Picnic Basket Research Articles

Bamboo and value addition: a boon for industrial development

Bamboo has been increasingly used as a substitute for tropical timber in the International market. Value-added bamboo products are becoming popular due to their characteristics of durability and strength, which resemble the qualities of tropical wood while providing an equally sustainable alternative. Bamboo is considered a grass with rapid growth. As it is a colony plant, it produces new canes (culms) every year from the root system. After 3 to 5 years, culms are ready for harvest, depending on the species. Every year, 5–6 culms can be harvested (from the species that are growing in clumps). Due to this feature, bamboos are mostly used in the rural and semi-urban areas to make houses and so is known as 'poor man's timber. Bamboo shows a very significant part in day-to-day survives (lodging, service, revenue, gasoline, etc.). Lately, bamboo has also found more uses in the manufacturing areas as well as in transitory assemblies. Moreover, being a vital section of cottage and rural business, it is also utilized in some dedicated different usages such bamboo wood, bamboo based-laminates, floor tiling, strengthening in cement material etc. Pulp and paper, Gasoline (charcoal), Fixtures and Handcrafts (picnic basket, jewellery, ball-points, cycles etc.), Building (houses, channels framework, armoured, barriers, concrete, boats), Harmonious Gadgets, Customary drugs, Food (shoots, wine) and silage. Separately from the varied usages of bamboo, the tender sprouts, being little in fat, rich in dietary fibre and mineral content, decent source of potassium, calcium, manganese, zinc, chromium, copper, iron and lesser quantity of phosphorus and selenium. The sprouts are eaten due to their unusual palate, flavour, medicinal and nourishing importance. Diverse value added foodstuffs such as nuggets, pickle and biscuit can be prepared from new bamboo sprouts. Anti-carcinogenic ingredients existing in sprouts marks them a regular portion of regime. It is assumed that bamboo extract offer anti-inflammatory effects. Thus, this paper discusses about the bamboo and its value addition via bamboo-based products industry's future.

Red Comet: The Short Life and Blazing Art of Sylvia Plath

Gunn told me once that he had gone on a picnic on Primrose Hill with Ted and Sylvia. What was she like? She seemed a very good mother, Thom said, recalling the picnic basket she had prepared, adding that famous people never seemed to behave characteristically when he met them. Although neither Gunn nor Plath could have known it, they would come to have something deeply personal in common. Gunn's mother was a suicide who left her body for her children (in her case, two teenage sons) to find in the morning. His poem about it is called “The Gas-Poker.”Readers may ask whether we do not already know enough about Sylvia and Ted. The bite mark on his cheek where she drew blood the night they met, the cup of warm milk set out for her toddlers to find with her body in the morning. This detail—the cup of warm milk cooled to frigid temperatures during a night that was one of the coldest on record locally—is, for me, the hardest to forgive. But Clark, drawing on a vast reservoir of evidence and anecdote amassed over years, is able to construct a more nuanced impression of Plath than we have had before. There are missteps, as when Clark complains of Plath's “popular, clichéd image as the Marilyn Monroe of the literati.” No one who has ever heard the breathy voice of Monroe singing “Happy Birthday, Mr. President” and compared it to the plummy, matronly, decidedly upper-class voice Plath cultivated for the BBC can believe that any such cliché exists. Plath mythologized her own life, but Clark succeeds in weaving a tight fabric of minutiae that permits the reader to see what Plath was doing at almost any hour of any particular day. In this steady neutral light, she becomes more fully human.

Quarantine Notebook

It was the summer the world collapsed, and I had almost begun collapsing with it. I would have, had it not been for the sunshine and the birds and the lulling of the river’s tide.I would carry a picnic basket to the water’s edge, and I sat, all summer, with my novelsand my notebooks, and I wrote down all that I felt.
 How is one supposed to act in isolation? What does one do?

Processing and Added Value of Bamboo in Tasikmalaya, West Java

Bamboo is a multipurpose plant that has been used by the people for generations. This study aimed to describe the processing of bamboo and analyze its added value in Tasikmalaya Regency, West Java. Data was collected in April -December 2016 through interviews using questionnaires and field observations of bamboo craftsmen, and then were processed and analyzed quantitatively and descriptively. The community processed bamboo into woven products such as ayakan, boboko, haseupan, hihid, picnic basket, nyiru, pipiti, and parcel, as well as non-woven products such as piggy banks, key chains, glasses, wall clocks, lampshades, invitation boxes, bowl, cup, frame, teapot, letterbox, and tissue box. The average added value of woven products was IDR 131,197.21 or 9.11 % of the non-woven products, which was IDR 1,439,742.42. The average added value ratio of woven products is 0,83 and 0,90 for non-woven products. Bamboo woven business for household products is mostly done because the market has formed, stable, and has a wider scope even though it has lower added value. The market of non-woven products is smaller and specific even though it has a higher added value. A bamboo stem is only valued IDR 10,000 – 50,000, so it should be sold in processed products rather than the original form.

Processing and Added Value of Bamboo in Tasikmalaya, West Java

Bamboo is a multipurpose plant that has been used by the people for generation s. This study aimed to describe the processing of bamboo and analyze its added value in Tasikmalaya Regency, West Java. Data was collected in April -December 2016 through interviews using questionnaires and field observations of bamboo craftsmen, and then were processed and analyzed quantitatively and descriptively. The community processed bamboo into woven products such as ayakan , boboko, haseupan, hihid, picnic basket, nyiru, pipiti, and parcel, as well as non-woven products such as piggy banks, key chains, glasses, wall clocks, lampshades, invitation boxes, bowl, cup, frame, teapot, letter box , and tissue box . The average added value of woven products was IDR 131,197.21 or 9.11 % of the non-woven products , which was IDR 1,439,742.42. The average added value ratio of woven products is 0 , 83 and 0 , 90 for non - woven products. B amboo woven b usiness for household products is mostly done because the market has formed, stable, and has a wider scope even though it has lower added value. The market of non-woven products is smaller and spe c ific even though it has a higher added value. A bamboo stem is only valued IDR 10 , 000 – 50,000 , so it shou l d be sold in processed product s rather than the original form. Keywords: bamboo, processing, added value, woven, non - woven

Red: The True Story of Red Riding Hood by Liesl Shurtliff (review)

Reviewed by: Red: The True Story of Red Riding Hood by Liesl Shurtliff Amy Atkinson Shurtliff, Liesl Red: The True Story of Red Riding Hood. Knopf, 2016 [288p] Library ed. ISBN 978-0-385-75584-9 $19.99 Trade ed. ISBN 978-0-385-75583-2 $16.99 E-book ed. ISBN 978-0-385-75585-6 $10.99 Reviewed from galleys Ad Gr. 3-5 Red’s grandmother has given her more than a scarlet cape—she has also passed along her magical powers. Red, however, has trouble harnessing her abilities, and when, at the tender age of seven, one of her mis-spells nearly kills Granny, Red swears off magic forever. But when Granny gets sick, twelve-year old Red sets out on a quest for a cure, capturing dwarves, escaping enchanted castles, outsmarting a horribly misguided huntsman, and even using her powers—all with the aid of her bothersome but well-intentioned neighbor, Goldie, and an ever-present wolf with whom Red feels an unlikely kinship. The book suffers for its exhaustive and exhausting incorporation of mythical beings and other fractured fairy tales, and it strains under its insistence that Red and wolf share a spirit. Still, it’s hard to resist a fairy tale retold, and there’s enough cleverness and levity here for moments of real enjoyment. The imaginative spells, the twists on conventional plotlines, and Red’s determined, independent nature mean that this picnic basket may still worth unpacking. Copyright © 2016 The Board of Trustees of the University of Illinois

Source Memory for Self and Other in Patients With Mild Cognitive Impairment due to Alzheimer's Disease.

The present study examined the role of enactment in source memory in a cognitively impaired population. As seen in healthy older adults, it was predicted that source memory in people with mild cognitive impairment due to Alzheimer's disease (MCI-AD) would benefit from the self-reference aspect of enactment. Seventeen participants with MCI-AD and 18 controls worked in small groups to pack a picnic basket and suitcase and were later tested for their source memory for each item. For item memory, self-referencing improved corrected recognition scores for both MCI-AD and control participants. The MCI-AD group did not demonstrate the same benefit as controls in correct source memory for self-related items. However, those with MCI-AD were relatively less likely to misattribute new items to the self and more likely to misattribute new items to others when committing errors, compared with controls. The enactment effect and self-referencing did not enhance accurate source memory more than other referencing for patients with MCI-AD. However, people with MCI-AD benefited in item memory and source memory, being less likely to falsely claim new items as their own, indicating some self-reference benefit occurs for people with MCI-AD.

Cascabel by Rick Bayless, Tony Hernandez, and Heidi Stillman (review)

Reviewed by: Cascabel by Rick Bayless, Tony Hernandez, and Heidi Stillman Joshua Abrams Cascabel. Co-created by Rick Bayless, Tony Hernandez, and Heidi Stillman. Co-directed by Tony Hernandez and Heidi Stillman. Lookingglass Theatre Company, Chicago. 8 April 2012. Bringing together food and theatre is not a recent phenomenon. In the United States, a somewhat potted history dates to at least 1953 with the founding of Virginia's Barksdale Theatre, allegedly America's first dinner theatre. Throughout the 1980s and '90s, the open kitchen, which treated the choreography of a working kitchen itself as performance, led to a [End Page 284] very different sort of dinner theatre. Today, the relationship between these two forms of entertainment is more pronounced than ever. On the one side, top restaurants consider the theatricality of everything they do. For instance, New York City's three-Michelin-starred Eleven Madison Park announced a radical overhaul for autumn 2012, "treating diners to flashes of Broadway dazzle: card tricks, a glass dome full of smoke, a blast of sea mist from a tabletop clambake and a cheese course that emerges from a picnic basket placed on the table" (New York Times, 27 July 2012). On the other, restaurants and bars are crucial within theatres; in New York alone, recent Public Theater renovations have focused on food and drink, while Lincoln Center has brought in celebrity chefs Marcus Samuelsson and Tom Colicchio to head up renewed dining options. At a moment when the theatricality of cooking has become central within Western cultures, much of the focus, especially through the rise in popularity of the televised cooking show, is on the "showing doing" of culinary preparation and presentation. Chefs' names are arguably more recognizable across class boundaries than ever before, appearing as "celebrities" alongside actors, musicians, and athletes. A recent performance at Chicago's Lookingglass Theatre, Cascabel, sought to imagine a new mode of dinner theatre, one of the first theatrical performances to seriously embody these recent developments. Bringing noted Chicago chef Rick Bayless, the star of PBS's Mexico: One Plate at a Time, into the live theatrical space to literally bring together food and theatre, Lookingglass sought not only to capitalize on the popularity of celebrity chefs, but potentially to imagine a new form of theatre that engages with a multitude of sensual pleasures. Like the cinematic "scratch and sniff" of Odorama or the 1970s "Sensurround," the audience here was not only teased by the temptation of onstage cooking and its concomitant aromas, but the performance attempted to deliver culinary, as well as artistic, satisfaction. The performance framed Bayless's exquisite Mexican cooking within a theatrical narrative, and while an enjoyable evening overall, it fell short of the pleasures of either the best theatre or the type of culinary excellence of which Bayless has proven himself capable at Topolobampo, his Chicago high-end flagship restaurant. It hinted, however, at more powerful imaginings for such blends. The audience was kept in the visitor welcome center within the Chicago Water Tower until being admitted to the lobby as a group. The theatre's usual lobby was transformed into a bar, with waiters offering each audience member a complimentary margarita (rimmed with salt and the show's namesake cascabel pepper) and two amuse-bouches—"crab on the beach" (of tortilla crumbs and avocado)—along with a lukewarm queso fundido. These items felt almost like an afterthought, as the food was more inspired by Bayless's style of cooking than the creative or inspired cooking expected of Bayless. The theatre itself presented the façade of a boardinghouse, with a table at center stage and Bayless in an upstage kitchen chopping as the audience entered. Most of the audience sat at communal tables, with each place preset with a folded banana leaf and strict instructions not to open it. While perhaps disappointing to an audience familiar with both open kitchens and cooking shows, Bayless's prep work was relatively opaque; perhaps those in the narrow balcony were able to see his work, but the raised stage and his position on it did not afford a view of his skills and their inherent theatricality. The maître d'hotel, played by Jesse...

Examining mental simulations of uncertain events

A great deal of research into the experiential nature of language has demonstrated that our understanding of events is facilitated through mental simulations of the described linguistic input. However, to date little is understood about how contextual uncertainty about the described event might influence the content and strength of these mental representations or the cognitive effort involved. In this article, we report a single experiment in which participants read sentences such as "The old lady [knows/thinks] that the picnic basket is open." Following a delay of 250 or 1,500 ms, they responded to pictures that varied in the physical form of the target object (matching vs. mismatching). Results revealed an expected facilitation effect for matching images, but more important, they also showed interference effects (longer reaction times) at the shorter interstimulus interval (ISI; 250 ms) following the uncertain verb thinks, as compared with the certain verb knows. At the longer ISI, this effect was no longer present. This suggests that at the short ISI, uncertain conditions required extra time to construct and map a simulation of events onto the available image. Results are discussed in terms of the mechanisms involved in representing possible events and with reference to related literature on perspective taking.

Good News, Bad News (review)

Reviewed by: Good News, Bad News Hope Morrison Mack, Jeff . Good News, Bad News; written and illus. by Jeff Mack. Chronicle, 2012. 34p. ISBN 978-1-4521-0110-1 $16.99 R 3-6 yrs. Two friends, a rabbit and a mouse, have very different ways of seeing the world; the rabbit is as enthusiastic and optimistic as the mouse is grouchy and pessimistic. This engaging picture book uses only three words to tell a carefully developed tale of their half-full/half-empty perspectives on an outing gone awry. It starts when Rabbit arrives with a picnic basket ("Good news!") but turns when it starts to rain ("Bad news"). Fortunately, Rabbit has an umbrella ("Good news"); unfortunately, the umbrella—along with Mouse—gets blown into a nearby tree ("Bad news"). The story continues, with circumstances flip-flopping, until lightning jolts the two friends off the top of a flagpole (where they fled to escape a charging bear) and sends them plunging into a mud puddle. Mouse can't take it any more and explodes at Rabbit ("BAD BAD BAD BAD BAD BAD BAD NEWS!"), but the soon apologetic rodent makes amends by setting up the picnic all over again. There is abundant opportunity to involve listeners in the story, since they can parse the illustrations to discern why each spread is good or bad news; the extremely simple text also makes this a winner for very early readers, who will appreciate the considerable assistance in completing the story. The mixed-media illustrations balance flat planes of saturated colors with thick, rumply black lines; the controlled palette employs earth tones accented with stronger splashes of green and pink. The playfully cartoonish animals are gleefully, relatably expressive; the woebegone rabbit is a particular show-stopper. Young listeners are certain to clamor for this one again and again . . . and that is good news. Copyright © 2012 The Board of Trustees of the University of Illinois

Editorial: Joint Action: What Is Shared?

What did you do today? It is likely that some of your answers to this question refer to things you did individually and others to things you did jointly with others. In commonsense thinking about action and intention, the notion that some actions have two or more agents seems unproblematic. An activity like Ayesha and Beatrice’s carrying a two-handled picnic basket together does not, on the face of it, seem harder to understand in everyday life than Ayesha’s carrying the basket alone. From this point of view, to restrict attention to actions with just one agent seems arbitrary. But in developmental, cognitive and philosophical research there is a long tradition of focusing exclusively on actions with just one agent, and a range of questions arise when one attempts to generalise from individual to joint action. In inquiries concerning agency and action, philosophers have developed theories which link intention, reasons, motivation and (occasionally) emotion. These theories generally apply to individual action only and not all of them can be straightforwardly generalised to joint action. For instance, consider how intentional action is related to intending. It is quite widely agreed that an action can be both intentional and a shooting without being an intentional shooting, and also that one way for an action to be an intentional shooting is for it to be appropriately related to an intention to shoot. How does this idea apply to joint actions? Consider Ayesha and Beatrice, who carry a two-handled basket together. If their joint carrying is to be an intentional joint carrying, then it is not enough that Ayesha and Beatrice each individually intend to carry the basket. After all, their having these intentions is consistent with each planning to act alone. But there is much disagreement concerning what is sufficient for joint actions to be intentional as joint actions. Some hold that this involves a special attitude (Kutz 2000; Searle 1990[2002]) while others have explored the idea Rev.Phil.Psych. (2011) 2:137–146 DOI 10.1007/s13164-011-0062-3

Ionotropic and metabotropic mechanisms in chemoreception: 'chance or design'?

Chemosensory receptors convert an enormous diversity of chemical signals from the external world into a common language of electrical activity in the brain. Mammals and insects use several families of transmembrane receptor proteins to recognize distinct classes of volatile and non-volatile chemicals that are produced by conspecifics or other environmental sources. A comparison of the signalling mechanisms of mammalian and insect receptors has revealed an unexpected functional distinction: mammals rely almost exclusively on metabotropic ligand-binding receptors, which use second messenger signalling cascades to indirectly activate ion channels, whereas insects use ionotropic receptors, which are gated directly by chemical stimuli, thereby leading to neuronal depolarization. In this review, we consider possible reasons for this dichotomy, taking into account biophysical, cell biological, ecological and evolutionary influences on how information is extracted from chemosensory cues by these animal classes.

Ready for Anything! (review)

Reviewed by: Ready for Anything! Hope Morrison Kasza, Keiko . Ready for Anything!; written and illus. by Keiko Kasza. Putnam, 2009 [32p]. ISBN 978-0-399-25235-5-8 $16.99 Reviewed from galleys R 4-7 yrs Duck and Raccoon have planned a picnic but, when it comes time to leave, Raccoon is suddenly hit with a bad case of the "what-ifs": he describes detailed imagined scenes of being attacked by killer bees, falling into a river, getting stuck in a storm, and encountering a fire-breathing dragon in a cave. After a moment of reflection, Duck sagely responds with a more positive set of possibilities: butterflies, a cool splash in the stream, a gentle breeze blowing, a friendly baby dragon who just wants to play ("'Wow!' said Raccoon. 'Your what-ifs are wonderful, Duck!'"). After rather extensive preparation, Raccoon agrees to go on the picnic, and his preparatory caution turns out to be a blessing when Duck's forgetting of the picnic basket leaves the two dining on Raccoon's emergency food backup. There's a definite Frog and Toad feel to the positive/negative banter between the two friends: Raccoon is unwaveringly determined that things will go wrong, while Duck assumes all will be well, and the ending, wherein negative Raccoon saves the day, offers a gratifying payoff to their picnic predicament that acknowledges the value of pessimistic overplanning as well as optimistic trust. The gouache and ink illustrations are somewhat blandly cartoonish, but there are touches of humor, and the pale green of the countryside against the white backgrounds has a certain open-air charm. There is lots of curricular potential here for talking and writing about the role of point of view in shaping the outcome of a story (or, for that matter, an experience), and this is also a solid selection for a just-for-fun readaloud. Copyright © 2009 The Board of Trustees of the University of Illinois

Family Reunion

MEMOIR Family Reunion Patti Capel Swartz IT WAS AN EARLY JUNE RITUAL. We piled into the green Dodgeseven of us, three in front, three in the rear—me standing between, holding the side strap. The picnic basket, carefully loaded in the trunk, was surrounded by boxes of food covered with sheets of newspaper to keep it hot or cold: pressed chicken and potato salad, cream for coffee, hot scalloped potatoes and ham, banana pudding crested with browned meringue, three apple pies and one blackberry pie, all warm from the oven. In the cool, dim pavilion, we spread white linen cloths across picnic tables and began the ceremony of placing our food on the table. The ritual passing began; food moved from the hands of one family to the next, down the long line of tables, across the gaps between rows, until the dishes were empty. Mountains of potatoes and corn topped by chicken and ham mounded on plates too full to hold another speck. When food slipped from Aunt 'Becca's plate to drop in 70 her napkin, her meals for the coming week tied into a hobo bundle after the dinner was through, relatives glanced slyly at each other, but no one saw. When plates were empty, even of the third piece of blueberry pie, grownups, sated, "passed the hat" to collect the expenses of the day. It was then that Mother lifted me onto the table, and I sang "Daddy's Little Girl" and "My Blue Heaven," piping and trilling in a four-year-old voice. Up and down the long tables, heads bobbed and waved, and a roar of approval rose around me, threatened to smother me. Reeling through a forest of arms, delayed by hugs of female aunts and cousins, I struggled to escape to the duck pond, the green grass outdoors, air soft with the breath of the trees, not the harsh hot breath of relatives. The hum of the pavilion followed me, the sound of a swarm of worker bees on holiday. Swinging high, then jumping from the swing, I ran back for candy scattered in the grass, posed for the family photo: rows and rows of aunts, uncles, cousins, brothers, sisters captured in black and white "to be mailed as soon as the prints are done." The youngest, like me, sat on the grass, families behind: older siblings in a second row, mothers and fathers in third or fourth rows, brothers and sisters still standing together. When afternoon shadows grew long, dark brown canvas bags opened, sizzling steam rising from dry ice within. A cousin pulled cups of vanilla ice cream, each with its own wooden spoon packed on top, like rabbits from a hat handed around for our pleasure: magic, the soft taste of vanilla melting at the edges of the cup, a miracle on a hot summer's day. Conversation ebbed. Then good-byes echoed from pavilion walls. The holiday was ended. Strong-muscled men and women packed baskets and boxes in cars, shrilled for children to hurry. Empty pie plates and dishes rattled in our trunk as we headed home. Sleepy, I curled on the ledge below the back window and listened to talk: Uncle Alvie arriving in a new car, could you believe it? a new car at his age, and they gave him twenty-five dollars for his Model A; cousin Alice coloring her hair, a scandal of vanity; how well Great-Aunt 'Becca looked even though she was eighty-nine and ate for weeks at a time treasures collected in her napkin at reunions and church suppers. Home now, cows lowed, waiting to be milked and fed, horses whinnied, chickens scratched for feed. Tired, chores complete, we ate cold meat, the leftovers of the day, and fell into dreams: I of Aunt Mary's devilishly delicious chocolate cake, Hershey's kisses and Mary Janes in the grass, dry ice so cold it burned, and vanilla ice cream, flavored by a wooden spoon. 71 ...

Catered by Cassandra? Pandora's Picnic Basket

Catered by Cassandra? Pandora's Picnic Basket

Through a Missile Tube Darkly: ‘New Thinking’ about Nuclear Strategy

Just as the ideas of arms control comprise a picnic basket for sunny international weather, so much of the allegedly ‘new thinking‘ on strategy and security claims to have ‘matched us with His hour’.1 The challenge, purportedly is between realist and ‘transformationist‘ approaches to security,2 between national security and common (or global) security,3 and – of course – between old and new thinking. We are told that ‘[t]here is scope to change the strategic culture of world politics’.4 Some of us old thinkers are a little puzzled by the content of a quotation such as that, since the same authors have written breezily and optimistically, albeit contingently, to be fair, that ‘[t]he “nature” of the [international] system would be changed because of the changed conceptions – strategic cultures – of the units‘.5 The relationship between strategic culture and cultures would stand some careful discussion, while the merit in the claim that there is scope to change ‘the strategic culture of world politics’, whatever that very big idea may mean, remains to be seen.6

ChemInform Abstract: Shape‐Selective Olefin Epoxidation Catalyzed by Manganese Picnic Basket Porphyrins.

AbstractThe "picnic basket" porphyrin catalysts (I) which have a rigid cavity of variable dimensions on one face of the porphyrin ring are used for the shape‐selective epoxidation of olefins.

Shape-selective olefin epoxidation catalyzed by manganese picnic basket porphyrins

The authors have previously described the synthesis and characterization of the picnic basket porphyrins, which have a rigid cavity of variable dimensions on one face of the porphyrin ring. The authors now describe conditions that result in catalytic olefin epoxidation within the cavities of a series of manganese picnic basket porphyrins. The authors have achieved substrate selectivities that reflect an interplay between the dimensions of the cavity vis-a-vis the shape of the olefin substrate. The solution to this problem involves the use of a bulky, anionic axial ligand and acetonitrile as a solvent with iodosylbenzene as the oxidant. They seem to be on the verge of predictable, shape-selective, catalytic oxygenation with a readily available, variable series of synthetic catalysts. For example, highly regioselective epoxidation of dienes should be possible.

Manganese “Picnic Basket” Porphyrins: Cytochrome P-450 Active Site Analogues

Abstract This paper describes studies of a new class of cytochrome P-450 model compounds called the “picnic basket porphyrins.” The picnic basket porphyrins are unsymmetrical porphyrins with one face sterically protected by a superstructure and the other unhindered. The manganese(III) porphyrins have been investigated as shape selective catalysts using oxygen atom donors in the presence of a sterically bulky imidazole. This paper presents ligand binding studies and competitive olefin epoxidations which lead to the surprising conclusion that catalysis by the manganese picnic basket porphyrins occurs exclusively on the sterically unhindered face indicating reaction by the minor catalyst component and not the selective major catalyst component.

Inside the Body of a Green Apple Tree

BILLIE HOLIDAY WAS SIN GIN G Full Moon and Empty Arms and then Nathaniel Witherspoon was beginning to hear inside of Lady Day's sterling coloration, the dolorous wounds, the switchback humor and back into his mother's echoing voice, somersaulting through out his heart. Madeline Witherspoon, Nathaniel's mother, was hanging up her back-porch laundry; his back was turned. Then Nathaniel was knocked down onto his knees, where he and Maxwell Blackball Saltport had been shooting marbles in the 6x6-inch, spoon-dug ring?before the lightning cord and the showers?as he now saw amid the vivid rainbow, in the late-afternoon spring sky, inside the body of a huge green apple tree: the skeleton form of a woman, in a green silk gown; draped over by a flinging, sheer, golden cape. Now the vision of the lady expanded suddenly into a flapping wingspread, and became one with the rainbow. There was a bejewelled band about her forehead. A necklace with a quarter-moon-shaped sap phire stone, shone at her throat. A golden crown appeared upon her head. A picnic basket of fruit trembled upon her right arm; and golden earrings, fashioned as vessels, glowed at her earlobes. Then Nathaniel saw lodged inside the ribcage of the skeleton form, a protruding abdomen: with a full-moon-shaped, contorted, bloody, yolky-robed shell, encaged in a coiled net of pumpkin vines. The substance of the rainbow crackled, bled into four rivers, vaulted out to a blood-red sea, where a host of luminous lobsters dipped and dived, then disintegrated into the images of statues, the faces of wither ing idols and mermaids; and the water grew grayish green. Nathaniel saw an eagle (with a greyhound in its mouth and a fish in the greyhound's mouth) go flying across a shawl-covered altar in a shower of changing colors; shifting forms into that of a rabbit, a wolf, and a dove . . . Then a bear, a raven, and a whale.. .. Now Nathaniel was seeing the beautiful body of Lily-Beth Michael son floating toward Aunt Bella-Lenore Boltwood's sewing machine, just past that wooden panel, where the seamstress placed wisps of her own silver, fallen hair into the crocheted bag each night... as if in her phantasy world of many colors she hoped to conjure the fiercely