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No More Cover-Ups Group

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Leo Lopez
Leo Lopez

Wisteria Script 1

Gnarled woody vines twist and intermingle with delicate green shoots and fragrant violet blossoms heavy under the weight of the efflorescence. Long cultivated and admired for its luminous blooms that cascade and taper with reverence, Wisteria flowers have come to universally symbolize transcendent love, and immortality. Wisteria Flow features the duality inherent to wisteria vines and trees when they are in height of spring bloom. The clusters of blue, lavender, and purple flowers glow in dappled light against the tangled vines. Additional dimension is created through light and shadow shimmering on the neutral wall that supports the sprawling specimen.The original oil painting was hand painted as a diptych. This image was created digitally by joining two scans from the original artwork, creating a wide horizontal panoramic view. Despite its contemporary creation, Wisteria Flow will enhance French country decor or Tuscan inspired home decor, adding romance and vintage to the modern home. Prints with this image are appropriate gift for, weddings, valentines, Mother's Days, or anniversaries.

Wisteria Script 1

Wisteria is a deciduous, climbing shrub, bearing beautiful pendants of scented flowers in May or June. There are many species of wisteria but the two most commonly grown in the UK are Wisteria sinensis and Wisteria floribunda. Wisteria sinensis grows in an anticlockwise direction and Wisteria floribunda grows in a clockwise direction.

Grow wisteria plants against a sturdy wall, such as up the front of a house, in moist but well-drained soil, ideally in a south- or west-facing direction. Prune in February and again in August. Feed with a high potash fertiliser in spring to encourage flowers.

Plant wisteria in spring or autumn. Prepare the soil well to ensure a good root run, and plant at the same level as it was in the original pot and water in well. Tie the stems in to galvanised wires fixed horizontally along the wall, as you would an espalier fruit tree. If growing up a pergola, remove all but one stem and tie this to the post.

Wisterias can be grown in pots but you'll need to feed them regularly as they are hungry plants. Only go for this option if training your wisteria plant as a standard. Choose the largest pot you have space for and use a good tree and shrub compost. Plant at the same level as it was in the original pot and water in well.

Wisteria is a hungry plant. Feed monthly with a high potash fertiliser during the growing season, to encourage more flowers to bloom. Water and feed pot-grown wisterias weekly. In autumn, mulch with organic matter such as well-rotted horse manure or home-made compost.

Prune wisteria twice a year, in August and February. For the first few years give your attention to training the plant into the support. This involves pruning very low branches out, training in strong side shoots and cutting back side shoots to five buds in early August.

It can take 20 years for a wisteria to flower from a cutting, so very few gardeners propagate wisteria, choosing to buy a plant instead. However, if you want a challenge, take softwood cuttings in mid spring.

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Aborted Rage in Beth Henley's Women ALAN CLARKE SHEPARD Beth Henley's tragicomedies study the effects of the feminist movement upon a few, mostly proletarian women in rural Mississippi, who are more likely to read Glamour than Cixous and Clement's The Newly Born Woman.' We are invited to sympathize with isolated heroines whose fantasies demonstrate the difficulty of conceiving female subjectivity while entrenched in patriarchal epistemes, whose resilience is expressed in their canny, survivalist compromises with the codes of passive southern womanhood.2 Their compromises may be precisely located in the recurring imagery of homicide and suicide that pervades Henley's scripts. Take Elain in The Miss Firecracker Contest (r979),3 for example, an aging beauty queen in flight from a suffocating marriage and motherhood. When her estranged husband worries that she may kill their children in a fit of fury, Elain answers him by quashing the idea of her repressed rage spiraling murderously out of control: "Oh, for God's sake, Franklin, no one's going to bake them into a pie!"4 Franklin, borrowing from classical tragedy, baits Elain to circumscribe, even to annul her anger and her flight. One subtext of his inflammatory trope of filicide is that Elain's bid for greater autonomy threatens to incite a domestic "tragedy" (50). Yet the word "tragedy" is Elain's own assessment of impending doom. Though Franklin makes her "ill" (24), without him she is "feeling nothing but terror and fear and loneliness!" (50). And so, after a few minutes of "reckless" infamy under the wisteria bushes with an alcoholic carnival hand, she expects to return to her "dreary, dreary life" (rOI). No Medea she, Elain occupies the periphery of Miss Firecracker, but the arc of her brief rebellion illuminates a paradigm of female surrender running through Henley's plays. The southern heroines populating her tragicomedies frequently erupt in anger toward those (including themselves) who engineer or sustain the emotionally impoverishing circumstances of their private lives; and just as often, they retreat from the schemes Modem Drama, 39 (1993) 96 Beth Henley's Women 97 of violence bred by that anger. They'relish murderous and suicidal fantasies, they repudiate them. The problematics of their rage is my subject. The shadow of violent death is diffused across Henley's landscapes At times it is treated with the sprezzalura of black comedy. Accidents of nature abound, wacky in their studied randomness: Carnelle's father has died chasing "the Tropical Ice Cream truck" (Firecracker, 12), her Uncle George fell "to his death trying to pull this bird's nest out from the chimney" (12); Popeye's brother has been fatally bitten "by a water moccasin down by the Pearl River" (12); Lenny's horse Billy Boy has been "struck dead" by lightning;5 Jamey Foster has been fatally "kicked in the head by a cow";6 an orphanage has burnt, blood vessels burst, cars and pigs exploded. Katty observes that "life is so full of unknown horror" (Wake, 8). But at other times the half-baked threats of homicide and suicide swerve toward the rant of revenge tragedies. Unlike accidents of nature, these threats have knowable if not justifiable causes, reactions to betrayals and injustices made visible as the plays unfold. Yet the fantasies of murder entertained by these heroines signify no commitment to the principle that drives revenge tragedies, namely that revenge is an heroic prerogative of the wronged party, for traditionally revenge has been a masculine mode, from which these heroines moslly draw back. The fantasies secreted in Henley's texts are indeed not so much retributive as palliative. They are strategies of coping with the residual scars of emotional abandonment, or with a fresh crisis of the same, a recurring motif in Henley's art. Consider those of the widow Marshae ! in The Wake of Jamey Foster (1982). Estranged from her husband Jamey, who eventually dies from being filliped in the head - by a cow during a pastoral tryst with his mistress Esmerelda, Marshael is abandoned a second time in a thunderstorm by family friend Brocker Slade, to whom she has turned in her grief, as they are travelling home from the hospital bed of her then...

Series II includes manuscripts of poetry and prose by John Unterecker, as well as galley proofs and other materials from the process of publishing those works. Lectures and other less formal writings are also included in this series. Works represented in the series include A Reader's Guide to W. B. Yeats, Voyager: A Life of Hart Crane, Stone: Poems, Approaches to the Twentieth Century Novel, and the essay "Lawrence Durrell." The series also includes manuscripts of individual poems, essays, and reviews by Unterecker.

Microsatellite markers (or SSRs) are prevalent molecular markers used for studying the population genetics of plants and animals [6,7,8]. SSR markers are superior to other traditional DNA-based molecular markers (i.e., restriction fragment length polymorphism (RFLP), random amplification of polymorphic DNA (RAPD), amplified fragment length polymorphism (AFLP), sequence-related amplified polymorphism (SRAP), and inter simple sequence repeats (ISSR)) [9,10,11,12,13,14] as they display codominance, high information content, and locus specificity. With the development of high-throughput sequencing technologies, a large number of single nucleotide polymorphism (SNP) markers have been developed in recent years [15]. However, SSR markers remain a powerful tool in studying genetic diversity, determining population structure, constructing DNA fingerprint databases, generating genetic maps, and predicting molecular marker-assisted breeding, due to their good reproducibility and cost-effectiveness [16]. SSR markers applied to black locust are rare; Lian and Hogetsu [17] isolated seven polymorphic microsatellite loci using a dual-suppression-PCR technique, and Mishima et al. [18] isolated 11 microsatellite loci using an enrichment method [19] with some modifications. Such limited SSR marker development was based on genomic DNA levels and not expressed sequence tags (ESTs). Genomic DNA-derived SSRs (G-SSRs), and EST-derived SSRs (EST-SSRs), are two types of SSR markers. Abundant EST sequences and molecular markers can be generated by transcriptome sequencing, which involves constructing a complementary DNA (cDNA) library, followed by sequencing using the Illumina HiSeq sequencing platform [20,21]. EST-SSRs have an advantage over G-SSR markers in that EST-SSRs are derived from the coding regions of genomes [22,23,24,25,26]; therefore, they demonstrate significant amplification efficiency and reveal conserved sequences among related species [27,28]. Although EST-SSRs are widely developed and have been applied to numerous species, reports on EST-SSR markers for black locust using transcriptome data are scarce, greatly limiting research on genetic variation, germplasm preservation, and molecular breeding in this species. 041b061a72


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