They see only the pale fibrous wood, easily warped, that surrounds the core. But its real value, one unrealized by most people, is its deep red heart, steady and strong. A sweet gum is the chameleon of wood, its corky exterior hiding its inner ability to imitate anything from cherry to mahogany. It wasn’t until I was a grown woman that I realized the true nature of the tree. And maybe to laugh when the Judge cursed each time he ran the lawn mower over the hard burs they produce, the tiny missiles banging against the house or car with a loud thunk and denting the mower blades he kept so carefully honed. Growing up in the Crowley Ridge area of Arkansas, I paid little attention to the sweet gum trees except to admire their brilliant colors during the fall. The Sweet Gum Tree | By | Katherine Allred No part of this book may be reproduced, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without express written permission of the rights holder. Names, characters, organizations, places, events, and incidents are products of the author’s imagination.
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Book and contents are excellent, as new.Provenance: From the private collection of Eric J. 2002 in Santa Fe, New Mexico) is proud to present our Big 2018 Spring Cleaning Book Sale! This special sale features 80+ rare and out-of-print titles (many signed) at FIFTY PERCENT OFF OR MORE from current retail prices!SIGNED & DATED BY THE ARTIST!Title: Looking East: Portraits by Steve McCurryAuthor/Photographer: Steve McCurryPublisher: PhaidonYear of Publication: 2006 (First Edition)Type: Hardcover with pictorialdustjacket.Dimensions: 15.25" x 11"Condition: Excellent, as new. Soulcatcher Studio: A Gallery of Photographic Masterworks (Est. Well thought out, carefully crafted, vividly realised and gripping, this is a clever concept novel that manipulates and exploits the fears and insecurities almost every mother has, however happy her own childhood: the fear of otherness, and the illusion of motherhood as a great, beaming, muffin-baking club from which one is excluded. And then Blythe gets pregnant again, with a son, and what began as anxieties turn into terrors. She can’t love her daughter, and Violet proves to be a difficult child: contrary, unsettling, manipulative and eventually frightening. And yet from the start Blythe feels her family history threatening to overwhelm the stability for which she has struggled. And yet, like her mother and grandmother before her, she falls in love and gets pregnant – with a daughter, Violet.īlythe has in her favour a good father (albeit one who is in denial) a substitute mother in a childhood neighbour with whom she found sanctuary and a loving husband, himself from a family of exemplary, twinkling benevolence. “The women in our family, we’re different,” Blythe says. We learn of Etta’s life, and of Cecilia’s, their stories of trauma and neglect interwoven with Blythe’s. Audrain then takes us back to Blythe’s beginnings as a mother – which, of course, predate her own birth, just as foetal nutrition depends not only on the health of the mother but the grandmother too. |