summer of 1862. The fight was for the southwestern gold fields. Once Elkins arrived in New Mexico at the end of 1863 he became the leading attorney in the territory. He was so controversial that someone had to tackle why his story has been avoided. His personal history as a spy, the Union’s role in gold mining with private investors, and the government’s tolerance of Indian debt slavery were all issues the government preferred the public wouldn’t know.

3. How much of the story is true?
The events of the story are true. I placed them on time lines and eventually merged the time lines. My character, Elkins, served in the official capacities portrayed. I had to jump to several conclusions in the story, but the facts which followed made those conclusions reasonable. Naturally, when dialogue can’t be verified, the story must be labeled a novel. I can’t know that closely what these people thought or their entire motivations.

4. How did you get interested in this story?
My family came to West Virginia where Steve Elkins made his home in his later years. We were complete strangers and we settled in the town named for him. My father was born in Cuba of American parents and Cuba was his home until he left college. He was curious about Elkins’ mysterious New Mexico past and encouraged my research of it.

5. How long did it take for you to write Yankee Gold?
The research took twenty years. I taught myself to write at the same time I chased down the story. It went through countless drafts. In the beginning I wrote one other book, a murder mystery, which took nine months. I also wrote a monograph for the New Mexico Historical Review on Elkins as president of New Mexico’s first bank early in my research.

6. What did you find most interesting in your character?
Steve Elkins was first and foremost an abolitionist. He was a Republican, but clearly had the backbone to act independently and follow his own conscience. It was interesting to see how this worked out in the story.

7. Was it difficult to write from a male point of view?
At first it was. That’s why I wrote another book in nine months from a female POV first. However, when I saw how the events of Yankee Gold reflected such a male-oriented society, the story became far easier to portray.

8. When did you decide to become an author?
It was when I was somewhere between eight and ten years old. My father and I speculated on this story often, given the few facts we could obtain. Almost immediately solving the questions which arose became an obsession for me.

9. How did you research the novel?
I first looked for every possible bit of evidence of what Elkins did during the Civil War in Missouri. I traveled to New Mexico and stayed with a relative.  I arranged to meet with several experts on this period of New Mexico’s history. I followed their advice and branched out into the various issues of Elkins’ career in this decade. I copied microfilm on the Bosque Redondo and the official records of the War of the Rebellion. I copied the records of Elkins’ service as
U. S. Attorney. I finally copied the Santa Fe newspapers for the entire decade. I bought all the books possible on the period and compared the material against the newspaper accounts. I found the first scene in a diary account of the daughter of the man who was Elkins’ mentor. That wasn’t until 2003. Information available from the internet grew enormously during the period I researched the story. The research was intensive and bore a lot of fruit.  

MORE ABOUT BETH…
Beth Rogers was born in New York City and lived in West Virginia for over twenty years. Her career includes writing at Living magazine in New York, teaching in Virginia and West Virginia, selling and brokering real estate in North Carolina, and as a federal clerk and courtroom deputy in Richmond, Virginia. She has been published in the New Mexico Historical Review. She is a member of the Virginia Historical Society and is active in several Virginia writers’ clubs.

Click here for more about Yankee Gold.