Picked

"Heaped up on the floor, to form a kind of throne, were turkeys, geese, game, poultry, brawn, great joints of meat, sucking-pigs, long wreaths of sausages, mince-pies, plum-puddings, barrels of oysters, red-hot chestnuts, cherry-cheeked apples, juicy oranges, luscious pears, immense twelfth-cakes, and seething bowls of punch, that made the chamber dim with their delicious steam. In easy state upon this couch, there sat a jolly Giant, glorious to see; who bore a glowing torch, in shape not unlike Plenty’s horn, and held it up, high up, to shed its light on Scrooge, as he came peeping round the door."

lol

"I am as light as a feather, I am as happy as an angel, I am as merry as a school-boy. I am as giddy as a drunken man. A merry Christmas to everybody! A happy New Year to all the world! Hallo here! Whoop! Hallo!”

“You may be an undigested bit of beef, a blot of mustard, a crumb of cheese, a fragment of underdone potato. There's more of gravy than of grave about you, whatever you are!”

https://d.gr-assets.com/books/1437185299l/404863.jpg

Really interesting book about Christmas during the ACW.

Your last two lines are exactly how I feel about Gone with the Wind. smile

Is this how world leaders, politicians, errant priests etc. manage to deal with their conscience?

I hope not! But yes. I imagine.

I was at work yesterday & they were playing Christmas music overhead, and something came on called "Mistletoe Jam." Over and over, all I heard was "toe jam!" Apparently I was the only one who found the song disturbing. smile

Mayflowers

Unequivocally

Yorky

Autumny

"I almost wish we were butterflies and lived but three summer days — three such days with you I could fill with more delight than fifty common years could ever contain."

– John Keats

lasso

I didn't know all that about weather in England, Dill! Thanks for that! smile

Memphis, I'd love to taste a June apple in the mountains of Virginia!

I'd want to ask her if she chose June to have her snowstorm for meteorlogical reasons or from a childhood memory.

(I) think this scene is intended to reflect the main character's devastation in this moment. Like the way poetry impacts through visuals. Apples have a connotation within a poetic piece which seem to scream from this June (JANE!) snow. And the storm sweeping through and killing everything new, and everything hopeful is the scene which precedes this passage. So June = "everything is blooming most recklessly," so why in the world is it destroyed by winter? Is this the winter we've just finished or the winter to come? We are surrounded by winter. Everything is winter, and it's unpredictable and it devastates the delicate, the new, and the tender shoots. And it's the same winter which began the novel and made walking so difficult.

The apple is a laughingstock now. It had no right to ripen. It is a Jane apple and a Jane snow, and it really is possible to be in both winter and summer. To be at the start and the finish, to be cold and most hot, to ripen even as you are dying.

"She had always been fond of history, and here [in Rome] was history in the stones of the street and the atoms of the sunshine." ―Henry James, The Portrait of a Lady.

Storm?

“A Christmas frost had come at midsummer; a white December storm had whirled over June; ice glazed the ripe apples, drifts crushed the blowing roses; on hayfield and cornfield lay a frozen shroud: lanes which last night blushed full of flowers, to-day were pathless with untrodden snow; and the woods, which twelve hours since waved leafy and flagrant as groves between the tropics, now spread, waste, wild, and white as pine-forests in wintry Norway.”  – Charlotte Bronte, Jane Eyre

I agree with Charles. There's always a risk at a site like this that someone will be a gigantic ass.

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I have all those things. You will have to give me something else. lol

(If I wrote the story of Apostrophe Man, it would end in tragedy: Comma Man would steal all the apostrophes and claim them as his own. Plurals would no longer be reliable, and S-Elves would take over the world. Everyone would grow bored of Comma Man's surplus of punctuation, so we'd all start throwing commas everywhere. We'd be writing in staggering plurals.)

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Did anyone think to do Apostrophe Man for the Superheroes Contest? Because that would have been funny...

cranberries, for your plate looks mighty lonely with just the sodden potato. wink

“Everything is blooming most recklessly; if it were voices instead of colors, there would be an unbelievable shrieking into the heart of the night.” – Rainer Maria Rilke

pettitoe

You say pettitoe, I say potato.

Dill Carver wrote:

I recommend the 'Child 44' movie very highly.

Just watched it. Excellent.

The hillside whiten'd with blossoms of the mountain ash...

The House of Mirth by Edith Wharton.

I love the slow build. She has such incredible control as a writer. She builds the tension so well that the final scene is nothing like the opening. When I started the novel, I thought it was nicely written, but I didn't much care. By the end, I was reeling.

Her diction is exquisite. I'd have to reread the book a couple times to see exactly why, but the novel is filled with compact little passages like this:

“She felt a stealing sense of fatigue as she walked; the sparkle had died out of her, and the taste of life was stale on her lips. She hardly knew what she had been seeking, or why the failure to find it had so blotted the light from her sky: she was only aware of a vague sense of failure, of an inner isolation deeper than the loneliness about her.”

I don't know why that works? I only know it's gentle and pleasant to read. She writes as if she has all the time in the world to quietly convey the scene. She often focuses more on how the scene is received by her protagonist, than on the scene itself. We're within an introverted mind quietly assessing the world beyond. We have to infer where the protagonist says nothing. We have to realize what she isn't saying.

Some people say Wharton writes as if she has a thesaurus open beside her. I'm not sure why I don't read her that way. I read her as precise and patient. The way she writes makes reading her stories similar to listening to rain pattering against the window. It's pretty. There's a distinct sound to it which is pleasant to me. She could have told the same story with a different diction and perhaps have had a good tale, but not an Edith Wharton tale. Her diction is half the reason I read her. I like the calming way she writes, and I love the way she contrasts that calm precision with the mounting tension in the plot. There's a relentless suggestion within her work that one must remain orderly and calm. It's never said, but it's implied within the diction. For some reason I find that interesting.

Her technique has inspired me to slow down in my own writing. I seem to want to plunge ahead rather than using the diction to slowly build the tension. I love the subtlety in her work. Her characters are never demonstrative. It's all very calm and polite and suffocating. You have to see the meaning beneath the words when they speak -- to watch for their facial expressions, and hear the words they don't say. You have to realize that the tension is enormous, even if no one mentions it. I love that: the story that is not the story. The diction illustrates all this by seeming so incredibly calm and unhurried. It's as if that's the thing she can control -- as if the words at least will do as she tells them. It's incredibly interesting, to me. smile

Now I want a reread!