Portrait of Countess Michael Karolyi
by
John Quincy Adams (1874-1933)
Wednesday, March 31, 2010
Wordless Wednesday - Anna Alma Tadema
Portrait of Anna Alma Tadema
daughter of Sir Lawrence Alma-Tadema
Monday, March 29, 2010
A brief history of Gummi Candy
Gummi candy made its debut in North America in 1982.
The gummi worm, 2 inches in length, was made by another German gummi candy manufacturer called Trolli. Ever since Gummi worms are the most popular gummi candy ever made.
Gummi candy is made with edible gelatin which gives it elasticity, the desired chewy consistency, and a longer shelf life. Gelatin is not new. It has been in use since the time of the Egyptian Pharaohs.
The ingredients of gummi candies are simple. Corn starch, corn syrup, sugar, gelatin, color, and flavor.
The ingredients are mixed and pumped into a coil candy cooker approximately 128 feet long made of stainless steel that cooks the candy by steam outside of the coil. When it's done cooking the cooker pumps the gummi into a vacuum chamber where excess moisture is removed. AFter the vacuum chamber the candy moves to a mixing station where colors, flavors, acids, and fruit concentrates are added. Next, a starch moulding machine pumps the gummi stock into starch filled mould boards for shaping. AFter curing a while, the gummies are removed from the moulds, packaged, delivered, and sold.
Gummi bears have become so popular, they have their own cult following and even a hit song. Enjoy.
Friday, March 26, 2010
Heloise (1101 - 1162)
Heloise was completely unlike my perceptions of what medieval women were like. I was under the impression that the women of this time period were weak in spirit, obedient, and usually chaste. I did expect that some women might have engaged in pre-marital sex, but I thought that these women would have regarded such behavior as a disgrace. Heloise completely changed my misconceptions of medieval women; she seems more like a twentieth century woman in her strength and personal characteristics.While Heloise did succumb to her husband’s, Abelard, desire for her to join a convent, this action of Heloise’s does not exhibit weakness but rather is an indication of her innate strength. I believe a weak woman would have found another man, since Abelard was now unable to satisfy a woman physically. In joining the convent, Heloise proves that she was not a slave to human desires but was a slave, perhaps, to the man she loved unconditionally. This kind of love that Heloise had for Abelard is one that only people strong in spirit can have for another human being. Her love did not fade at all, even though they were separate for many years.
Heloise joined the convent for two reasons: Abelard wished for her to do it and she deemed it as retribution for Abelard’s castration. Abelard wrote in his Historia calamitatum that Heloise opposed their marriage and said “the world would justly exact punishment from her if she removed such a light [meaning Abelard] from its midst” (Abelard 70). It is obvious that Heloise viewed the convent as her punishment for marrying Abelard and his subsequent mutilation.
Many people might think that Heloise’s submission to Abelard is weakness but I do not. Heloise was a very intelligent and educated woman; her submission was the result of the love she had for him, not inherent weakness. It takes great strength of mind to put aside our own desires and put someone else’s wishes before our own. This is what Heloise did. She wrote in her letter to Abelard, “God knows I never sought anything in you except yourself; I wanted simply you, nothing of yours. I looked for no marriage-bond, no marriage portion, and it was not my own pleasures and wishes I sought to gratify, as you well know, but yours” (Heloise 113). To be so enamoured of someone requires tremendous strength.
Even though Heloise was extremely successful as a nun and an abbess and was praised by many, there is no indication that Heloise was completely in the service of God in her duties as a nun. Heloise wrote this to Abelard:
It was not any sense of vocation which brought me as a young girl to accept the austerities of the cloister, but your bidding alone, and if I deserve no gratitude from you, you may judge for yourself how my labours are in vain. I can expect no reward for this from God, for it is certain that I have done nothing as yet for love of him (Heloise 116).
Heloise viewed herself as a hypocrite; she said that men who did not know her secret longings praised her for her virtue. She wrote Abelard, “How can it be called repentance for sins, however great the mortification of the flesh, if the mind still retains the will to sin and is on fire with its old desires?” (Heloise 132). This sentiment proves Heloise never gave herself completely to God, because she always belonged to Abelard. To shut oneself in a nunnery when one’s heart is not in it requires enormous strength.
Article Source: http://EzineArticles.com/?expert=Mary_Arnold
Schiacciata alla Fiorentina
Prep Time: 20 minutes
Cook Time: 30 minutes
Schiacciata is a Tuscan sponge cake popular in the days leading up to Easter. It's a simple, but delicious sponge cake.
This recipe comes from About.com: Italian Food.
This recipe comes from About.com: Italian Food.
2 cups and 1 tablespoon (250 g) all purpose unbleached flour
1 cup less a tablespoon (200 g) sugar
4 tablespoons sunflower seed or corn oil
7 tablespoons warm milk
2 eggs
The juice and zest of an orange
Vintage Recipe - Griddle Cakes
Today's recipe comes from MRS. WILSON'S COOKBOOK (Numerous new recipes based on present economic conditions) from 1915. Sorry, but I couldn't find a photo of the actual book cover.
GRIDDLE CAKES
Place the griddle on the range to heat slowly, while mixing the batter. Place in a bowl or a flat, wide-mouthed pitcher:
One cupful milk,
One cupful water,
One teaspoonful salt,
One tablespoonful syrup,
Two and one-half cups of flour,
Two tablespoonfuls shortening,
Four level teaspoonfuls baking powder.
Beat to mix to a smooth batter. This amount of batter will make hotcakes for four persons. For larger amounts, multiply. One egg may be used for every two cupfuls of flour.
Test the griddle by dropping a few drops of water on it; if the water boils, the griddle is sufficiently hot to bake with. Aluminum griddles do not require any grease. Rub with a clean cloth dipped in salt. Grease iron griddles slightly. Pour [pg 37] on the batter; just as soon as the cakes begin to form air bubbles slip a cake-turner under the cakes and turn them.
Now, if large bubbles rise at once to the top of the cakes, the griddle is too hot and the heat should be reduced; while, if the cake stiffens before the underside is brown the griddle is not hot enough. Never turn a griddle cake twice—this makes them heavy. Serve them as soon as baked, piling not more than five or six together. Sour milk may be used in place of sweet milk. Discard the baking powder and use one level teaspoonful of baking soda for each cup of sour milk. One egg and two cupfuls of water may be used in place of two cupfuls of milk.
If you tried this recipe...
Wednesday, March 24, 2010
Wordless Wednesday - Portrait of Countess Michael Karolyi
Portrait of Countess Michael Karolyi
by
John Quincy Adams (1874-1933)
Monday, March 22, 2010
Italian Folk Songs
Italian folk songs comprise of different influences from the different regions which the people hail from. This is because national unification took place after very long time due to which the separate cultures remained un-homogenized leading to have the dependence of folk music on geographic positioning. Generally speaking, Italian folk music has quite a deep and complex history.
Italy's folk music is divided into different spheres of geographical influences namely Northern, Central, Southern, Sicily and Sardinia.
Northern and central folk songs:
The northern population of Italy derived their music from their roots. Historically, the region exhibited Celtic and Slavic influences in their culture. It derived it songs from areas like Piedmont and Lombardy. The city Genoese is considered to be the home of 'Trallalero' which is a form of music where a polyphonic vocal style is performed with the help of five voices, among which the leads voice imitates a guitar.
Northern and central Italy are well known for the medieval sung poetry known as 'Ottava Rima'. This is performed by the 'Poeti Contadini' or the 'peasants' poets' who essentially use poems of the Greek poet Homer or the famous Italian poet Dante. These poems were generally characterized by modern lyrics which address political or social issues. Among all the poetry that exists in Italy, Tuscan folk poetry is considered to be the closest in form and style to high culture poetry.
Southern folk songs:
Folk musical tradition in southern Italy includes religious music. The songs are dependent on rhythms which is dependent on the type of disease. A famous folk dance called the 'Tarantella' is performed to cure the bite of the 'Lycosa Tarantula'. In this a female dancer exhausts her self by performing and the rhythm of the music and song used are unique for the exact kind of spider. The region Puglia is home to quite a few brass bands who also work in collaboration with jazz musicians.
Sicilian folk songs:
Sicily has diverse music and is considered as the home of a huge range of Christian religious music which includes 'Cappella' devotional songs, a form of music where the vocalist sings without instrumental accompaniment. There exist many brass bands too who play songs from distinct repertoire. Sicilian music also comprises of harvest songs and work songs which are dedicated to the agricultural land.
Sicily's historical connections with mainland Italy and in earlier days with Greeks, Normans, French and Spanish make its music diverse. Due to this, there exists a unique fusion of musical elements on the island.
Sardinian folk songs:
Sardinia is the most culturally distinct of all the regions in Italy. This isolated island is better known for the 'Tenores' polyphonic chant. Their sacred songs 'Gozos' and 'Launeddas' - basically a wood wind instrument which is a type of triple clarinet is used play certain complex style of music which over the time has achieved international attention. It can be played with the help of extensive variations applied on a few melodic phrases which could make a single song last for about an hour.
The 'Otava' is an eight line stanza and is a common form of lyrics in Sardinia. This kind of variation allows a performer or singer a certain amount of improvisation.
The rural chanting of the 'Tenores' in polyphonic sound is sung in four vocal parts which are 'Bassu' or bass mesa, 'Boghe' or the middle, 'Contra' or a counter and 'Bhoge' or the leader and vocalist.
The sacred 'Gozos' or the sacred songs are heard during religious celebrations.
Italian songs are categorized into different categories depending on the influences from different regions. These songs along with Japanese songs and Spanish songs bring a revolution in the music industry.
Article Source: http://EzineArticles.com/?expert=Jennie_Gandhi
Sunday, March 21, 2010
Friday, March 19, 2010
Book Review - Watermark by Vanitha Sankaran
Mute, Auda grows to womanhood in a time fraught with the dangers of the Inquisition. Her father, a scribe, skilled in the new art of papermaking, teaches her to read and write. Writing affords her an escape from the realities of her harsh life, giving voice to the thoughts she cannot speak. She aids him in producing the paper which is more affordable than parchment. Whenever he takes her out into the world, she is careful to cover her albino skin with hood and mantle for fear of catching the attention of the Inquisitors.
When their new art of papermaking comes to the attention of the vicomtesse, she takes Auda into her household as her personal scribe. Auda's newfound independence leads her into trouble, however, when she is accosted by a mob who believe she is a witch. A young artist comes to her rescue and love soon blossoms between them.
As Auda’s writing grows bolder, the vicomtesse encourages her, even though her work is considered heretical and in support of the intelligence and power of women. But the arms of the Inquisition are long and Auda and her father find themselves captured, facing a bleak, almost incomprehensible fate at their hands.
Watermark is the poignant, multi-faceted tale of a mute albino woman who must navigate a path in a world fraught with intolerance, suspicion, and fear. Vivid with description and details, from the very first chapter, the reader finds themselves immersed in the story. The art of papermaking has been carefully researched and described, relaying a strong understanding of how paper replaced parchment and ultimately changed writing and reading forever. The terror brought by the Church and the Inquisition, is also a major source of conflict within the novel and is believably represented.
But it is the heart-rending tale of a horribly disadvantaged young woman that is at the true heart of this story. Papermaking and scribing offer consolation to her muteness and state as an albino, which force her to live in seclusion and on the fringes of a society who will never accept her. Through vivid language and in depth descriptions, Vanitha Sankaran nudges the emotion and credibility out of the story, making the reader truly understand the complexities of this turbulent era through the thoughts, dialogues, and actions of her characters.
Watermark is a delightful, engaging tale about determination, perseverance, love, and forgiveness.
Vintage Recipe - Mary's Potato Salad
Today's Vintage Recipe comes from a cook book with a really long title:
Mary at the Farm and Book of Recipes Compiled during Her Visit among the "Pennsylvania Germans by Edith M. Thomas
It was published in 1915
MARY'S POTATO SALAD
A bowl of cold, boiled, diced or thinly-sliced potatoes, three 3 hard boiled eggs, also diced, and about half the quantity of celery chopped in half-inch pieces, and a little minced onion, just enough to give a suspicion of its presence. She mixed all together lightly with a silver fork and mixed through some of the following salad dressing, which is fine for anything requiring a cold salad dressing.
MARY'S SALAD DRESSING
One tablespoonful of flour, 1 tablespoonful of mustard, 2 cups of sweet or sour cream, 1 tablespoonful of sugar, ½ cup of good sharp vinegar, yolks of four eggs, small teaspoonful of salt. Omit sugar when using the dressing for potato or chicken salad. This salad dressing may also be used for lettuce.
Margaret Mitchell (1900 - 1949)
Margaret Mitchell
Author
I was born in Atlanta, Georgia to Eugene Mitchell, a lawyer, and Mary Isabelle, much referred to as Maybelle, a suffragist of Irish Catholic origin. My brother, Stephens, was four years my senior. My childhood was spent in the laps of Civil War veterans and of my maternal relatives, who had lived through the Civil War.
Shortly afterward, I defied the conventions of my class and times by taking a job at the Atlanta Journal. Under the name Peggy Mitchell I wrote a weekly column for the newspaper's Sunday edition, thereby making my mark as one of the first female columnists at the South's largest newspaper. My first professional writing assignment was an interview with an Atlanta socialite, whose couture-buying trip to Italy was interrupted by the Fascist takeover.
I married Berrien “Red” Upshaw in 1922, but we were divorced because he was a bootlegger and an abusive alcoholic. I later married his friend, John Marsh, on July 4, 1925; who had been best man at my first wedding. Both men courted me in 1921 and 1922, but unfortunately Upshaw proposed first.
I wrote the novel Gone with the Wind, selling nearly as many copies as the bible.
I began writing Gone With the Wind while bedridden with a broken ankle. My husband, John Marsh, brought home historical books from the public library to amuse me while I recuperated. After I read all the historical books in the library, he told me, "If you want another book, why don't you write your own?" I liked that idea and drew upon encyclopedic knowledge of the Civil War and dramatic moments from own life, and typed her epic novel on an old Remington typewriter. Originally, I called the heroine "Pansy O'Hara", and Tara was "Fountenoy Hall". I also considered naming the novel Tote The Weary Load or Tomorrow Is Another Day. Finally I settled on a phrase from a favorite poem by Ernest Dowson: "I have forgot much, Cynara! gone with the wind..."
I wrote for my own amusement, and with solid support from my husband, kept my novel secret from my friends. I hid the voluminous pages under towels, disguising them as a divan, hid them in my closets, and under my bed. I wrote the last chapter first, and skipped around from chapter to chapter. My husband regularly proofread the growing manuscript to help in continuity. By 1929, my ankle had healed, most of the book was written, and I lost interest in pursuing my literary efforts. The bulk of the work was written between 1925 and 1930 in an apartment I called "The Dump": the Crescent Apartments are now listed on the National Register of Historic Places and are operated as a museum to my memory.
Although I insisted that my Gone With the Wind characters were not based on real people, modern researchers have found similarities to some of the people in my life, and people I knew or heard of. For example, the character Rhett Butler may have been modeled after my first husband. The last thing he said to me was, "My dear, I don't give a damn", which Rhett says to Scarlett before he leaves her in the book. "Frankly" was added for the movie.
I lived as a modest Atlanta newspaperwoman until a visit from Macmillan editor Harold Latham, who visited Atlanta in 1935. Latham was scouring the South for promising writers, and I agreed to escort him around Atlanta at the request of my friend, Lois Cole, who worked for Latham. Latham was enchanted with me, and asked if I had ever written a book. I demurred. "Well, if you ever do write a book, please show it to me first!" Latham implored. Later that day, a friend of mine, having heard this conversation, laughed. "Imagine, anyone as silly as you writing a book!" she said. I stewed over this comment, went home, and found most of the old, crumbling envelopes containing my disjointed manuscript. I
arrived at The Georgian Terrace Hotel, just as Latham prepared to depart Atlanta. "Here," I said, "take this before I change my mind!"
Latham bought an extra suitcase to accommodate the giant manuscript. When I arrived home, I was horrified over my impetuous act, and sent a telegram to Latham: "Have changed my mind. Send manuscript back." But Latham had read enough of the manuscript to realize it would be a blockbuster. He wrote to me of his thoughts about its potential success. MacMillan soon sent me a check in advance to encourage me to complete the novel — I had not composed a first chapter. I completed the work in March 1936.
Herschel Brickell, a famous literary critic for the New York Evening Post, reviewed my book in an article titled " “Margaret Mitchell’s First Novel, ‘Gone With the Wind,’ a Fine Panorama of the Civil War Period.” His review helped launch my career by calling attention to what would become one of the best novels of the Southern Renaissance. Over time, we became extremely close; much of our correspondence has been published and is available in the archives at the University of Mississippi. Brickell was also a correspondent, friend, and adviser to other southern writers including Eudora Welty, Truman Capote, William Alexander Percy, Marjorie Kinnan Rawlings, Zora Neale Hurston, Stark Young and Allen Tate.
Gone With the Wind was published on June 30, 1936. The book was dramatized by David O. Selznick, and released three years later. The premiere of the film was held in Atlanta on December 15, 1939.
It was such an overnight success that its publisher George Platt Brett, President of Macmillan Publishing, gave all its employees an 18% bonus in 1936.
My grave is in Oakland Cemetery in Atlanta. I was struck by a speeding automobile as I crossed Peachtree Street at 13th Street with my husband, John Marsh, on my way to see the British film A Canterbury Tale at The Peachtree Art Theatre in August 1949. I died at Grady Hospital five days later without regaining consciousness. The driver, Hugh Gravitt, was an off-duty taxi driver. He was driving his personal vehicle at the time, but his occupation led to many erroneous references over the years to my having been struck by a taxi. After the accident, Gravitt was arrested for drunken driving and released on a $5,450 bond until my death several days later. Georgia Gov. Herman Talmadge announced that the state would tighten regulations for licensing taxi drivers.
Gravitt was later convicted of involuntary manslaughter and served 11 months in prison. His conviction was controversial because witnesses said I stepped into the street without looking, and my friends claimed I often did this.
The house where I lived while writing my manuscript is known today as The Margaret Mitchell House and located in Midtown Atlanta. A museum dedicated to Gone with the Wind lies a few miles north of Atlanta, in Marietta, Georgia. It is called "Scarlett On the Square", as it is located on the historic Marietta Square. It houses costumes from the film, screenplays, and many artifacts from Gone With the Wind including my collection of foreign editions of my book. The house and the museum are major tourist destinations. The 1994 TV movie A Burning Passion: The Margaret Mitchell Story, starring Shannen Doherty, told the story of my professional and personal life through the time of the publication of "Gone With the Wind."
Clayton County, the area just south of Atlanta and the setting for the fictional O'Hara plantation, Tara, maintains "The Road to Tara" Museum in the old railroad depot in downtown Jonesboro.For decades it was thought that I had only ever written one complete novel. But in the 1990s, a manuscript by me of a novel entitled Lost Laysen was discovered among a collection of letters I had given in the early 1920s to a suitor named Henry Love Angel. The manuscript had been written in two notebooks in 1916. In the 1990s, Angel's son discovered the manuscript and sent it to the Road to Tara Museum, which authenticated the work. A special edition of Lost Laysen — a romance set in the South Pacific — was edited by Debra Freer, augmented with an account of my romance with Angel including a number of my letters to him, and published by the Scribner imprint of Simon and Schuster in 1996.
Wednesday, March 17, 2010
Wordless Wednesday - Portrait of Felicitas Seiler
Portrait of Felicitas Seiler
by
Christoph Amberger (1505-1562)
Monday, March 15, 2010
Winner - The Secret of the Glass by Donna Russo Morin
DENYSE
An email has been sent notifying her of the win!
Thanks to everyone for visiting and taking the time to learn all about Venetian glassmaking with Donna Russo Morin!
Queen Eadgyth (910 - 26 January 946)
For an author of historical fiction, nothing is more gratifying or exciting than one of your characters returning to life or to the world today.
Anyone who knows me, can tell you that I've been busy at work writing a novel about Queen Mechthild, the first queen of Germany in the 10th century.
It is suspected that the tomb and bones of Eadgyth, the granddaugher of Alfred the Great and sister to King Athelstan, has recently been rediscovered in a grave in Magdeburg Germany, her remains intact. According to my research, she was indeed buried there, as was her husband, Otto the Great, son of Queen Mechthild and King Heinrich the Fowler. Authorities will be verifying her DNA.
The discovery of the tomb was made during a wider research project into the cathedral in 2008 by a German team.
Researchers originally thought the tomb was a cenotaph, but when they removed the lid they discovered the lead coffin which bore her name, Queen Eadgyth, and accurately recorded the date - 1510 - when her remains were transferred there.
The queen was known to have been buried initially in the Monastery of Mauritius in Magdeburg, and if bones were to be found, they would have been moved later to this tomb.
Here's what it must have looked like when they looked down on her tomb:
The casket inside was made of lead.
Her body was wrapped in silk and is believed to be 30 or 40 years old. This is consistent with the knowledge that she died at the age of 36.
Here's the photo of them raising her body from the tomb.
The bones have now been brought back to Eadgyth's native Wessex for scientific tests to fully confirm her identity.
And thus, after more than a thousand years, the granddaughter of Alfred the Great, sister of King Athelstan, and wife of Otto I the Great, has finally returned home to Wessex England.
Sunday, March 14, 2010
Friday, March 12, 2010
Vintage Recipe - Lady Cake
Lady Cake
Half a cup of butter, one cup of granulated sugar, half a cup of milk, two cups of flour, two teaspoonfuls of baking powder, the whites of four eggs, and a teaspoonful of almond extract. Beat the butter and sugar to a cream, stir the milk into one cup of the flour and add to the butter and sugar, then the whites of eggs beaten to a stiff froth. Sift the baking powder and remaining cup of flour together, add to the other ingredients with the teaspoonful of almond extract. If baked in a loaf it will require three-quarters of an hour or more.
Sarah Helen Power Whitman (1803 - 1878)
_+Brown+Portrait+Collection,+Brown+University_+Providence,+RI_.jpg)
Sarah Helen Power Whitman
1803 - 1878
Occultist
Transcendentalist
Writer
I was born in Providence, Rhode Island on January 19, 1803, exactly six years before Edgar Allan Poe was born. In 1828, I married the poet and writer John Winslow Whitman. John had been co-editor of the Boston Spectator and Ladies' Album, which allowed me to publish some of my poetry using the name "Helen". My husband died in 1833. We never had any children together.
I had a heart condition that I treated with ether which I breathed in through my handkerchief.
I was a good friend of Margaret Fuller and other intellectuals in New England. I became interested in transcendentalism through this social group and after hearing Ralph Waldo Emerson lecture in Boston, Massachusetts and in Providence.
I also became interested in science, mesmerism, and the occult. I had a penchant for wearing black and a coffin-shaped charm around my neck and practiced séances in my home on Sundays, attempting to communicate with the dead.
I first met Edgar A. Poe in Providence in July 1845. He was attending a lecture by friend and poet Frances Sargent Osgood. As Poe and Osgood walked, they passed by my home while I was standing in my rose garden. Poe declined to be introduced to me. By this time, I was already an admirer of Poe's stories.
"I can never forget the impressions I felt in reading a story of his for the first time... I experienced a sensation of such intense horror that I dared neither look at anything he had written nor even utter his name... By degrees this terror took the character of fascination—I devoured with a half-reluctant and fearful avidity every line that fell from his pen".
A friend, Annie Lynch, had asked me to write a poem for a Valentine's Day party in 1848. I agreed and wrote one for Poe, though he was not in attendance. When Poe heard about the tribute, "To Edgar Allan Poe," he returned the favor by anonymously sending his previously-printed poem "To Helen". I did not know it was from Poe himself and therefore I did not respond. Three months later, Poe wrote me an entirely new poem, "To Helen," referencing the moment from several years earlier where he first saw me in the rose garden behind my house.
Poe was on his way to see me at the time of his alleged suicide attempt. Before boarding a train to Boston from Lowell, Massachusetts on his way to Providence, he took two doses of laudanum. By the time he arrived in Boston he was very sick and close to death. He spent four days in Providence with me immediately after. Though we shared a common interest in literature, Poe was concerned about my friends, many for whom he had little regard, including Elizabeth F. Ellet, Margaret Fuller, and several other Transcendentalists. He said to me, "My heart is heavy, Helen, for I see that your friends are not my own."
We exchanged letters and poetry for some time before discussing engagement. After Poe lectured in Providence in December 1848, reciting a poem by Edward Coote Pinkney directly to me, I agreed to an "immediate marriage". Poe agreed to remain sober during our engagement — a vow he violated within only a few days.
My mother discovered that Poe was also pursuing Annie Richmond and childhood sweetheart Sarah Elmira Royster. Even so, the wedding had come so close to occurring that, in January 1849, a newspaper in New London, Connecticut and others announced our union and wished us well. At one point, we chose the wedding date of December 25, 1848, despite criticism of the relationship from friends and enemies alike.
I received an anonymous letter while I was at the library suggesting that Poe had broken his vow to me to stay sober, directly leading to the end of our relationship. Poe addressed a letter to me in which he blamed my mother for our break-up.
Poe ended his relationship with me on the day before our wedding by committing unnamed drunken outrages and made a necessary a summons of the police".
I died at the age of 75 in 1878 at the home of a friend at 97 Bowen St. in Providence, Rhode Island, and was buried in the North Burial Ground. In my will, I used the bulk of my estate to publish a volume of my own poetry and that of my sister. I also left money to the Providence Association for the Benefit of Colored Children and the Rhode Island Society for the Prevention of Cruelty to Animals.
I LOVE COMMENTS
Subscribe to:
Posts (Atom)