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Infant Life

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Joseph Nelson
Joseph Nelson

Sweet Journey


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Many ladies long for a Titus 2 woman in their lives. Through the words of Sweet Journey, Teri becomes that kind of a mentor. She has an intense desire to see ladies grow spiritually and experience the true joy and victory that comes from the sweet journey.


VanillaSimple yet wholly delicious, the Vanilla soft-serve ice cream is a great choice. They make this flavor by creating their dairy-free, plant-based, and organic ice cream base. Then, they add Grade A island-grown vanilla beans to the mix to elevate its rich, sweet flavors even more.


Blueberry UbeWhen you want to go on an iconic island ice cream journey, let the Blueberry Ube lead the way. This handcrafted delicacy features equal parts island ube and blueberry at its heart. The unlikely pairing adds a wonderfully sweet and tart kick to the ice cream, serving as the perfect base for all your toppings.


have described in addition toEtulain's twenty four-page bibliographical compilation. The es says maintain a high standard of literary quality, and several of them, such as those byWilliam Lang, Elliott West, andMark Harvey, aremodels of graceful brevity.May this book find a long and happy lifein the classroom or thepersonal libraryofmany western historians. Sweet Cakes, Long Journey: The Chinatowns ofPortland, Oregon ByMarie Rose Wong University ofWashington Press, Seattle, 2004. Illustrations, photographs, maps, notes, bibliography, index. 337 pages. $24.95 paper. Reviewed by Robert R. Swartout, Jr. Carroll College,Helena, Montana Sweet Cakes, Long Journey isa very impres sivebook. It makes an importantand original contribution to our understanding of Asian American history,urban history, and the spe cifichistory ofPortland, Oregon. It isgracefully written and isbased on a wealth of both local and federalprimary sources. It iscomparable to Sucheng Chan's This BittersweetSoil: The Chinese inCalifornia Agriculture, 1860-1910 (University ofCalifornia Press, 1986) and AnthonyW. Lee's PicturingChinatown: Art and Orientalism inSan Francisco (UniversityofCalifornia Press, 2001), two remarkable monographs that broke new ground in thefield ofAsian American studies. In focusingher attentionon Portland,Marie RoseWong has shed critical lighton one of the largestandmost significantChinese communi tiesfound anywhere in theUnited States.On the West Coast, where most Chinese and Chinese Americans resided in the nineteenth and early twentieth centuries, only San Francisco had a largerpopulation. (Portland's Chinese popula tionpeaked in 1900 at 7,841.)Yet, until thepub lication of thisvolume, littlehad been written on the Chinese experience in the Rose City. Although thehistorical accounts inthebook run from the 1850sup to World War II,most of the detailed descriptions focus on theyears fromthe early 1880s, when thefirst Chinese Exclusion Act was passed byCongress, through the 1920s. One of the major strengths of thisstudyisthe author's ability toplace theChinese experience within the larger context of Portland's history as a burgeoning urban center. In fact, Chapter i examines in some detail the special role that im migrants, and theChinese inparticular, played inurban communities such as Portland. Chapter 2 discusses the reaction, legal and otherwise, of white Oregonians to the presence of Chinese pioneers in the state and in the city. The central theme of the book is that the Chinese settlers in Portland, although concen trated in the downtown area of the Westside, were able to avoid being squeezed into a geo graphically defined ghetto or enclave, a fatethat befellmany Chinese in other largeAmerican cities. According to the author, "Portland's Chinatown was different... in that itdid not acquire thequalities of an ethnic urban enclave until the 1930s," and, even then, the concentra tion was due more to escalating real-estate values than to legal or social harassment. The city's "unique qualities" that produced this rather broad distribution patternofChinese settlement "were generated by interactions between the peer [that is, white] community and the immi grantChinese and bypolitical positions takenby members ofwhite society" (p. 266). Throughout thevolume, but especially inChapters 2 and 3, the author describes how civic leaders such as 672 OHQ vol. 106, no. 4 Harvey Scott, the influentialeditorof theOrego nian forforty-five years, andMatthew P.Deady, judge of the Ninth District Court forthirty-four years,worked to thwarttheacts ofviolence and discriminatory laws thatwere often aimed at Chinese in other urban areas such as Tacoma, Denver, and San Francisco. Another major strength of the study is the author's detailed description and analysis of how Chinese community leaders used the courts and sympathetic lawyers and judges to protect their civil and commercial rightsdur ing theChinese exclusion period (1882-1943). Chinese residents in America during thisperiod certainly faced daunting challenges, especially from the federal Bureau of Immigration, but it isno longer possible, thanks to the evidence put forward by this volume and other recent studies, toview theseChinese residents simply as passive victimswho had no control over their own destiny. I have a couple ofminor quibbles with the book. On numerous occasions the author refers to the Chinese minister in Washington, D.C., as the "Chinese foreign [sic]minister" (see, for example, pp. 71,74, 82, 89-94,180-83, 256). Had a specialist in diplomatic history reviewed the manuscript, thisproblemwould have easilybeen caught. In a few cases, there is confusion about proper family...


Sweet Honey's longevity under one musical director is rivaledby few musical organizations; the Rolling Stones and Duke Ellington'sachievements come to mind. (33) Longtime followers of the quintet will findpoignancy in the culmination of the filmic narrative, that is, Reagon'sannouncement of her retirement as SHIR'S musical director, a post shehas held for thirty consecutive years. Nelson depicts the ensemble'sfinal performance under her direction in a show featuring Toshi Reagon, anaccomplished rock guitarist, and her band, Big Lovely. SHIR member YsayeBarnwell states that Big Lovely represents the "next" generation ofactivist-musicians. (34) This event serves also as the apex of SweetHoney's thirty-year "journey" with Bernice Reagon. (35)"Journey" is a term Reagon has long invoked to reference theprotracted nature of the struggle for human rights.


Liquorice is a very ancient plant widely used in the East for millennia. It has often been employed in sweets and confectionery and also for minor ailments including cough, constipation and dyspepsia. It was probably carried to Europe by the Cluniac order of monks. Then, almost by accident, it became established in West Yorkshire at Pontefract after the dissolution of the monasteries in the 1530s. Abuse of liquorice is not uncommon. It can occur in the anorexia/bulimia syndrome and also in the dangerous condition of pseudoaldosteronism, which is characterised by severe hypertension and hypokalaemia and can lead to death. Liquorice remains a useful sweetener for all sorts of confectionery, including sweets and cakes (together with beer and liqueurs).


Canonical Western art history tells us that this anti-sentimentalismbegan in the mid-nineteenth century, when the proponents of Realism turnedaway from the overt emotionalism of Romanticism. Then, two things happenedsimultaneously. Romantic content merged with idealizing Neo-Classical stylein the work of Salon-approved, academic artists like William-Adolphe Bougeureauand Alexandre Cabanel, who painted wildly popular scenes of frolicking nymphs,sexy goddesses, peasants-in-love, and charming children. Meanwhile, modernpainting advanced towards the opticality of Impressionism and Neo-Impressionismand the spirituality of Symbolism, and the desires of both the eye and thesoul were no longer fed by the sentimental. Bougeureau became the bêtenoir of avant-garde painting, and he and his crowd were roundly condemnedby progressive artists and critics for their sweetness, so much so thatby 1900, anything associated with the positive emotional spectrum was assumedto be dangerous. All happiness was cloying, all pleasure self indulgent,all nostalgia maudlin. 59ce067264






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