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A misfit Irish-but-not-Catholic girl from Cleveland's west side mixes quirk with sophistication and a wee bit o' sex in her wonderfully exuberant and outlandish look on life. Seller Inventory APC Book Description Red Giant Books, This book is printed on demand. Seller Inventory I Delivered from our UK warehouse in 4 to 14 business days.
Book Description Red Giant Books. Seller Inventory ING Condition: Brand New. In Stock. Seller Inventory x Ships with Tracking Number! Buy with confidence, excellent customer service!. Erin O'Brien.
Publisher: Red Giant Books , This specific ISBN edition is currently not available. View all copies of this ISBN edition:. Synopsis About this title The Irish Hungarian Guide to the Domestic Arts proves that the Rust Belt is the perfect backdrop for a whirlwind romance, that shopping at the discount grocery is really performance art, and that a half-acre lot in the middle of America is all you need to accommodate a field of dreams. Review : Erin O Brien is no angel.
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Buy New Learn more about this copy. Customers who bought this item also bought. First stop, though, was a volunteer stint -- to impress his family and friends -- at Little Princes Children's Home in Godawari, Nepal.
In his moving memoir, Grennan tells how that callow decision made all the difference. Quickly falling under the charm of the children, Grennan learned that many of them were not orphans. During the then-recent Maoist insurgency, parents desperate to keep their children from being recruited to fight paid a child trafficker who promised to take them to safety. Instead, he abandoned them. Grennan began the arduous, often dangerous task of finding the children's parents.
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Eventually, he helped reunite more than children with their families, and founded Next Generation Nepal to support this work. Part of the proceeds of book sales goes to this organization. Grennan tells his story with sincerity, humor and humility. I doubt he considers himself extraordinary.
I would beg to differ.
Brown's best-selling debut is set primarily in the fictional small college town of Barnwell, Ohio, where the three grown Andreas sisters have gathered to care for their sick mother. Daughters of an eccentric professor, they are each named for one of Shakespeare's heroines: Rosalind Rose , Bianca Bean and Cordelia Cordy. Their upbringing was conducted in a mish-mash of couplets and iambic pentameter, and the reader has to wonder if that's why they have so many problems. Rose is paralyzed by inaction, unable to commit to career or love; Bean is horrified by her flashy New York City party-girl ways; and Cordy, the perennial vagabond, suddenly realizes she might have to stay put long enough to deliver the unexpected child she's carrying.
Meet the Author: The Irish Hungarian Guide to the Domestic Arts by Erin O'Brien
Though old resentments resurface, the sisters predictably work their way through their dilemmas, finding their true paths while nestled in the familial comfort of home. This is chic lit, no doubt, but it's smart and not as predictable as one would think. Just like Rose, Bean and Cordy. Okoben found Brown deft at alternating the voices of the sisters, and even has them "speaking in unison, as if from the beyond: 'Our parents' love is not some grand passion, there are no swoons of lust, no ball gowns and tuxedos, but here is the truth: they have not spent a night apart since the day they married.
How can we ever hope to find a love to live up to that? In her review for The New York Times, Janet Maslin said, "There are times when the sisters are exasperated by the burden imposed on them. Readers may sometimes feel similarly about Ms. Brown but more often appreciate the good sense and good humor that keep her story buoyant.
She does have storytelling talent. Or, to quote one of the Weird Sisters quoting you-know-who: 'This is a gift that I have; simple, simple. Brown will give a talk and a signing at 2 p. Saturday, Feb. For more information: A figurative window could have rows of saints or dignitaries. Scriptural texts or mottoes are sometimes included and perhaps the names of the patrons or the person to whose memory the window is dedicated.
History’s greatest artists — a series of in-depth guides | Christie's
In a window of a traditional type, it is usually left to the discretion of the designer to fill the surrounding areas with borders, floral motifs and canopies. A full-sized cartoon is drawn for every "light" opening of the window. A small church window might typically have two lights, with some simple tracery lights above.
A large window might have four or five lights. The east or west window of a large cathedral might have seven lights in three tiers, with elaborate tracery. In medieval times the cartoon was drawn directly on the surface of a whitewashed table, which was then used as a pattern for cutting, painting and assembling the window.
The cartoon is then divided into a patchwork, providing a template for each small glass piece. The exact position of the lead which holds the glass in place is also noted, as it is part of the calculated visual effect. Each piece of glass is selected for the desired colour and cut to match a section of the template. An exact fit is ensured by "grozing" the edges with a tool which can nibble off small pieces.
Details of faces, hair and hands can be painted onto the inner surface of the glass using a special glass paint which contains finely ground lead or copper filings, ground glass, gum arabic and a medium such as wine, vinegar or traditionally urine. The art of painting details became increasingly elaborate and reached its height in the early 20th century. From onwards, artists started using "silver stain" which was made with silver nitrate.
It gave a yellow effect ranging from pale lemon to deep orange. It was usually painted onto the outside of a piece of glass, then fired to make it permanent. This yellow was particularly useful for enhancing borders, canopies and haloes, and turning blue glass into green glass. By about , a stain known as "Cousin's rose" was used to enhance flesh tones.
In the 16th century, a range of glass stains were introduced, most of them coloured by ground glass particles. They were a form of enamel. Painting on glass with these stains was initially used for small heraldic designs and other details. By the 17th century a style of stained glass had evolved that was no longer dependent upon the skilful cutting of coloured glass into sections. Scenes were painted onto glass panels of square format, like tiles. The colours were then annealed to the glass before the pieces were assembled.
A method used for embellishment and gilding is the decoration of one side of each of two pieces of thin glass, which are then placed back to back within the lead came. This allows for the use of techniques such as Angel gilding and Eglomise to produce an effect visible from both sides but not exposing the decorated surface to the atmosphere or mechanical damage.