Blue Lagoon The Awakening ... Blue Lagoon The Awakening ... === https://tlniurl.com/2tl5Dr During filming of the scenes in the lagoon, Thwaites and co-star Indiana Evans were so cold that they could not talk properly, necessitating that automated dialogue replacement be applied to these scenes.[5] Linda Stasi commented in the New York Post, \"Unlike the original where nudie scenes were followed by fornicating turtles (kill me!), here their 'awakening' is tastefully done with nothing much showing except their emotions.\" She assessed the film overall as silly but enjoyable.[8] Rob Owen of the Pittsburgh Post-Gazette cited the lack of physical explicitness in the sex scenes as a major weak point of the film, and said the ending was \"particularly weak and nonsensical\".[9] Mike Hale of The New York Times thought the film was a guilty pleasure, and commented that \"the new film lacks the glowing cinematography of Néstor Almendros, who was nominated for an Oscar for The Blue Lagoon. But under the direction of Mikael Salomon and Jake Newsome, The Awakening offers occasional honest moments of humor and adolescent angst: Ms. Evans and Mr. Thwaites are in their early 20s and better actors than Ms. Shields and Mr. Atkins were in their teens.\"[10] Will Harris of The A.V. Club was highly critical of the film, saying it failed to meet even his low expectations, \"When a film manages to fail to live up to the low bar set for Blue Lagoon movies and Lifetime movies, you know you've got something really, really awful on your hands.[1][11] During filming of the scenes in the lagoon, Thwaites and co-star Indiana Evans were so cold that they could not talk properly, necessitating that automated dialogue replacement be applied to these scenes. Camille Oceana is a good-looking blue-eyed pornstar that is obsessed with all things cum play, including gokkun and swallowing. Today, the tanned hottie gets covered in gallons of cum while being encouraged by her mistress. A naive girl visits your house to fulfill the wishes of a man who likes nipples! Slut awakening while blaming! The scientific change of a perverted nipple man and an innocent beauty is erotic! Part 2 A naive girl visits your house to fulfill the wishes of a man who likes nipples! Slut awakening while blaming! The scientific change of a perverted nipple man and an innocent beauty is erotic! Part 3 59ce067264 https://www.ahealingspacecounseling.org/forum/daily-gratitude-prompt/how-to-remain-motivated-despite-uncertainties

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Many of these terms you will have to know more about and will have to discuss with your factory, supplier or buyer, depending on what situation you are in. You must make sure that the same number is not used on more than 1 order and you keep a record of all of the numbers as well as what it was for, dates created and signed and when the order was completed. If you have more than yourself working on sales or sourcing, you may need to identify a staff member. Having their name on the order allows you to keep your records up to date and clear, should you, or someone else need to go back to them. At some point during shipping, the responsibility for the products as well as insurance will be handed over from the seller to the buyer. This point has to be agreed by both parties and noted on the purchase order. They are usually referred to using acronyms like Freight [ or Free ] On Board or FOB. A purchase order is an official document in which your retail store commits to purchase goods from a vendor. It includes names of both the buyer and vendor, their company information, and the quantities of products being bought. You can even set stock level restrictions for each vendor inside Stocky. If you try to create a PO for 80 items but your vendor has a minimum order requirement of 100, for example, the PO will be updated to reflect that. No back-and-forth delays needed. According to Daniel Carter, SEO Manager of Skuuudle, To precisely explain all the facts of purchase, purchase orders give a record of exactly what you ordered and at what price. This type of paperwork protects you from any ordering errors, such as someone misinterpreting an order done over the phone. Purchase orders help retailers track incoming orders, commit to stock further in advance, and prevent order discrepancies. They also provide legal documentation should something go wrong in your supply chain process. With Shopify, you can access Stocky to forecast demand, create purchase orders, and manage cash flow without leaving your point-of-sale system. Set reorder points, enable low stock alerts, create POs, see upcoming payments owed, and more. Usually, customers pay for their orders at the checkout stage. You configure the payment gateways you want WooCommerce to use and get the money before anything ships. In some cases, though, you might want to generate a WooCommerce purchase order instead. With a purchase order, you can reach out to that client to process payment in any way you see fit. WooCommerce purchase orders can come in handy in a variety of situations, such as for wholesale clients. For example, some regular wholesale users will expect to be able to pay invoices using net 30 or 45 terms. Depending on the size of your buyer, they might only pay for invoices at specific times each month. If you can accommodate the demands of your bulk buyers, you stand to gain a lot more money than with smaller orders. To turn on that option, click on the Set up button to the right of its name. By default, that new payment method will appear to your customers under the Invoice Gateway name. To prevent confusion, we recommend you change that to Purchase Order, which wholesale buyers will be used to dealing with: Now you can decide what type of shipping method you want to set for purchase order sales. The plugin also lets you enable purchase orders for digital sales, which may be handy depending on what type of products you work with. Using the Invoice Gateway for WooCommerce plugin, your customers will be able to complete their checkout without paying right away. The plugin lets you generate purchase orders and send invoices manually or through your preferred accounting software. Instead, I prefer to tackle the issue from another angle. Try including an ultra-succinct summary of your wholesale terms on your order form. This tactic eliminates the need for a separate agreement that buyers might find intimidating, or sign and forget. It also eliminates the need to have a fresh agreement signed each time you update a policy. This approach eliminates headaches for you, saves manpower, and hastens the process of transforming hot leads into actual buyers for all those fantastically groovy things you make. Much, much easier all the way around. The basics of all of your wholesale terms and conditions should be able to be condensed down to a single paragraph- anything more is too much detail. By including these conditions on an order form, buyers agree to your terms each time they sign off on an order. Easy peasy! If you are not a member, click to JOIN TODAY so you can receive all of the benefits and discounts that go with VIADA membership or to order supplies as a non member, call us at 757-464-3460 or 800-394-1960. Pricing matters for wholesalers as well, and many will have a minimum order requirement set before you can do business. A minimum order is the minimum amount of products a retailer can purchase from a wholesaler to do business. Wholesalers set these minimums in order to hit their revenue and profitability targets. Make sure any company you work with has a reliable customer service team you can easily reach when needed. If you have to jump through hoops to have your questions answered or their customer service is never around when you need them, you may need a new wholesale partner. If you sell products online, it might be worth asking if your wholesalers can help you drop ship. Drop shipping is a fulfillment method where the wholesaler stores your inventory and handles your shipping. A domestic supply chain can mean less disruption, certainly. And customers often like made-in-America or Canada goods. But not all wholesale items are available from domestic manufacturers or suppliers, and prices can be higher. You do need a license to resell items you buy from a wholesaler, however; generally, this will mean you at least need a sales tax ID, and is how to get wholesale prices. Depending on your jurisdiction, there may be other permits and licenses you need to resell wholesale goods. By default, wholesale customers don't pay for their orders at checkout. Instead they submit draft orders for you to review. This process works well when your customers make large orders and they need to contact you to pay. But, it can be faster to allow customers to pay at checkout for small purchases, such as sample products. You can enable an option to let individual customers pay for their orders within the wholesale store at checkout. When you enable this option, you can also set a limit for the order amount. If an order amount exceeds this limit, then your wholesale customer needs to submit the order for you to review. This option can be enabled for an individual customer from their account page. You can also enable it for multiple customers by using Bulk actions in the Customers page in the wholesale channel. Learn more about wholesale checkout. The orders that your customers submit for review are draft orders. These orders appear in the Drafts page in your Shopify admin. After you review an order, you email your wholesale customers an invoice that includes information about how to pay for the order. By default, the invoice includes a link to a checkout page that uses the payment provider that you set up in your Shopify admin (that is, the same payment provider that is used in your online store). But, you can customize the contents of the invoice email that gets sent to your wholesale customers. For example, you can remove the checkout link and include your contact information. Learn more about editing the invoice template. You can also create wholesale orders on behalf of your wholesale customers in your Shopify admin. Create a draft order as you would normally, but be sure to add your wholesale customer to the order. When you add products to the draft order, you will see their online store prices only. To replace the prices with those from the customer's price list, click More actions > Apply wholesale pricing. Quantity rules are also checked by Apply wholesale pricing, and you will be notified if you need to make any changes. Learn more about applying wholesale pricing to a draft order. By default, the wholesale checkout offers the same shipping rates that are set in your Shopify admin (these are the shipping rates that are offered in your online store). You can override this default by setting a shipping rate for your wholesale customers in the Preferences page in the wholesale channel. The shipping rate that you enter in the Preferences page will be: The wholesale shipping rate is not added to the draft orders that you create on behalf of your customers in the Shopify admin. When you create draft orders for your wholesale customers, you need to enter the shipping amount manually (or choose one of your online store shipping rates from the drop-down list). The gravy on top is that trade shows usually generate around 30% of all wholesale revenue for most brands. So how do we make sure that we convert all the buyer conversations at the show into actual sales and orders 59ce067264 https://www.megmedaesthetics.com/forum/beauty-forum/50-photo-projects-simple-steps-to-better-pictu

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Goin' Berzerk (Original) LINK ===== https://tlniurl.com/2tl0Mr Album Title Drop: \"I've got Pac-Man Fever.\" Appeal to Novelty: Played with; after the single \"Pac-Man Fever\" became a hit, Buckner and Garcia signed a record deal with Columbia/CBS Records. The duo did not want to become a novelty act, but Columbia insisted on a full album of video-game songs, which the group produced in a month. Book Ends: The album starts with \"I got Pac-Man Fever, it's driving me crazy\" and ends with \"I think I'm going Berzerk, I think I'm losing my mind.\" Come Out, Come Out, Wherever You Are: \"Ode to a Centipede\" has the singer doing this to the centipede (at one point even using the trope phrase), bordering on Stalker with a Crush.You can't get away little centipede. I'm right behind you. Don't try hiding behind the mushrooms. I see you! Death In All Directions: \"Hyperspace,\" based on AsteroidsAsteroids around me, don't know where to run; I'm somewhere between the moon and the sun. Descent into Addiction: \"Pac-Man Fever\" describes the player as obsessively spending all of his money on the game every day and developing callouses on his fingers. Dissonant Serenity: \"Goin' Berzerk\" has traces of this, with lyrics about being trapped in a maze of killer robots juxtaposed with a gentle piano melody. Fake-Out Fade-Out: \"Do The Donkey Kong\", in the style of the Contours' \"Do You Love Me\". It's All Upstairs From Here: \"Do the Donkey Kong\" Predators Are Mean: \"Mousetrap\" Protagonist Title: Several songs feature the name of the game's lead character in the title (Pac-Man Fever, Froggy's Lament, The Defender, arguably Mousetrap). A couple (Do the Donkey Kong, Ode to a Centipede) were Antagonist Titles instead. The Remake: When the album was re-released on CD in 1999, Buckner and Garcia were not allowed to access their original recordings from 1982, and Sony Music refused to release the original album on CD. Therefore, the band had to redo all of the songs with modern sound-alike recordings. For the movie Pixels, Jerry Buckner, vocalist Danny Jones, and Jace Hall used the vocals from the late Gary Garcia's master recording to record a new version, \"Pac-Man Fever Eat Em' Up\". Sampling: The songs sprinkle in some sound effects from the original arcade games they were based on. They were recorded from gameplay sessions on actual cabinets at a local deli, as that was the only way to rip them at the time. Allegedly, the sound of a man ordering a pastrami can faintly be heard at one point during \"Pac-Man Fever\", which was edited out in the 1999 remake. The sound effects were left verbatim in all of the remasters (except for \"Mouse Trap\", which used Stock Sound Effects instead, as the original recording was lost, and Mouse Trap (1981) is a rare game to begin with), and the difference in sound quality is rather jarring to say the least. Sanity Slippage Song: \"Pac-Man Fever\" and \"Goin' Berzerk\".I think I'm goin' berzerk. I think I'm losing my mind. I'm getting lost in the shuffle. It happens every time. Shout-Out: \"Froggy's Lament\" is a tribute to Smilin' Ed McConnell and Froggy the Gremlin from the children's television show Andy's GangPlunk your magic twanger, Froggy! Spiritual Successor: Many fans consider \"Wreck-It Ralph\" (which the band recorded for the movie's soundtrack) to be this; in terms of theme and style, it's a perfect fit for a ninth track (other than the conspicuous lack of sound effects from the game). The song Mr. T (originally recorded back in the 1980s, but not released on an album until a few years ago) had a very similar feel to the video game songs, but replacing the video game sound effects after each chorus with sirens, gunfire, and a bad imitation of Mr. T himself. In fact, most of Now and Then is this. The songs aren't specifically about video games, but most of them are about other fads and pastimes (E.T., pogs, skateboarding, and so on). Stock Sound Effects: The re-release version of \"Mousetrap\" had to make use of stock sound effects of a cat, dog, and bird since there wasn't a functioning Mousetrap arcade game at the time of the recording to capture its sounds. Title Track: \"Pac-Man Fever\" Did a arcade game back in 1983 arcade game berzerk kill a player named Jeff baley .why did stern electronics cretate this dangerous arcade machines in the begin with . I herd of a arcade cabinet .called polybuis in Portland Oregon that disappeared in 1983 it is called the polybuis machine and who ever taken polybuis .right after 1983 their was another arcade cabinet the game was called polyplay it was it removed from the arcades in 1984 why did you guys call it berzerk how long did it take to make the arcade machine . An interesting bug() was in my copy of Scorched Earth. (I got it off a shareware CD, and it might have been hacked or something.) It had a habit of the cash randomly going berzerk, and giving you All the Money. At which point I would promptly buy up the Fancy weapons that I never could afford in normal gameplay. 59ce067264 https://www.qpappdevelop.com/forum/welcome-to-the-forum/shemal-fuck-shemal

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Buypass Card Reader LINK === https://urllie.com/2tkYbf The price for Buypass is 889 NOK for the card only, or 1,030 NOK for the card with a USB reader (which you will need). Each card is valid for 3 years after you activate it, so you will need to buy a new Buypass after year 3 for an additional 889 NOK. In other words, Buypass will cost you around 300 NOK yearly to use. The USB reader is only 165 NOK, but this can be used by multiple people, so a family only need a single USB reader. It can also be used for more than 3 years unless it breaks. In addition, you need a Norwegian private address where they can send the Buypass and card reader to, as well as a valid passport or other type of valid ID. The passport is needed to identify yourself when collecting the package from the post office. Another big difference is obviously that Buypass is a physical card that needs to be put into a card reader connected to the computer you are on. This means that Buypass cannot be used on most mobile phones. In the latter solution you can combine both local certificates (issued by the company itself), to serve the internal needs of the local logon and qualified certificates (issued by Buypass) on a single smart card. Buypass ID (Person ID) on smart cards for test purposes can be used internally in own applications, and with 3rd parties who accept such test certificates. Test version of Buypass ID in mobile can also be included in your order. The Buypass Access solution combines business requirements for secure access with local smart card issuance and management. Employees use the same ID to login to local systems, to login and digitally sign with public services, and for physical access to the business premises. Fleet cards require using equipment that can support enhanced data. For accepting Wex and Voyager, your payment processor will need to install a specific application on your terminal. 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Download Silent Hush Sarah Epub LINK >>> https://shurll.com/2tkVSY Miss Jane Neal met her maker in the early morning mist of Thanksgiving Sunday. It was pretty much a surprise all round. Miss Neal's was not a natural death, unless you're of the belief everything happens as it's supposed to. If so, for her seventy-six years Jane Neal had been walking toward this final moment when death met her in the brilliant maple woods on the verge of the village of Three Pines. She'd fallen spread-eagled, as though making angels in the bright and brittle leaves. Chief Inspector Armand Gamache of the Sûreté du Quebec knelt down; his knees cracking like the report of a hunter's rifle, his large, expressive hands hovering over the tiny circle of blood marring her fluffy cardigan, as though like a magician he could remove the wound and restore the woman. But he could not. That wasn't his gift. Fortunately for Gamache he had others. The scent of mothballs, his grandmother's perfume, met him halfway. Jane's gentle and kindly eyes stared as though surprised to see him. He was surprised to see her. That was his little secret.Not that he'd ever seen her before. No. His little secret was that in his mid-fifties, at the height of a long and now apparently stalled career, violent death still surprised him. Which was odd, for the head of homicide, and perhaps one of the reasons he hadn't progressed further in the cynical world of the Sûreté. Gamache always hoped maybe someone had gotten it wrong, and there was no dead body. But there was no mistaking the increasingly rigid Miss Neal. Straightening up with the help of Inspector Beauvoir, he buttoned his lined Burberry against the October chill and wondered. Jane Neal had also been late, but in a whole other sense, a few days earlier. She'd arranged to meet her dear friend and next-door neighbor Clara Morrow for coffee in the village bistro. Clara sat at the table by the window and waited. Patience was not her long suit. The mixture of café au lait and impatience was producing an exquisite vibration. Throbbing slightly, Clara stared out the mullioned window at the village green and the old homes and maple trees that circled the Commons. The trees, turning breathtaking shades of red and amber, were just about the only things that did change in this venerable village. Framed by the mullions, she saw a pick-up truck drift down rue du Moulin into the village, a beautiful dappled doe draped languidly over its hood. Slowly the truck circled the Commons, halting villagers in mid-step. This was hunting season and hunting territory. But hunters like these were mostly from Montreal or other cities. They'd rent pickups and stalk the dirt roads at dawn and dusk like behemoths at feeding time, looking for deer. And when they spotted one they'd slither to a stop, step out of the truck and fire. Not all hunters were like that, Clara knew, but enough of them were. Those same hunters would strap the deer on to the hood of their truck and drive around thecountryside believing the dead animal on the vehicle somehow announced that great men had done this. Every year the hunters shot cows and horses and family pets and each other. And, unbelievably, they sometimes shot themselves, perhaps in a psychotic episode where they mistook themselves for dinner. It was a wise person who knew that some hunters - not all, but some - found it challenging to distinguish a pine from a partridge from a person. Clara wondered what had become of Jane. She was rarely late, so she could easily be forgiven. Clara found it easy to forgive most things in most people. Too easy, her husband Peter often warned. But Clara had her own little secret. She didn't really let go of everything. Most things, yes. But some she secretly held and hugged and would visit in moments when she needed to be comforted by the unkindness of others. Croissant crumbs had tumbled on top of the Montreal Gazette left at her table. Between flakes Clara scanned the headlines: 'Parti Quebecois Vows to Hold Sovereignty Referendum', 'Drug Bust in Townships', 'Hikers Lost in Tremblant Park'. Clara lifted her eyes from the morose headlines. She and Peter had long since stopped subscribing to the Montreal papers. Ignorance really was bliss. They preferred the local Williamsburg County News where they could read about Wayne's cow, or Guylaine's visiting grandchildren, or a quilt being auctioned for the seniors' home. Every now and then Clara wondered if they were copping out, running away from reality and responsibility. Then she realised she didn't care. Besides, she learned everything she really needed to survive right here at Olivier's Bistro, in the heart of Three Pines. 'You're a million miles away,' came the familiar and well-loved voice. There was Jane, out of breath and smiling, her laugh-lined face pink from the autumn chill and the brisk trot from her cottage across the village green. 'Sorry I'm late,' she whispered into Clara's ear as the two hugged, one tiny, plump and breathless, the other thirty years younger, slim, and still vibrating from the caffeine high. 'You're trembling,' said Jane, sitting down and ordering her own café au lait. 'I didn't know you cared so much.' 'Filthy old hag,' laughed Clara. 'I was this morning, that's for sure. Did you hear what happened' 'No, what happened' Clara leaned forward eager for the news. She and Peter had been in Montreal buying canvases and acrylics for their work. Both were artists. Peter, a success. Clara as yet was undiscovered and, most of her friends secretly felt, was likely to remain that way if she persisted in her unfathomable works. Clara had to admit her series of warrior uteruses were mostly lost on the buying public, though her household items with bouffant hair and huge feet had enjoyed a certain success. She'd sold one. The rest, roughly fifty of them, were in their basement, which looked a lot like Walt Disney's workshop. 'No,' whispered Clara a few minutes later, genuinely shocked. In the twenty-five years she'd lived in Three Pines she'd never, ever heard of a crime. The only reason doors were locked was to prevent neighbors from dropping off baskets of zucchini at harvest time. True, as the Gazette headline made clear, there was another crop that equaled zucchini in scope: marijuana. But those not involved tried to turn a blind eye. Beyond that, there was no crime. No break-ins, no vandalism, no assaults. There weren't even any police in Three Pines. Every now and then Robert Lemieux with the local Sûreté would drive around the Commons, just to show the colors, but there was no need. Until that morning. 'Could it have been a joke' Clara struggled with the ugly image Jane had painted. 'No. It was no joke,' said Jane, remembering. 'One of the boys laughed. It was kind of familiar, now that I think of it. Not a funny laugh.' Jane turned her clear blue eyes on Clara. Eyes full of wonderment. 'It was a sound I'd heard as a teacher. Not often, thank God. It's the sound boys make when they're hurting something and enjoying it.' Jane shivered at the recollection, and pulled her cardigan around her. 'An ugly sound. I'm glad you weren't there.' She said this just as Clara reached across the round dark wood table and held Jane's cold, tiny hand and wished with all her heart she had been there instead of Jane. 'They were just kids, you say' 'They wore ski masks, so it was hard to tell, but I think I recognised them.' 'Who were they' 'Philippe Croft, Gus Hennessey and Claude LaPierre,' Jane whispered the names, looking around to make sure no one could overhear. 'Are you sure' Clara knew all three boys. They weren't exactly the Boy Scout types, but neither were they the sort to do this. 'No,' admitted Jane. 'Better not tell anyone else.' 'Too late.' 'What do you mean, \"too late\"' 'I said their names this morning, while it was happening.' 'Said their names in a whisper' Clara could feel the blood tumbling from her fingers and toes, rushing to her core, to her heart. Please, please, please, she silently begged. 'I yelled.' Seeing Clara's expression, Jane hurried to justify herself. 'I wanted to stop them. It worked. They stopped.' Jane could still see the boys running away, tripping up du Moulin, out of the village. The one in the brilliant-green mask had turned to look back at her. His hands were stilldripping duck manure. The manure put there as autumn mulch for the flower beds on the village green, and not yet spread. She wished she could have seen the boy's expression. Was he angry Scared Amused 'So you were right. About their names, I mean.' 'Probably. I never thought I'd live to see the day this would happen here.' 'So that was why you were late You had to clean up' 'Yes. Well, no.' 'Could you be more vague' 'Maybe. You're on the jury for the next Arts Williamsburg show, right' 'Yes. We're meeting this afternoon. Peter's on it too. Why' Clara was almost afraid to breathe. Could this be it After all her cajoling and gentle ribbing, and sometimes not-so-gentle shoving, was Jane about to do it 'I'm ready.' Jane gave the biggest exhale Clara had ever seen. The force of it sent a squall of croissant flakes from the front page of the Gazette on to Clara's lap. 'I was late,' said Jane slowly, her own hands beginning to tremble, 'because I had to decide. I have a painting I'd like to enter into the show.' With that she started to cry. Jane's art had been an open secret in Three Pines for ever. Every now and then someone walking in the woods or through a field would stumble upon her, concentrating on a canvas. But she'd made them swear that they wouldn't approach, wouldn't look, would avert their eyes as though witnessing an act almost obscene, and certainly would never speak of it. The only time Clara had seen Jane angry was when Gabri had come up behind her while she'd been painting. He thought she'd been joking when she'd warned them never to look. He was wrong. She'd been deadly serious. It had actually taken a few months for Jane and Gabri to get back toa normal friendship; both had felt betrayed by the other. But their natural good nature and affection for each other had healed the rift. Still, it had served as a lesson. No one was to see Jane's art. Until now, apparently. But now the artist was overcome with an emotion so strong she sat in the Bistro and wept. Clara was both horrified and terrified. She looked furtively around, partly in hopes no one was watching, and partly desperately hoping someone was, and would know what to do. Then she asked herself the simple question that she carried with her and consulted like a rosary. What would Jane do And she had her answer. Jane would let her cry, would let her wail. Would let her throw crockery, if she needed to. And Jane would not run away. When the maelstrom passed, Jane would be there. And then she would put her arms around Clara, and comfort her, and let her know she was not alone. Never alone. And so Clara sat and watched and waited. And knew the agony of doing nothing. Slowly the crying subsided. Clara rose with exaggerated calm. She took Jane in her arms and felt the old body creak back into place. Then she said a little prayer of thanks to the gods that give grace. The grace to cry and the grace to watch. 'Jane, if I'd known it was this painful I'd never have kept at you to show your art. I'm so sorry.' 'Oh, no, dear,' Jane reached across the table where they were sitting once again, and took Clara's hands, 'you don't understand. Those weren't tears of pain. No. I was surprised by joy.' Jane gazed far off and nodded, as though carrying on a private conversation. 'Finally.' 'What's it called, your painting' 'Fair Day. It's of the closing parade of the county fair.' And so it was that on the Friday before Thanksgiving the painting was lifted on to an easel in the gallery of ArtsWilliamsburg. It was wrapped in butcher's paper and tied with string, like a child's bundle, against the cold, cruel elements. Slowly, meticulously, Peter Morrow picked at the knot, tugging the string until it came loose. Then he wound the old string around his palm as though winding yarn. Clara could have killed him. She was ready to shriek, to jump from her chair and shove him aside. To fling the pathetic bundle of string to the ground, and perhaps Peter with it, and tear the waxed paper from the canvas. Her face became even more placid, though her eyes had begun to bulge. Peter neatly unfolded first one corner of the paper then the other, smoothing the creases with his hand. Clara had no idea a rectangle had so many corners. She could feel the edge of her chair cutting into her bottom. The rest of the jury, assembled to judge the submissions, looked bored. Clara had enough anxiety for them all. Every last corner was finally smooth and the paper was ready to be removed. Peter turned around to face the other four jurors and make a little speech before revealing the work beneath. Something short and tasteful, he felt. A bit of context, a bit of - he caught his wife's bulging eyes in her purple face and knew that when Clara became abstract it was no time for speechifying. He quickly turned back to the painting and whipped the brown paper off, revealing Fair Day. Clara's jaw dropped. Her head jerked down as though suddenly insupportable. Her eyes widened and her breathing stopped. It was as though she'd died, for an instant. So this was Fair Day. It took her breath away. And clearly the other jurors felt the same way. There were varying degrees of disbelief on the semi-circle of faces. Even the chairperson, Elise Jacob, was silent. She actually looked like she was having a stroke. Clara hated judging other people's work, and this wasthe worst so far. She'd kicked herself all the way there for convincing Jane to enter her first work ever for public viewing in an exhibition she herself was judging. Was it ego Was it mere stupidity 'This work is called Fair Day,' read Elise from her notes. 'It's being submitted by Jane Neal of Three Pines, a longtime supporter of Arts Williamsburg, but her first submission.' Elise looked around. 'Comments' 'It's wonderful,' Clara lied. The others looked at her in astonishment. Facing them on the easel was an unframed canvas and the subject was obvious. The horses looked like horses, the cows were cows, and the people were all recognisable, not only as people but as specific people from the village. But they were all stick figures. Or at least perhaps one evolutionary notch up from stick figures. In a war between a stick figure army and these people in Fair Day, the Fair Day people would win, only because they had a little more muscle. And fingers. But it was clear that these people lived in only two dimensions. Clara, in trying to grasp what she was looking at, and trying not to make the obvious comparisons, felt that it was a little like a cave drawing put on canvas. If Neanderthals had county fairs, this was what they'd have looked like. 'Mon Dieu. My four-year-old can do better than that,' said Henri Lariviere, making the obvious comparison. Henri had been a laborer in a quarry before discovering that the stone spoke to him. And he listened. There was no going back after that, of course, though his family longed for the day when he made at least the minimum wage instead of huge stone sculptures. His face now, as ever, was broad and rough and inscrutable, but his hands spoke for him. They were turned up in a simple and eloquent gesture of appeal, of surrender. He was struggling to find the appropriate words, knowing that Jane was a friend of many of the jurors. 'It's awful.' He'd clearly given up the struggle and revertedto the truth. Either that or his description was actually kind compared to what he really thought. In bold, bright colors Jane's work showed the parade just before the closing of the fair. Pigs were distinguishable from goats only because they were bright red. The children looked like little adults. In fact, thought Clara leaning tentatively forward as though the canvas might deal her another blow, those aren't children. They're small adults. She recognised Olivier and Gabri leading the blue rabbits. In the stands beyond the parade sat the crowd, many of them in profile, looking at each other, or looking away from each other. Some, not many, looked straight at Clara. All the cheeks had perfect round red circles, denoting, Clara supposed, a healthy glow. It was awful. 'Well, that's easy enough at least,' said Irenée Calfat. 'That's a reject.' Clara could feel her extremities grow cold and numb. Irenée Calfat was a potter. She took hunks of clay and turned them into exquisite works. She'd pioneered a new way to glaze her works and was now sought out by potters worldwide. Of course, after they'd made the pilgrimage to Irenée Calfat's studio in St Rémy and spent five minutes with the Goddess of Mud, they knew they'd made a mistake. She was one of the most self absorbed and petty people on the face of this earth. Clara wondered how a person so devoid of normal human emotions could create works of such beauty. While you yourself struggle, said the nasty little voice that kept her company. Over the rim of her mug she peeked at Peter. He had a piece of chocolate cupcake stuck to his face. Instinctively, Clara wiped her own face, inadvertently smearing a walnut into her hair. Even with that hunk of chocolate on his face Peter was riveting. Classically handsome. Tall, broad-shouldered like a lumberjack, not the delicate artist hewas. His wavy hair was gray now, and he wore glasses all the time, and lines scored the corners of his eyes and his clean-shaven face. In his early fifties, he looked like a businessman on an outward bound adventure. Most mornings Clara would wake up and watch while he slept, and want to crawl inside his skin and wrap herself around his heart and keep him safe. Clara's head acted as a food magnet. She was the Carmen Miranda of baked goods. Peter, on the other hand, was always immaculate. It could be raining mud and he would return home cleaner than when he went out. But sometimes, some glorious times, his natural aura failed him and a piece of something stuck to his face. Clara knew she should tell him. But didn't. 'Do you know,' said Peter and even Irenée looked at him, 'I think it's great.' Irenée snorted and shot a meaningful look at Henri who just ignored her. Peter sought out Clara and held her gaze for a moment, a kind of touchstone. When Peter walked into a room he always swept it until he found Clara. And then he relaxed. The outside world saw a tall, distinguished man with his disheveled wife, and wondered why. Some, principally Peter's mother, even seemed to consider it a violation of nature. Clara was his centre and all that was good and healthy and happy about him. When he looked at her he didn't see the wild, untamable hair, the billowing frocks, the Dollar-rama store horn-rimmed spectacles. No. He saw his safe harbor. Although, granted, at this moment he also saw a walnut in her hair, which was pretty much an identifying characteristic. Instinctively, he put his hand up to brush his own hair, knocking the piece of cupcake from his cheek. 'What do you see' Elise asked Peter. 'Honestly, I don't know. But I know we need to accept it.' This brief answer somehow gave his opinion even more credibility. 'It's a risk,' said Elise. 'I agree,' said Clara. 'But what's the worst that can happen That people who see the show might think we've made a mistake They always think that.' Elise nodded in appreciation. 'I'll tell you what the risk is,' said Irenée, the 'you idiots' implied as she plowed on. 'This is a community group and we barely make ends meet. Our only value is our credibility. Once it's believed we accept works based not on their value as art but because we like the artist, as a clique of friends, we're ruined. That's the risk. No one will take us seriously. Artists won't want to show here for fear of being tainted. The public won't come because they know all they'll see is crap like - ' here words failed her and she merely pointed at the canvas. Then Clara saw it. Just a flash, something niggling on the outer reaches of her consciousness. For the briefest moment Fair Day shimmered. The pieces came together, then the moment passed. Clara realised she'd stopped breathing again, but she also realised that she was looking at a work of great art. Like Peter, she didn't know why or how, but in that instant that world which had seemed upside down righted. She knew Fair Day was an extraordinary work. 'I think it's more than wonderful, I think it's brilliant,' she said. 'Oh, please. Can't you see she's just saying that to support her husband' 'Irenée, we've heard your opinion. Go on, Clara,' said Elise. Henri leaned forward, his chair groaning. Clara got up and walked slowly to the work on the easel. It touched her deep down in a place of such sadness and loss it was all she could do not to weep. How could thisbe she asked herself. The images were so childish, so simple. Silly almost, with dancing geese and smiling people. But there was something else. Something just beyond her grasp. 'I'm sorry. This is embarrassing,' she smiled, feeling her cheeks burning, 'but I actually can't explain it.' 'Why don't we set Fair Day aside and look at the rest of the works. We'll come back to it at the end.' The rest of the afternoon went fairly smoothly. The sun was getting low, making the room even colder by the time they looked at Fair Day again. Everyone was wiped out and just wanted this to be over. Peter flipped on the overhead spotlights and lifted Jane's work on to the easel. 'D'accord. Has anyone changed their mind about Fair Day' Elise asked. Silence. 'I make it two in favor of accepting and two against.' Elise stared quietly at Fair Day. She knew Jane Neal in passing and liked what she saw. She'd always struck Elise as a sensible, kind and intelligent woman. A person you'd want to spend time with. How was it this woman had created this slapdash, childish work But. And a new thought entered her head. Not, actually, an original thought or even new to Elise, but a new one for this day. 'Fair Day is accepted. It'll be shown with the other works of art.' Clara leapt up with delight, toppling her chair. 'Oh, come on,' said Irenée. 'Exactly! Well done. You've both proven my point.' Elise smiled. 'What point' 'For whatever reason, Fair Day challenges us. It moves us. To anger,' here Elise acknowledged Irenée, 'to confusion,' a brief but meaningful look at Henri who nodded his grizzled head slightly, 'to ...' a glance at Peter and Clara. 'Joy,' said Peter at the very moment Clara said, 'Sorrow.' They looked at each other and laughed. 'Now, I look at it and feel, like Henri, simply confused. The truth is I don't know whether Fair Day is a brilliant example of naive art, or the pathetic scrawling of a superbly untalented, and delusional, old woman. That's the tension. And that's why it must be part of the show. I can guarantee you it's the one work people will be talking about in the cafés after the vernissage.' 'Hideous,' said Ruth Zardo later that evening, leaning on her cane and swigging Scotch. Peter and Clara's friends were gathered in their living room, around the murmuring fireplace for a pre-Thanksgiving dinner. It was the lull before the onslaught. Family and friends, invited or not, would arrive the next day and manage to stay through the Thanksgiving long weekend. The woods would be full of hikers and hunters, an unfortunate combination. The annual touch football game would be held on the village green on Saturday morning, followed by the harvest market in the afternoon, a last ditch effort to download tomatoes and zucchini. That evening the bonfire would be lit filling Three Pines with the delicious scent of burning leaves and wood, and the suspicious undercurrent of gazpacho. Three Pines wasn't on any tourist map, being too far off any main or even secondary road. Like Narnia, it was generally found unexpectedly and with a degree of surprise that such an elderly village should have been hiding in this valley all along. Anyone fortunate enough to find it once usually found their way back. And Thanksgiving, in early October, was the perfect time. The weather was usually crisp and clear, the summer scents of old garden roses and phlox were replaced by musky autumn leaves, woodsmoke and roast turkey. Olivier and Gabri were recounting that morning's events. Their description was so vivid everyone in the snug living room could see the three masked boys picking up handfuls of duck manure from the edge of the village green: the boys lifted their hands, the manure sliding between their fingers, and then hurled the stuff at the old brick building. Soon the blue and white Campari awnings were dripping. Manure was sliding off the walls. The 'Bistro' sign was splattered. In moments, the pristine face of the café in the heart of Three Pines was filthy, and not just with duck poop. The village had become soiled by the words that filled the startled air: 'Fags! Queers! Dégueulasse!' the boys screamed. As Jane listened to Olivier and Gabri, she recalled how she had emerged from her tiny stone cottage across the green and, hurrying over, had seen Olivier and Gabri come out of the Bistro. The boys had roared their delight and aimed at the two men, striking them with the manure. Jane had picked up her pace, wishing her stout legs longer. Then she'd seen Olivier do the most extraordinary thing. As the boys screamed and hauled off handfuls of mulch, Olivier had slowly, deliberately, gently taken Gabri's hand and held it before gracefully lifting it to his lips. The boys had watched, momentarily stunned, as Olivier had kissed Gabri's manure-stained hand with his manure-stained lips. The boys had seemed petrified by this act of love and defiance. But just for a moment. Their hatred triumphed and soon their attack had re-doubled. 'Stop that!' Jane had called firmly. Their arms had halted in mid-swing, instinctively reacting to a voice of authority. Turning as one they'd seen little Jane Neal, in her floral dress and yellow cardigan, bearing down on them. One of the boys, wearing an orange mask, had lifted his arm to toss at her. 'Don't you dare, young man.' He hesitated just long enough for Jane to look them all in the eyes. 'Philippe Croft, Gus Hennessey, Claude LaPierre,' she'd said, slowly and distinctly. That had done it. The boys dropped their handfuls and ran, shooting past Jane and tripping up the hill, the one in the orange mask laughing. It was a sound so foul it even eclipsed the manure. One boy turned and looked back as the others careered into him and shoved him back up du Moulin. It had happened only that morning. It already seemed like a dream. 'It was hideous,' said Gabri, agreeing with Ruth as he dropped into one of the old chairs, its faded fabric warmed by the fire. 'Of course they were right; I am gay.' 'And,' said Olivier, lounging on the arm of Gabri's chair, 'quite queer.' 'I have become one of the stately homos of Quebec,' Gabri paraphrased Quentin Crisp. 'My views are breathtaking.' Olivier laughed and Ruth threw another log on the fire. 'You did look very stately this morning,' said Ben Hadley, Peter's best friend. 'Don't you mean estately' 'More like the back forty, it's true.' In the kitchen, Clara was greeting Myrna Landers. 'The table looks wonderful,' said Myrna, peeling off her coat and revealing a bright purple kaftan. Clara wondered how she squeezed through doorways. Myrna then dragged in her contribution to the evening, a flower arrangement. 'Where would you like it, child' Clara gawked. Like Myrna herself, her bouquets were huge, effusive and unexpected. This one contained oak and maple branches, bulrushes from the Rivière Bella Bella which ran behind Myrna's bookshop, apple branches with a couple of McIntoshes still on them, and great armfuls of herbs. 'What's this' 'Where' 'Here, in the middle of the arrangement.' 'A kielbassa.' 'A sausage' 'Hummuh, and look in there,' Myrna pointed into the tangle. 'The Collected Works of W. H. Auden,' Clara read. 'You're kidding.' 'It's for the boys.' 'What else is in there' Clara scanned the immense arrangement. 'Denzel Washington. But don't tell Gabri.' In the living room, Jane continued the story: ' ... then Gabri said to me, \"I have your mulch. This is just the way Vita Sackville West always wore it.\"' Olivier whispered in Gabri's ear, 'You are queer.' 'Aren't you glad one of us is' a well-worn and comfortable jest. 'How are you' Myrna came in from the kitchen, followed by Clara, and hugged Gabri and Olivier while Peter poured her Scotch. 'I think we're all right,' Olivier kissed Myrna on both cheeks. 'It's probably surprising this didn't happen sooner. We've been here for what Twelve years' Gabri nodded, his mouth full of Camembert. 'And this is the first time we've been bashed. I was gay bashed in Montreal when I was a kid, by a group of grown men. That was terrifying.' They'd grown silent, and there was just the crackling and muttering of the fire in the background as Olivier spoke. 'They hit me with sticks. It's funny, but when I think back that's the most painful part. Not the scrapes and bruises, but before they hit me they kind of poked, you know' Hejabbed with one arm to mimic their movements. 'It was as though I wasn't human.' 'That's the necessary first step,' said Myrna. 'They dehumanise their victim. You've put it well.' She spoke from experience. Before coming to Three Pines she'd been a psychologist in Montreal. And, being black, she knew that singular expression when people saw her as furniture. Ruth turned to Olivier, changing the subject. 'I was in the basement and came across a few things I thought you could sell for me.' Ruth's basement was her bank. 'Great. What' 'There's some cranberry glass--' 'Oh, wonderful.' Olivier adored colored glass. 'Hand blown' 'Do you take me for an idiot Of course they're hand blown.' 'Are you sure you don't want them' he always asked this of his friends. 'Stop asking me that. Do you think I'd mention them if there was a doubt' 'Bitch.' 'Slut.' 'OK, tell me more,' said Olivier. The stuff Ruth hauled up from her basement was incredible. It was as though she had a porthole to the past. Some of it was junk, like the old broken-down coffee makers and burned-out toasters. But most made him tremble with pleasure. The greedy antique dealer in him, which composed a larger part of his make-up than he'd ever admit, was thrilled to have exclusive access to Ruth's treasures. He'd sometimes daydream about that basement. If he was excited by Ruth's possessions, he was positively beside himself with lust after Jane's home. He'd kill to see beyond her kitchen door. Her kitchen alone was worth tensof thousands of dollars in antiques. When he'd first come to Three Pines, at the Drama Queen's insistence, he was reduced almost to incoherence when he saw the linoleum on Jane's mudroom floor. If the mudroom was a museum and the kitchen a shrine, what in the world lay beyond Olivier shook off the thought, knowing he would probably be disappointed. IKEA. And shag carpet. He'd long since stopped thinking it strange that Jane had never invited anyone through the swinging door into her living room and beyond. 'About the mulch, Jane,' Gabri was saying, his bulk bending over one of Peter's jigsaw puzzles, 'I can get it to you tomorrow. Do you need help cutting back your garden' 'No, almost done. But this might be the last year. It's getting beyond me.' Gabri was relieved he didn't have to help. Doing his own garden was work enough. 'I have a whole lot of hollyhock babies,' said Jane, fitting in a piece of the sky. 'How did those single yellows do for you I didn't notice them.' 'I put them in last fall, but they never called me mother. Can I have some more I'll trade you for some monarda.' 'God, don't do that.' Monarda was the zucchini of the flower world. It, too, figured prominently in the harvest market and, subsequently, the Thanksgiving bonfire, which would give off a hint of sweet bergamot so that it smelled as though every cottage in Three Pines was brewing Earl Grey tea. 'Did we tell you what happened this afternoon after you'd all left' Gabri said in his stage voice, so that the words fell neatly into every ear in the room. 'We were just getting the peas ready for tonight' - Clara rolled her eyes and mumbled to Jane, 'Probably lost the can opener.' - 'when the doorbell rang and there were Matthew Croft and Philippe.' 'No! What happened' 'Philippe mumbled, \"I'm sorry about this morning.\"' 'What did you say' Myrna asked. 'Prove it,' said Olivier. 'You didn't,' hooted Clara, amused and impressed. 'I most certainly did. There was a lack of sincerity about the apology. He was sorry he got caught and sorry there were consequences. But I didn't believe he was sorry about what he did.' 'Conscience and cowardice,' said Clara. 'What do you mean' asked Ben. 'Oscar Wilde said that conscience and cowardice are the same thing. What stops us from doing horrible things isn't our conscience but the fear of getting caught.' 'I wonder if that's true,' said Jane. 'Would you' Myrna asked Clara. 'Do terrible things if I could get away with it' 'Cheat on Peter,' suggested Olivier. 'Steal from the bank. Or better still, steal another artist's work' 'Ah, kids stuff,' snapped Ruth. 'Now, take murder, for instance. Would you mow someone down with your car Or poison them, maybe, or throw them into the Bella Bella during spring run off Or,' she looked around, warm firelight reflecting off slightly concerned faces, 'or we could set a fire and then not save them.' 'What do you mean, \"we\", white woman' said Myrna. Myrna brought the conversation back from the edge. 'The truth Sure. But not murder.' Clara looked over at Ruth who simply gave her a conspiratorial wink. 'Imagine a world where you could do anything. Anything. And get away with it,' said Myrna, warming to the topic again. 'What power. Who here wouldn't be corrupted' 'Jane wouldn't,' said Ruth with certainty. 'But the rest of you' she shrugged. 'And you' Olivier asked Ruth, more than a little annoyed to be lumped in where he secretly knew he belonged. 'Me But you know me well enough by now, Olivier. I'dbe the worst. I'd cheat, and steal, and make all your lives hell.' 'Worse than now' asked Olivier, still peeved. 'Now you're on the list,' said Ruth. And Olivier remembered that the closest thing they had to a police force was the volunteer fire brigade, of which he was a member but of which Ruth was the chief. When Ruth Zardo ordered you into a conflagration, you went. She was scarier than a burning building. 'Gabri, what about you' Clara asked. 'There've been times I've been mad enough to kill, and may have, had I known I would get away with it.' 'What made you that angry' Clara was astonished. 'Betrayal, always and only betrayal.' 'What did you do about it' asked Myrna. 'Therapy. That was where I met this guy.' Gabri reached out and patted Olivier's hand. 'I think we both went to that therapist for about a year longer than we had to just to see each other in the waiting room.' 'Is that sick' said Olivier, smoothing a lock of his immaculate, thinning blond hair off his face. It was like silk, and kept falling into his eyes, no matter what products he used. 'Mock me if you will, but everything happens for a reason,' Gabri said. 'No betrayal, no rage. No rage, no therapy. No therapy, no Olivier. No Olivier no--' 'Enough.' Olivier held up his hands in surrender. 'I've always liked Matthew Croft,' said Jane. 'Did you teach him' asked Clara. 'Long time ago. He was in the second to last class at the old schoolhouse here, before it closed.' 'I still think that was a shame they closed it,' said Ben. 'For God's sake, Ben, the school closed twenty years ago. Move on.' Only Ruth would say this. When she first came to Three Pines, Myrna had wondered whether Ruth had had a stroke. Sometimes, Myrna knewfrom her practice, stroke victims had very little impulse control. When she asked about it, Clara said if Ruth had had a stroke it was in the womb. As far as she knew, Ruth had always been like this. 'Then why does everyone like her' Myrna had asked. Clara had laughed and shrugged, 'You know there are days I ask myself the same thing. What a piece of work that woman can be. But she's worth the effort, I think.' 'Anyway,' Gabri huffed now, having temporarily lost the spotlight. 'Philippe agreed to work for fifteen hours, volunteer, around the Bistro.' 'Bet he wasn't happy about that,' said Peter, getting to his feet. 'You got that right,' said Olivier with a grin. 'I want to propose a toast,' said Gabri. 'To our friends, who stood by us today. To our friends who spent all morning cleaning the Bistro.' It was a phenomenon Myrna had noticed before, some people's ability to turn a terrible event into a triumph. She'd thought about it that morning, manure under her fingernails, pausing for a moment to look at the people, young and old, pitching in. And she was one of them. And she blessed, again, the day she'd decided to quit the city and come here and sell books to these people. She was finally home. Then another image came back to her, one that had gotten lost in the activity of the morning. Of Ruth leaning on her cane, turning away from the others, so that only Myrna could see the wince of pain as the elderly woman lowered herself to her knees, and silently scrubbed. All morning. 'Dinner's ready,' Peter called. 'Formidable. Just like dear Mama. Le Sieur' Jane asked a few minutes later, bringing a forkful of mushy peas and gravy to her mouth. 'Bien sûr. From Monsieur Beliveau.' Olivier nodded. 'Oh, for God's sake,' Clara called down the groaning pinetable. 'They're canned peas! From the general store. You call yourself a chef!' 'Le Sieur is the gold standard for canned peas. Keep this up, missy, and you'll get the no-name brand next year. No gratitude,' Olivier stage-whispered to Jane, 'and on Thanksgiving, too. Shameful.' They ate by candlelight, the candles of all shapes and sizes flickering around the kitchen. Their plates were piled high with turkey and chestnut stuffing, candied yams and potatoes, peas and gravy. They'd all brought something to eat, except Ben, who didn't cook. But he'd brought bottles of wine, which was even better. It was a regular get-together, and pot-luck was the only way Peter and Clara could afford to hold a dinner party. Olivier leaned over to Myrna, 'Another great flower arrangement.' 'Thank you. Actually, there's something hidden in there for you two.' 'Really!' Gabri was on his feet in an instant. His long legs propelled his bulk across the kitchen to the arrangement. Unlike Olivier, who was self-contained and even fastidious, like a cat, Gabri was more like a St Bernard, though mostly without the slobber. He carefully examined the complex forest and then shrieked. 'Just what I've always wanted.' He pulled out the kielbassa. 'Not that. That's for Clara.' Everyone looked at Clara with alarm, especially Peter. Olivier looked relieved. Gabri reached in again and gingerly extracted the thick book. 'The Collected Works of W. H. Auden.' Gabri tried to keep the disappointment out of his voice. But not too hard. 'I don't know him.' 'Oh, Gabri, you're in for a treat,' said Jane. 'All right, I can't stand it any more,' Ruth said suddenly, leaning across the table to Jane. 'Did Arts Williamsburg accept your work' 'Yes.' It was as though the word triggered springs in their chairs. Everyone was catapulted to their feet, shooting toward Jane who stood and accepted their hugs with enthusiasm. She seemed to glow brighter than any of the candles in the room. Standing back for an instant and watching the scene, Clara felt her heart contract and her spirit lighten and felt fortunate indeed to be part of this moment. 'Great artists put a lot of themselves into their work,' said Clara when the chairs had been regained. 'What's Fair Day's special meaning' Ben asked. 'Now, that would be cheating. You have to figure it out. It's there.' Jane turned to Ben, smiling. 'You'll figure it out, I'm sure.' 'Why's it called Fair Day' he asked. 'It was painted at the county fair, the closing parade.' Jane gave Ben a meaningful look. His mother, her friend, Timmer, had died that afternoon. Was it only a month ago The whole village had been at the parade, except Timmer, dying of cancer alone in bed, while her son Ben was away in Ottawa at an antiques auction. Clara and Peter had been the ones to break the news to him. Clara would never forget the look on his face when Peter told him his mother was dead. Not sadness, not even pain, yet. But utter disbelief. He wasn't the only one. 'Evil is unspectacular and always human, and shares our bed and eats at our own table,' Jane said almost under her breath. 'Auden,' she explained, nodding to the book in Gabri's hand and flashing a smile that broke the unexpected, and unexplained, tension. 'I might just sneak down and take a look at Fair Day before the show,' said Ben. Jane took a deep breath. 'I'd like to invite you all over for drinks after the opening of the exhibition. In the living room.' Had she said 'In the nude' they wouldn't have been more amazed. 'I have a bit of a surprise for you.' 'No kidding,' said Ruth. Stomachs full of turkey and pumpkin pie, port and espresso, the tired guests walked home, their flashlights bobbing like huge fireflies. Jane kissed Peter and Clara goodnight. It had been a comfortable, unremarkable early Thanksgiving with friends. Clara watched Jane make her way along the winding path through the woods that joined their two homes. Long after Jane had disappeared from view her flashlight could be seen, a bright white light, like Diogenes. Only when Clara heard the eager barking of Jane's dog Lucy did she gently close her door. Jane was home. Safe. STILL LIFE. Copyright 2005 by Louise Penny. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. For information, address St. Martin's Press, 175 Fifth Avenue, New York, N.Y. 10010. 59ce067264 https://www.intemannart.com/forum/diy-forum/red-matter-2

Assassin's Creed Odissea Download File >>> https://bltlly.com/2tkUye Cantami, o diva, delle gesta di Kassandra. L'epopea di Assassin's Creed Odyssey potrebbe essere racchiusa in un poema epico, i cui versi narrerebbero una vera e propria odissea attraverso il mondo antico che conta, la culla della civiltà occidentale, la patria dei valorosi e degli intellettuali: la Grecia del 431 a.C., quando la Guerra del Peloponneso mieteva vittime su ogni fronte comandato dalle due principali potenze del territorio ellenico, Sparta e Atene. Guerra e Cultura, Terra e Mare, Tradizione e Innovazione: un dualismo che permea ogni singolo pixel del nuovo capitolo della più celebre saga di Ubisoft, giunto sui nostri scaffali lo scorso 5 ottobre. Dicotomia che abbraccia non soltanto le scelte morali da compiere, ma anche l'identità del doppio protagonista, apparentemente due facce della stessa medaglia: Kassandra e Alexios, ai nastri di partenza, rappresentano la medesima versione dello stesso eroe, ma appare chiaro sin dalle prime battute quanto la figura femminile sia quella più consona per vivere l'odissea del nuovo Assassin's Creed. In primis perché Ubisoft ha chiarito sin da subito come Kassandra sia considerata l'eroina canonica del racconto - è lei che compare in un romanzo spinoff della produzione - e poi perché la direzione del racconto, le sue dinamiche, il rapporto con il villain e tanti altri elementi gridano fortemente che AC Odyssey è nato per essere vissuto nei panni di questa mercenaria destinata a cambiare la Grecia. Per questo motivo, d'ora in poi, ci riferiremo esclusivamente a lei come personaggio principale. E c'è di più: nelle decine e decine di ore necessarie al completamento dell'avventura, abbiamo capito molto di più. E cioè che la Misthios, questo il nome ellenico per indicare i leggendari mercenari, è una dei protagonisti più carismatici di sempre per la saga, forse l'eroe più convincente messo in scena finora all'interno del franchise. L'ultimo elemento che rende Kassandra unica è proprio uno dei perni fondanti di Assassin's Creed Odyssey: la possibilità di scegliere. Il carattere di Kassandra, nelle sue dinamiche più sottili e sfaccettate, può essere plasmato attraverso la moltitudine di dialoghi presenti all'interno del gioco: dalle semplici missioni ai discorsi politici, passando addirittura per le digressioni filosofiche con figure come Socrate, che cercheranno di mettere costantemente in crisi l'assetto morale dell'eroina. Certo, resta che la scrittura delle quest, e in generale la sceneggiatura del titolo, non è delle più originali, né risulta particolarmente profonda: il motivo risiede paradossalmente in uno dei punti di forza della produzione, e cioè che il racconto viene eccessivamente diluito e distribuito in un mondo di gioco che non è mai stato così vasto. L'Antica Grecia secondo Ubisoft è uno degli open world più grandi di sempre, senza dubbio l'opera ambiziosa (in termini di contenuti narrativi) concepita per un gioco single player, almeno finora. Ne deriva che gli archi narrativi vengono eccessivamente spezzettati, determinando un racconto lento e costantemente interrotto da avvincenti storyline secondarie. Ma è proprio questa immensa digressione, che non giova alla trama generale, a determinare la forza di un personaggio come Kassandra: al pari di eroi come Ercole, Ulisse, Achille o Enea, figure entrate nel mito attraverso alcuni dei più grandi racconti storico-leggendari del mondo occidentale, l'odissea della Misthios è fatta di vere e proprie fatiche, in cui l'esplorazione del mondo di gioco diventa l'elemento centrale della produzione, di pari passo con le meccaniche che ormai hanno riscritto la grammatica della saga: Odyssey, in tal senso, conserva pochi ma essenziali crismi che gli consentono di essere chiamato ancora Assassin's Creed, ma è soprattutto un enorme e convincente gioco di ruolo, che alterna la progressione del personaggio con tutti i sistemi di crafting e farming del caso, spingendo il giocatore alla personalizzazione e al potenziamento costante. Kassandra è, in conclusione, il principale valore aggiunto di Assassin's Creed Odyssey. La sua identità, sia di guerriera che di essere profondamente umano, viene plasmata dalle azioni che il giocatore compie nel corso dell'avventura: dinamiche che a volte risultano ben mascherate, e che in realtà appaiono più guidate di quanto sembrino. Le dinamiche ludiche e le necessità derivate dal gameplay non permettono una simbiosi totale con la scrittura dei dialoghi e della sceneggiatura, lasciando soltanto in parte una presunta libertà d'azione morale ed etica da parte dell'utente. Ciò non toglie che l'odissea secondo Ubisoft è un inno all'epica, ai miti, al senso di avventura e agli eroi che hanno lentamente costruito il tessuto culturale della civiltà occidentale: la protagonista di questo processo di formazione è un tutt'uno con il mondo di gioco, con le sue contraddizioni e con i suoi misteri. Una guerriera dai tratti umani, con una missione intima e personale che già viaggia tra gli echi della leggenda. Assassin's Creed Odyssey è, oltre ogni dubbio, il migliore capitolo della saga. Lo è da un punto di vista tecnico, con una mappa di dimensioni enormi, divisa in svariate regioni che richiedono ore ed ore di gioco per poter essere esplorate a fondo. Lo è dal punto di vista dei contenuti, con missioni che appaiono e scompaiono, quest apparentemente semplici che aprono vere e proprie storie parallele e, naturalmente, quell'\"odissea\" del nostro (o nostra) protagonista che accompagna l'intera avventura. Soffermandoci un istante sulla trama principale, dobbiamo ammettere che essa non parte nel migliore dei modi, con un antefatto piuttosto scontato e un prosieguo della vicenda che non lascia presagire nulla di buono. Tuttavia, non occorrono che poche ore per comprendere come il nostro ruolo nel gioco sia quello di una pedina pronta a compiere una mossa letale su di una scacchiera, e ben presto veniamo caricati di responsabilità che sembrano sfuggirci di mano. Il nostro spavaldo eroe inizia ad avere una maggiore consapevolezza di sé, e si assiste a un'interessante evoluzione del personaggio che prosegue per molte ore. Un altro aspetto strettamente legato ai dialoghi è dato da una particolare modalità di gioco selezionabile all'inizio dell'avventura. I precedenti Assassin's Creed, infatti, ci spingevano a completare dei dialoghi per ottenere un segnaposto sulla mappa da raggiungere; attraverso questa particolare modalità, in Assassin's Creed Odyssey è possibile scegliere di non rivelare alcun segnaposto per le missioni, lasciando al giocatore l'onere di acquisire informazioni sull'ubicazione del passo successivo di ogni quest attraverso i dialoghi. Dobbiamo, insomma, interrogare i personaggi e analizzare l'ambiente per sapere dove andare: questa è la chiave dell'odissea di Alexios e Kassandra, e in generale siamo davvero lieti che gli sviluppatori abbiano pensato ad introdurre questa tipologia di gioco che rende il tutto meno scontato al costo di un rallentamento (per la verità gradito) nella progressione. La nostra odissea in Assassin's Creed Odyssey ci ha davvero sorpreso. Come detto, siamo di fronte al gioco più grande e completo della saga, e siamo enormemente felici che il titolo non si sia rivelato un semplice prosieguo di Origins ma qualcosa di ancora più vasto e sorprendente. Ubisoft ci ha davvero sorpresi con un prodotto che spinge il gioco oltre i suoi confini del passato e che si rivela uno dei prodotti videoludici migliori dell'anno. Se siete pronti a seguir virtute e canoscenza, Assassin's Creed Odyssey è il gioco che fa per voi. Questo pacchetto contiene 18000 crediti Helix, inclusi 8000 crediti Helix bonus, che possono essere usati per sbloccare oggetti extra, valuta di gioco, risorse e altro. Non utilizzabile con le Club units.Continua l'odissea epica nei due nuovi archi narrativi del SEASON PASS, con tre emozionanti episodi per storia.I possessori del Season pass riceveranno inoltre i giochi Assassin's Creed III REMASTERED e Assassin's Creed Liberation REMASTERED.Combatti insieme alla leggenda che ha usato la Lama celata per la prima volta, cambiando il corso della storia e scopri come mai gli Assassini hanno scelto di combattere nell'ombra. 59ce067264 https://www.covenantchurchhighpoint.com/group/lectio-divina/discussion/dbab7dd1-13ba-4edd-a7c3-4877177a0810

Assassin's Creed Odissea Download File >>> https://bltlly.com/2tkUye Cantami, o diva, delle gesta di Kassandra. L'epopea di Assassin's Creed Odyssey potrebbe essere racchiusa in un poema epico, i cui versi narrerebbero una vera e propria odissea attraverso il mondo antico che conta, la culla della civiltà occidentale, la patria dei valorosi e degli intellettuali: la Grecia del 431 a.C., quando la Guerra del Peloponneso mieteva vittime su ogni fronte comandato dalle due principali potenze del territorio ellenico, Sparta e Atene. Guerra e Cultura, Terra e Mare, Tradizione e Innovazione: un dualismo che permea ogni singolo pixel del nuovo capitolo della più celebre saga di Ubisoft, giunto sui nostri scaffali lo scorso 5 ottobre. Dicotomia che abbraccia non soltanto le scelte morali da compiere, ma anche l'identità del doppio protagonista, apparentemente due facce della stessa medaglia: Kassandra e Alexios, ai nastri di partenza, rappresentano la medesima versione dello stesso eroe, ma appare chiaro sin dalle prime battute quanto la figura femminile sia quella più consona per vivere l'odissea del nuovo Assassin's Creed. In primis perché Ubisoft ha chiarito sin da subito come Kassandra sia considerata l'eroina canonica del racconto - è lei che compare in un romanzo spinoff della produzione - e poi perché la direzione del racconto, le sue dinamiche, il rapporto con il villain e tanti altri elementi gridano fortemente che AC Odyssey è nato per essere vissuto nei panni di questa mercenaria destinata a cambiare la Grecia. Per questo motivo, d'ora in poi, ci riferiremo esclusivamente a lei come personaggio principale. E c'è di più: nelle decine e decine di ore necessarie al completamento dell'avventura, abbiamo capito molto di più. E cioè che la Misthios, questo il nome ellenico per indicare i leggendari mercenari, è una dei protagonisti più carismatici di sempre per la saga, forse l'eroe più convincente messo in scena finora all'interno del franchise. L'ultimo elemento che rende Kassandra unica è proprio uno dei perni fondanti di Assassin's Creed Odyssey: la possibilità di scegliere. Il carattere di Kassandra, nelle sue dinamiche più sottili e sfaccettate, può essere plasmato attraverso la moltitudine di dialoghi presenti all'interno del gioco: dalle semplici missioni ai discorsi politici, passando addirittura per le digressioni filosofiche con figure come Socrate, che cercheranno di mettere costantemente in crisi l'assetto morale dell'eroina. Certo, resta che la scrittura delle quest, e in generale la sceneggiatura del titolo, non è delle più originali, né risulta particolarmente profonda: il motivo risiede paradossalmente in uno dei punti di forza della produzione, e cioè che il racconto viene eccessivamente diluito e distribuito in un mondo di gioco che non è mai stato così vasto. L'Antica Grecia secondo Ubisoft è uno degli open world più grandi di sempre, senza dubbio l'opera ambiziosa (in termini di contenuti narrativi) concepita per un gioco single player, almeno finora. Ne deriva che gli archi narrativi vengono eccessivamente spezzettati, determinando un racconto lento e costantemente interrotto da avvincenti storyline secondarie. Ma è proprio questa immensa digressione, che non giova alla trama generale, a determinare la forza di un personaggio come Kassandra: al pari di eroi come Ercole, Ulisse, Achille o Enea, figure entrate nel mito attraverso alcuni dei più grandi racconti storico-leggendari del mondo occidentale, l'odissea della Misthios è fatta di vere e proprie fatiche, in cui l'esplorazione del mondo di gioco diventa l'elemento centrale della produzione, di pari passo con le meccaniche che ormai hanno riscritto la grammatica della saga: Odyssey, in tal senso, conserva pochi ma essenziali crismi che gli consentono di essere chiamato ancora Assassin's Creed, ma è soprattutto un enorme e convincente gioco di ruolo, che alterna la progressione del personaggio con tutti i sistemi di crafting e farming del caso, spingendo il giocatore alla personalizzazione e al potenziamento costante. Kassandra è, in conclusione, il principale valore aggiunto di Assassin's Creed Odyssey. La sua identità, sia di guerriera che di essere profondamente umano, viene plasmata dalle azioni che il giocatore compie nel corso dell'avventura: dinamiche che a volte risultano ben mascherate, e che in realtà appaiono più guidate di quanto sembrino. Le dinamiche ludiche e le necessità derivate dal gameplay non permettono una simbiosi totale con la scrittura dei dialoghi e della sceneggiatura, lasciando soltanto in parte una presunta libertà d'azione morale ed etica da parte dell'utente. Ciò non toglie che l'odissea secondo Ubisoft è un inno all'epica, ai miti, al senso di avventura e agli eroi che hanno lentamente costruito il tessuto culturale della civiltà occidentale: la protagonista di questo processo di formazione è un tutt'uno con il mondo di gioco, con le sue contraddizioni e con i suoi misteri. Una guerriera dai tratti umani, con una missione intima e personale che già viaggia tra gli echi della leggenda. Assassin's Creed Odyssey è, oltre ogni dubbio, il migliore capitolo della saga. Lo è da un punto di vista tecnico, con una mappa di dimensioni enormi, divisa in svariate regioni che richiedono ore ed ore di gioco per poter essere esplorate a fondo. Lo è dal punto di vista dei contenuti, con missioni che appaiono e scompaiono, quest apparentemente semplici che aprono vere e proprie storie parallele e, naturalmente, quell'\"odissea\" del nostro (o nostra) protagonista che accompagna l'intera avventura. Soffermandoci un istante sulla trama principale, dobbiamo ammettere che essa non parte nel migliore dei modi, con un antefatto piuttosto scontato e un prosieguo della vicenda che non lascia presagire nulla di buono. Tuttavia, non occorrono che poche ore per comprendere come il nostro ruolo nel gioco sia quello di una pedina pronta a compiere una mossa letale su di una scacchiera, e ben presto veniamo caricati di responsabilità che sembrano sfuggirci di mano. Il nostro spavaldo eroe inizia ad avere una maggiore consapevolezza di sé, e si assiste a un'interessante evoluzione del personaggio che prosegue per molte ore. Un altro aspetto strettamente legato ai dialoghi è dato da una particolare modalità di gioco selezionabile all'inizio dell'avventura. I precedenti Assassin's Creed, infatti, ci spingevano a completare dei dialoghi per ottenere un segnaposto sulla mappa da raggiungere; attraverso questa particolare modalità, in Assassin's Creed Odyssey è possibile scegliere di non rivelare alcun segnaposto per le missioni, lasciando al giocatore l'onere di acquisire informazioni sull'ubicazione del passo successivo di ogni quest attraverso i dialoghi. Dobbiamo, insomma, interrogare i personaggi e analizzare l'ambiente per sapere dove andare: questa è la chiave dell'odissea di Alexios e Kassandra, e in generale siamo davvero lieti che gli sviluppatori abbiano pensato ad introdurre questa tipologia di gioco che rende il tutto meno scontato al costo di un rallentamento (per la verità gradito) nella progressione. La nostra odissea in Assassin's Creed Odyssey ci ha davvero sorpreso. Come detto, siamo di fronte al gioco più grande e completo della saga, e siamo enormemente felici che il titolo non si sia rivelato un semplice prosieguo di Origins ma qualcosa di ancora più vasto e sorprendente. Ubisoft ci ha davvero sorpresi con un prodotto che spinge il gioco oltre i suoi confini del passato e che si rivela uno dei prodotti videoludici migliori dell'anno. Se siete pronti a seguir virtute e canoscenza, Assassin's Creed Odyssey è il gioco che fa per voi. 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