Tiger Lily Research Articles

Cucumber mosaic virus among ornamental crops in the Russian Far East

Aim. To summarise and analyse scientific data on Cucumber mosaic virus strains (CMV – Cucumber mosaic virus) (Martellivirales: Bromoviridae, Cucumovirus) isolated from ornamental plants in the Far East of the Russian Federation. Discussion. The paper describes the genome structure and tripartite organization of CMV virions. Strains of this virus isolated from ornamental cultures in the south of the Russian Far East are described: Garden balsam, Common snapdragon, Dahlias, Hybrid gladiolus, Hybrid delphinium, Cambria, Indian canna, Cattleya, Tiger lily, Garden petunia, Primula obconica, Moth orchids, Fatshedera from Lize Freres, Weeping fig, Common hollyhock, Purple coneflower. The physicochemical properties (i. e. point of thermal inactivation, period of preservation of infectivity at a temperature of 20 °C, maximum dilution of juice causing disease of healthy plants) and the symptoms of these strains on a wide range of species and varieties of indicator plants are systematised according to the Russian Collection of East Asian Viruses, functioning at the Laboratory of Virology of the Federal Scientific Center for East Asia Terrestrial Biodiversity, Far Eastern Branch, Russian Academy of Sciences. Conclusions. The limiting factor in the development of floriculture is infectious diseases, among which viral infections (including CMV) are of the greatest importance, demonstrating a high strain diversity in the south of the Russian Far East. Thus, the study of the biological, physico‐chemical, immunochemical and molecular biological properties of CMV is an urgent task, as it opens up the possibility of studying isolates of this virus and classifying its strains taking into account individual characteristics and kinship relationships.

The Application of Functional Equivalence Theory in the Translation of Children’s Literature - Using “Red Rose and Tiger Lily or in A Wider World” as an Example

The Application of Functional Equivalence Theory in the Translation of Children’s Literature - Using “Red Rose and Tiger Lily or in A Wider World” as an Example

Rhizospheric microbial consortium of Lilium lancifolium Thunb. causes lily root rot under continuous cropping system.

Tiger lily (Lilium lancifolium Thunb.) is a cash crop with a long history of cultivation in China. Its roots have long been used as a valuable component of Chinese medicine. Continuous cropping, the conventional planting approach for tiger lily, often leads to severe root rot disease, but it is not yet clear how this planting method leads to root rot. In this study, we analyzed the rhizosphere microbiome and predicted microbial protein function in tiger lily planted with the continuous cropping method in three different geological types of soil. In order to explore the specific rhizosphere microbiota triggering root rot disease, tiger lily was compared to maize grown in a similar system, which showed no disease development. An analysis of the chemical elements in the soil revealed that the Pseudomonas and Streptomyces genera, with pathogenic functions, were dominant in the tiger lily rhizosphere. The lower soil pH of tiger lily compared to maize supports the accumulation of pathogenic bacteria in the tiger lily rhizosphere. Meanwhile, we discovered that bacteria of the Flavobacterium genus, with their predicted phosphate transport function, specifically accumulated in the maize rhizosphere. Our findings suggest that Pseudomonas and Streptomyces bacteria may result in continuous cropping-induced root rot disease in tiger lily and that Flavobacterium could serve to protect maize from pathogenic bacteria.

Carla Rossi and Pepper Pepper are Gloop: An Evening of Spectacularly Unhinged Drag from Two Portland Favorites by Carla Rossi and Pepper Pepper

Reviewed by: Carla Rossi and Pepper Pepper are Gloop: An Evening of Spectacularly Unhinged Drag from Two Portland Favorites by Carla Rossi and Pepper Pepper Kate Bredeson CARLA ROSSI AND PEPPER PEPPER ARE GLOOP: AN EVENING OF SPECTACULARLY UNHINGED DRAG FROM TWO PORTLAND FAVORITES. By Carla Rossi and Pepper Pepper. Portland Center Stage, Portland, Oregon. February 21, 2022. Click for larger view View full resolution Pepper Pepper and Carla Rossi in GLOOP at Portland Center Stage. Carla Rossi and Pepper Pepper’s GLOOP uses white women’s wellness as a way to serve a scathing indictment of liberal racism. In GLOOP, Rossi and Pepper sang, smoked, and stripped their way through campy cabaret hits as they paired off and rode into the decrepit sunset with their rubber chicken baby, leaving in their wake a harsh reflection of their audience. Rossi, “The Ghost of White Privilege from Lake Oswego,” and Pepper, who turns “tragic into magic and trauma into drama,” are beloved icons of Portland drag. Rossi, who is Anthony Hudson, is a playwright (Looking for Tiger Lily, Clown Down: Failed to Mount), performer, and artist known for eviscerating whiteness through drag and clowning. Pepper, also known as Kaj-anne Pepper, works across disciplines in video, drag, installation, dance, and theatre; Pepper’s recent performance Diva Practice uses technology to research drag and audience complicity. Both find dark humor in garbage and excess. In GLOOP, Rossi’s electric face winced and judged through the layers of white makeup, Tiffany-blue lipstick, and black-winged eyelids. Pepper’s elastic expressions—bedecked by a jeweled eyepatch—and precise physical exaggeration evoked Lucille Ball. Together, the pair accomplished their imperative to “gatekeep, girlboss, gaslight” in a deft and very funny condemnation of the theatre and whiteness empires in Oregon, a state built on racial exclusion, and, more broadly, the United States, with its foundations and ongoing guiding principles of white supremacy and oppression. That Rossi and Pepper performed this evisceration [End Page 376] on the stage of the city’s biggest regional theatre—on the set of its then-current production of Hedwig and the Angry Inch—made the critique sizzle with more precision and danger. Click for larger view View full resolution Carla Rossi, Pepper Pepper, and their chicken baby in GLOOP at Portland Center Stage. Rossi and Pepper sauntered onstage wearing matching parachute jumpsuits and Pendleton-esque rip-off Native American ponchos (“ancestral prayer blankets”) ubiquitous to boho Portlanders. With buoyant blond locks and padded hips, they arrived dazed and in wonder at the dilapidated Chili’s restaurant sign from the Hedwig set. Tossing their hats into the air à la Mary Tyler Moore, they careened about the stage with their luggage, noting that “this doesn’t feel like Sedona,” where they were supposed to end up for their wellness seminar. Turns out that their driver, Ralph, died, and now they were stranded with their crystals and wheatgrass/LSD elixirs. “Here we are, just two selfish white women getting high,” Rossi exclaimed. Looking around the messy set, she asked, “Is this Tulum?” Pepper noted, “GLOOP is a lifestyle. GLOOP is a brand. GLOOP is a modality. GLOOP is Glamorous Ladies of Opulent Persuasion.” Rossi pointed to her stomach to highlight where her jade egg was right at this moment. The pair astutely sent up white-women wellness influencers who preach personal enlightenment over community care. GLOOP’s episodic structure created an alternately relaxing and on-edge mood. Amid a flurry of side-splitting audience laughter toward the beginning, Rossi announced: “There is a ghost in this room that we need to acknowledge, and it’s called racism.” The audience went silent. Rossi and Pepper gaped. Pepper turned to Rossi, pointing at the audience and said, “Oh Oh Oh they did it, they did the thing,” meaning the way white people go silent when someone brings up racism. Rossi launched into a monologue about arts administration, accountability, and land acknowledgments. Pronouncing acknowledgment with a French accent, with emphasis on ment, she delivered a garbled land acknowledgment composed of recognizable phrases from those of Portland arts and academic organizations. Rossi stumbled over the phrases “sacred ancestral traditional unceded stolen Native Aboriginal past tense lands,” “the...

EST-SSR Marker Development and Full-Length Transcriptome Sequence Analysis of Tiger Lily (Lilium lancifolium Thunb).

The fast advancement and deployment of sequencing technologies after the Human Genome Project have greatly increased our knowledge of the eukaryotic genome sequences. However, due to technological concerns, high-quality genomic data has been confined to a few key organisms. Moreover, our understanding of which portions of genomes make up genes and which transcript isoforms synthesize these genes is scarce. Therefore, the current study has been designed to explore the reliability of the tiger lily (Lilium lancifolium Thunb) transcriptome. The PacBio-SMRT was used for attaining the complete transcriptomic profile. We obtained a total of 815,624 CCS (Circular Consensus Sequence) reads with an average length of 1295 bp. The tiger lily transcriptome has been sequenced for the first time using third-generation long-read technology. Furthermore, unigenes (38,707), lncRNAs (6852), and TF members (768) were determined based on the transcriptome data, followed by evaluating SSRs (3319). It has also been revealed that 105 out of 128 primer pairs effectively amplified PCR products. Around 15,608 transcripts were allocated to 25 distinct KOG Clusters, and 10,706 unigenes were grouped into 52 functional categories in the annotated transcripts. Until now, no tiger lily lncRNAs have been discovered. Results of this study may serve as an extensive set of reference transcripts and help us learn more about the transcriptomes of tiger lilies and pave the path for further research.

Of Bones and Rhododendrons

Of Bones and Rhododendrons Marguerite W. Sullivan (bio) Pamela’s sense of style, it could be argued, was impeccable. Even in the wretched heat she looked flawless, pressed and primmed, crisp as a picture postcard in lemon yellow shorts and top, hair folded in upon itself like a slice of bread, skin smooth and dry and repellent. She never hit a false note, and one had to love her for this consistency, this reliability. She had an especially intimate smile, on the rare occasions she offered it, and I sometimes waited for it to appear, that smile, wide and generous and entirely without artifice. A smile that located the whole of her being in it, as I knew her from years past, and in the smile she walked up and down in a marvelously peaceful kind of procession. I believed I could always meet her there, where she walked inside the smile, and that neither of us would have anything to say in our procession, or if saying something would say something new, something entirely unheard of before. I can’t say why this consoled me so, this image of a procession with no speaking, or, even better, the speaking of things not heard before, and yet it did, and I closed my eyes for a moment and considered her smile again, all the while aware I would not see it that day. Her garden was just as perfect, splendid and overabundant and burgeoning, the kind you saw in magazines, and as I sat sucking on the lemonade and considering the mountain of pink peonies, sumptuous as frosted cakes, it occurred to me this was one of multitudes of such gardens all across the country, stretching for thousands of miles, these self-same splendid, ineluctable gardens that graced the backyards of countless houses in which lived all these people, all of them, just like us. Wasn’t that true? Unseen, in some ways beyond imagination, these people, and yet quite known. People with similar gardens could be thought of as remarkably similar: that thought brought a downward pinch to the corners of my mouth, and I wondered why the image of all the people and all the gardens seemed unsavory in their conformations. In Pamela’s garden, four twig chairs set to one side echoed a semicircle of tiger lilies, invoking a type of order achieved only in past generations and suggesting a degree of certainty much sought after that could be accomplished merely by inhabiting them. The two-tiered fountain of wrought iron clam shells in the center was placed amid tall bluish grasses and usually gave off a sputtering trickle of music against which we chattered inconsequentially, though on that day the fountain was motionless and silent and brought a parched enervation to the garden, notwithstanding which the male cardinal repeatedly landed on the edge, [End Page 12] poked his beak into the bottom shell, and sought the water that was always, he must have thought, there. Often it’s Pamela I see on Thursday afternoons, Tuesday being my day at the hospital and Wednesday my afternoon with the trainer. All our days together proceeded forward in this assumed amiability, this lackadaisical assuredness; the only thing calling to us from the immediate future was dinner, chores for dinner, discourse about dinner, dressing for dinner, and so on. But that day I felt an inexplicable need to pay attention to something further. I found myself looking more closely, listening more carefully, examining each thing in my purview until that same urge to frown possessed me. As if the material elements of the day, heavy in the wet air, threatened to drop away and disintegrate in the preponderance of the hours, and I must be ready for that. The fountain, halfway down the lawn just beyond where the cherry tree branches swept out from a curved flower bed, somehow rose into the foreground and made the heat more intractable, nearly leaden. Pamela spoke with unusual animation—she’s a passionate woman, some would say—and her words provided a swift waterway down which I drifted. Generally I experience a measure of comfort when people are speaking. You could say...

“We Have No Female Companionship”: Tiger Lily’s Transparent Presence in J.M. Barrie’s Peter Pan

J.M. Barrie’s novel Peter Pan, first published in 1911, depicts Neverland as a fictional island home to pirates, fairies, mermaids, lost boys, and indigenous peoples. Despite the island’s numerous ...

From Tiger Lily and the Impossible Neverland

from Tiger Lily and the Impossible Neverland

Characterization of LiMAPK gene in response to salinity stress in Tiger lily (Lilium lancifolium Thunb.)

In this study, we measured the physiological response such as relative growth rate (RGR), relative water content (RWC), chlorophyll index, net photosynthetic rate and relative electrical conductivity of Tiger lily leaves periodically, under different concentrations of salt. We isolated LiMAPK mRNA (including the 5′ UTR and 3′ UTR) (GenBank accession number JQ437268) under treatment at salt threshold concentrations by rapid amplification of cDNA ends polymerase chain reaction (RACE–PCR). The relative expression levels of LiMAPK under salt stress were analyzed by real-time fluorescence quantitative PCR. The results showed that the salt threshold concentration of Tiger Lily was 1.09 mg/mL, and the LiMAPK gene covered 1291 bp, coded 306 amino acids and the conservative domain was 627 bp long. There was a highly conserved domain (TRWYRAPE) present in the amino acid sequence of MAPK. Comparative analysis using NCBI BLASTp showed that this conservative domain was a catalytic domain in the MAPK super family. The LiMAPK expression levels in the leaves were significantly increased within 2 h after initiation of stress treatment with salt threshold concentrations and continued to rise in the next 2 h, reaching a maximum at 4 h and decreasing in the next 4 h. After 12 and 24 h of salt stress, the LiMAPK expression levels were basically stable, but still twice as high as those in the control. The results indicated that the LiMAPK gene was up-regulated by salt stress, which might be closely related to the salt-tolerance mechanism in Tiger lily.

Welcome to the Fall

Welcome to the Fall Flower Conroy (bio) There are things I still cannot tell you—murmuring I’m not the one who’s so far away, another touches me in my dreams & I awake bereft, sweat along my neck. Or your threadbare shirt ghosts my skin—article Against clavicle—like baby’s breath among the tiger Lilies—as I stir yesterday’s coffee with a knife. No spoon To be found. Do you believe in god? I rubbed the belladonna’s Psychotropic dust into my eyes, unbeknownst, Trimming the hedges last Thursday. Headache struck me & I thought it was the light. Dizziness. Blurred vision. One pin Prick, one gaping pupil. Trees scurrying. I washed A valium down with Benadryl, flushed my eyes with cool water. God’s end in godsend. You can tell a snake by its shed skin. I meant to be rawer. The honey in the mystery. In the breathing room—whatever god believes in I believe In that—you circle, your shadow sweeps over me. This also was What I wanted wasn’t it? Facedown & dumbfounded, the yellow blooms stare at their thin Reflection in the glass tabletop as if they were frozen in avalanche. [End Page 119] Flower Conroy Flower Conroy is the author of three chapbooks: Facts about Snakes & Hearts, winner of the Heavy Feather Review Chapbook Contest; The Awful Suicidal Swans; and Escape to Nowhere. She is the winner of Radar Poetry’s first annual Coniston Prize and the Tennessee Williams Exhibit Poetry Contest as well as a scholarship recipient of Bread Loaf, Squaw Valley, Napa Valley, and the Key West Literary Seminar. Her poetry has appeared or is forthcoming in American Literary Review, Gargoyle, and others. Copyright © 2017 University of Nebraska Press

Genetic diversity and structure analyses on the natural populations of diploids and triploids of tiger lily, Lilium lancifolium Thunb., from Korea, China, and Japan

Tiger lily, Lilium lancifolium Thumb. is an endemic species in Korea. Genetic structure and diversity of diploid and triploid tiger lily accessions were analyzed using SSRP and IRAP molecular markers. All genetic indices analyzed showed that the diploids hold higher genetic variations compared to the triploids which were collected from Korea, China, and Japan. All variations found in triploids were also found in diploids to support the autotriploidy of L. lancifolium. It was also revealed that the triploid populations have experienced population regrowth from small population after population bottleneck. The population and phylogenetic analyses showed that analyzed tiger lilies were partitioned into three populations, Pop 1 from West Sea of Korean Peninsula, Pop 2 from South Sea of Korean Peninsula and Pop 3 of triploids in which many accessions of West Sea and South Sea were admixed in each partitioned group. Although the level of population differentiation is not extensive, FST analysis revealed some level of differentiation among the three populations. The analyses of genetic structure and phylogenetic dendrogram revealed admixture in some accessions among populations. All the results obtained in our analyses imply that autotriploid tiger lilies were originated from a small number of accessions of diploid L. lancifolium.

Sacred Kisses and Profane Thimbles: Dual Female Identity in J. M. Barrie’s Peter Pan

Victorians Journal 9 Sacred Kisses and Profane Thimbles: Dual Female Identity in J. M. Barrie’s peter Pan by Theresa J. Fitzpatrick One of the few discernible pronouncements from the character Tinker Bell in J. M. Barrie’s Peter Pan is the phrase “You silly ass.” She repeatedly directs it at Peter as he fails to notice her romantic feelings for him, apparently oblivious to the threat Wendy poses to her position in his life. When first introduced to Wendy, the differences between her and the smiling, blond, curvy-cute fairy of Walt Disney fame are apparent: “It was a girl called Tinker Bell, exquisitely gowned in a skeleton leaf, cut low and square, through which her figure could be seen to the best advantage. She was slightly inclined to embonpoint” (35). Her seductive, voluptuous physical appearance is paired later with a sassy attitude and a tendency to use less-than-ladylike language: “Tink,” said Peter amiably, “this lady says she wishes you were her fairy.” Tinker Bell answered insolently. “What does she say, Peter?” He had to translate. “She is not very polite. She says you are a great ugly girl, and that she is my fairy.” Already in this early scene, the proper Wendy and the vulgar Tink are held in contrast, yet both harbor romantic, complicated, and impossible feelings for Peter. In fact, every main character in the novel is, in some way, in love with Peter, the eternal child. However, the female characters specifically reveal a troublesome and contradictory view of womanhood as they attempt to reconcile these feelings within the gendered restrictions of the time period, a view not wholly relegated to the era in which the story takes place. When analyzed from the perspective of angel-in-the-house and Madonna-Harlot ideology, the queens of the story, Wendy and Mrs. Darling, fare much better than those who defy these characteristics, 10 Victorians Journal such as Tinker Bell and Tiger Lily. What sets them apart is a symbolic kiss, maturely displayed by the grown Mrs. Darling and still awkwardly developing in the young Wendy. Wendy’s place as wife and mother is central to the story as it crosses the boundary between England and Neverland. But the relationship also permeates generations, entirely independent of whoever the “girl” figure is to be; after Wendy, her daughter Jane and her granddaughter Margaret also fly off to Neverland for “spring cleaning,” with Peter none the wiser. The specific girl is entirely irrelevant as long as she is a child and female. The common modeling of maternal behaviors is what Peter craves, while Wendy also has to deal with the conflicting urge to both nurture him and kiss him. Wendy’s adept repair of Peter’s shadow when he ineffectually tries to stick it on with soap perfectly mirrors the scene in which Mrs. Darling ties Mr. Darling’s tie—both quietly fulfill a need, and both are quickly forgotten afterward. Emulating her mother’s attitude toward her father, Wendy takes pride in this role, even in the thanklessness of it. However, when Peter first wins her over by saying, “one girl is more use than twenty boys” (40), she offers to give him a kiss, prompting the naive Peter to hold out his hand. Though she would prefer to give him a real kiss, she hands him a thimble, and Peter playfully, thoughtlessly accepts. The thimble Peter and Wendy pass between them is symbolic in multiple ways: Wendy means it as a romantic gesture, while to Peter it is a childish gift. This, M. Joy Morse suggests, places her in a position of power imitating the “sexual influence of wife over husband”; besides Peter’s acceptance, the shape of the thimble itself, “once an open-ended sheath, not only evokes the shape of a wedding ring, but also serves as a vaginal image, recalling female sexual power” (297-98). For a pre-Oedipal boy who ceased to grow up on the “day he was bom,” Wendy’s sexual power places her in a position of maternal authority over him. She does, eventually, give him a real kiss but must give it a new name—“thimble”—as Peter...

Greetings from the Editor

6 Victorians Journal Greetings from the Editor Victorians Journal of Culture and Literature, Fall 2014, #126 features new work on some old and some more recent literary favorites. “Sacred Kisses and Profane Thimbles: Dual Female Identity in J. M. Barrie’s Peter Pan" considers the children’s classic in terms of Victorian Madonna-harlot sexual ideology. According to author Theresa FitzPatrick, “the proper Wendy and the vulgar Tink are held in contrast, yet both harbor romantic, complicated, and impossible feelings for Peter.” This in turn reveals “a troublesome and contradictory view of womanhood as they attempt to reconcile these feelings within the gendered restrictions of the time.” For Peter, the eternal child, females are interchangeable: it is the “maternal behaviors” that he seeks, but Wendy must confront “the conflicting urge to both nurture him and kiss him.” Central to this discussion is the quaint practice of “thimbling,” while the character Tiger Lily is situated somewhere within the dichotomous continuum represented by motherly Wendy and the distinctly brazen Tinkerbell. “History in the Sickroom: Charlotte Bronte’s Shirley’' by Kate Lawson studies the static condition of two primary characters against the backdrop of economic stasis engendered by the Peninsular Wars. Individually and thus, as a potential couple, Caroline Helstone and Robert Moore are “trapped in this painfully static and seemingly interminable historical moment,” and can find no relief personally or relationally. As a result, these two “isolated and estranged characters” negotiate “obstruction and stagnation” until each is forced to confront life-threatening illness. It is the experience of invalidism and sick-room confinement, “with its enforced stasis and isolation,” that compels the resolution of stasis into progressive movement. Here, however, the marriage plot resolution concludes in a smoky, industrialized landscape that hints at something darker than a seamless happily-ever-after. More graphically, Anne Bronte’s The Tenant of Wildfell Hall is notable for its portrayal of married life, not only beyond the vague happily-ever-after fate generally presented in domestic novels but in Victorians Journal 7 terms of severe marital discord. Ay$egtil Kuglin’s ‘“the most attractive to the worst kinds ofmen:’ Self-importance and Romantic Relationships in The Tenant of Wildfell Hair investigates Helen Huntingdon’s “disastrous marriage to a dissolute alcoholic,” a man whose “depravity and alcoholism” destroys the marital bond and extends to a broader social circle involving seduced women and ruined men. Having defied warnings against this union, Helen— who believes she can redeem her husband’s nefarious ways— develops a “zeal to reform him” that proves to be “quite as catastrophic” as his anti-social behaviors. Analyzed through Karen Homey’s psychoanalytical framework, both characters are seen to contribute to the problem and its inevitable resolution. Through her depictions of alternative relationships, Bronte presents models of harmonious couples who are able to achieve mutual satisfaction in their relationships. “Ecofeminism in Christina Rossetti’s ‘Goblin Market’” by Kathleen Anderson and Hannah Thullbery offers an impressive overview of the wide range of scholarly approaches to this deeply evocative poem, with its “interplay of biblical, mercantile, and sexual themes.” One perspective that has not been developed, the authors argue, concerns ecofeminism, which in this reading is highlighted by Rossetti’s “portrayal of a pervasive bond between nature and the feminine soul.” As an early example of ecofeminist literature, “Goblin Market” raises “critical and still-relevant questions about the co-inherent roles ofwomen and the environment in a precarious industrialized world.” Michael J. Sobiech’s “Martineau’s Dissent: Advancing the Dissenters’ Cause in Deerbrook" considers Harriet Martineau’s role in the history of the Victorian novel. Martineau first earned fame with Illustrations of Political Economy (1832-34), a series of novellas published before Victoria’s ascension and read by the young Princess. A literary hybrid, the Illustrations helped shape Victorians’ synthesis of entertainment with moral utility, anticipating developments in the genre subsequently associated with Dickens, Gaskell, and Eliot. Sobiech’s analysis explores 8 Victorians Journal Martineau’s influence by examining selected Illustrations tales through the lens ofreligious issues and attitudes, an emphasis which in turn shifts to a consideration of the role of religious Dissent in novel development, specifically through Martineau’s Deerbrook. Whereas in the Illustrations Martineau...

Greenhouse and Landscape Growth of Tiger Lily Cultivars Following Flurprimidol Preplant Bulb Soaks

Experiments were conducted to evaluate the appropriate concentration of flurprimidol for ‘Orange Tiger’ tiger lily (Lilium lancifolium), the persistence of residual effects the following year with ‘Orange Tiger’, and differences in flurprimidol’s effect between tiger lily cultivars. In Expt. 1 flurprimidol was applied as a preplant bulb soak to determine its efficacy on height control of ‘Orange Tiger’ tiger lily. Bulbs were hydrated in 17 °C water for 1 h, allowed to drain 1 h, given 10 min soaks of 0, 5, 10, 20, 40, 80, and 160 mg·L−1 flurprimidol, and then allowed to drain for 1 h before potting. In Expt. 2 ‘Orange Tiger’ tiger lilies from Expt. 1 were then planted into outdoor beds to evaluate residual carryover effects of flurprimidol. Expt. 3 involved comparison trials of ‘Pink Tiger’, ‘White Tiger’, and ‘Yellow Tiger’ tiger lilies to determine if cultivars responded differently to flurprimidol drenches. Flurprimidol at 10 to 20 mg·L−1 effectively controlled stem elongation of ‘Orange Tiger’. No residual effect of flurprimidol on ‘Orange Tiger’ plant growth was observed a year after application. Optimal concentrations of flurprimidol for ‘Pink Tiger’ and ‘White Tiger’ were 2 to 5 mg·L−1 and for ‘Yellow Tiger’ 20 to 30 mg·L−1. Results showed that preplant bulb soaks prevented excessive height and provided plants that were more suitable in height for retail sales. Differential responses of ‘Pink Tiger’, ‘White Tiger’, and ‘Yellow Tiger’ tiger lilies to flurprimidol indicate that trials are required to customize optimal concentrations for other cultivars.

My Special Place

Essay: My Special Place 208 My Special Place Theresa Wong Spectrum Community School Victoria, British Columbia Citation: Wong, Theresa (2013). “My Special Place.” Children, Youth and Environments 23(2): 208-210. Retrieved [date] from http://www.jstor.org/action/showPublication?journalCode=chilyoutenvi. It’s funny, how sometimes we don’t realize just how special something is until it’s long gone. Strawberry Vale was my elementary school and arguably the best six years of my life. It was innocence and blissful ignorance in a bubble. Natural shaping of the grounds provided the absolute perfect playground for any child with an active imagination. Rough but round boulders and mounds of rock jutted out of the earth, forming nooks and crannies perfect for anything from “jumping rocks” to fairies’ homes. Along with these heaps of rock came oak trees, soft carpets of moss and wildflowers; bleeding hearts and tiger lilies and bluebells. I suppose many of those “flowers” were really weeds but anything with petals and pretty colors was a flower to me. A particularly simple pastime involved a series of large round boulders arranged around the outside of a small outcrop of larger rocks. I can still feel the rough, yet somehow soft surface of the jumping rocks; scratchy, but not harsh enough to scrape your skin, unless of course, you leapt too far or too short and lost your footing. See, the fun was in jumping from rock to rock, leaping over stretches of “hot lava” and then hugging the boulder as you touched down on it. I remember there being one particularly tricky boulder, steeper than the rest, but our feet had long grown used to the precarious slope and we never fell. There was a wonderful native garden at Strawberry Vale. In the spring and summer it was a delightful sight to behold, blooming with purple-y pink wild roses (that didn’t taste very good by the way) and Oregon grape. Hidden in this little strip of native plants was a whole other world, like some kind of fairy land grown from the pages of a storybook. The image of that garden in my head is always basked in sunshine, though really, the clouds rained more than the sun ever shone. The many bushes were cut in a way that left the insides quite hollow, forming little scoops that could be turned into “houses” and decorated with daisy chains. Whenever I’m lucky enough to go back to the native garden, I always make sure to take a peek in each bush dwelling, visit the climbing tree and walk by the stream. (Which isn’t a real stream, but merely a ribbon of water that flows from the drains; we all called it a stream anyways though, because it sounded so much nicer then “water flowing from the drain pipe”—see Figure 1.) Essay: My Special Place 209 Figure 1. Children playing in the stream that flows beside the native forest planted by students, teachers and volunteers at Strawberry Vale School Photo: Sylvia Samborski I remember a rather dreary day—the clouds were a stormy grey and relentlessly pelted the earth with freezing splatters—no, drenching bucketfuls—of rain. I huddled quietly with a friend under a canopy of drooping branches. It leaked though, and spatters of icy chill ran up and down my arms with every rain drop that struck down. The only dry spot to sit was under the branches that grew the closest together, and these extended out over a grey boulder. To get up to the dry spot, you had to plant both feet firmly on the rock and then pull yourself up with the aid of a spiky branch. The roof of branches grew so close over the top of the boulder that you had to hunch your back and duck your head to avoid being punctured by the fine tips of the pine needles above. The rough, sand papery texture of the large rock scraped the palms of my hands and grazed my legs through the fabric of my pants as I half sat, half crouched on the large rock. A freezing cool emanated from the hunk of stone, leaving me...

TO THE MUSE AFTER A LONG ILLNESS

3 3 R T O T H E M U S E A F T E R A L O N G I L L N E S S F R A N N I E L I N D S A Y 1 And as the hour approaches, an old man comes to my door – five-day beard, no socks, topsiders worn at the heel to nothing – to tell me he loves me. So what say the pink and white petunias, limp as rinsed lace from the rain in their earthenware pot. So what says the yellow and black baby snail bustling along her homely millimeter over the concrete step. And the birds of the early evening starting their practicing, little prodigies on public school flutes: so what. 2 For then is there not the world of the heart, the light that is more a darkness from shining upon so much pitiful evil and equally hapless good? And has that light not yearned for a simple roof to touch, or the wondrously neutral tip of a ginkgo leaf just for a minute? 3 4 Y 3 For the very first time in my life, I take a hand in mine, and it so happens to be his, 4 and the ear keen to minimal singing can still hear the tiger lilies’ lazy hallelujahs. 5 He had stopped being concerned with dapper appearance: tweed coat, clean argyles put away by his gentle wife. Exhausted belt clutching itself for dear life by the tightest loop holding his dungarees up. 6 After he leaves for his early supper of porridge I go back to my rocking chair and the novel I left splayed open and read until I would have stopped weeping 7 Remember how the lankily rejoicing lilies got louder at first, June after June, then fainter, until by August you had to make up words of your own to sustain them. And then they grew into the old hymn of stalks, 3 5 R their flopped leaves like big Sunday frocks gone out of fashion. Instead of the raucous orange a stillness whose color only the wind could see. 8 But never, no never, ceased. for Joaquim ...

White violet, not so much an image, and: I can’t listen to music, especially “Lush Life,”

White violet, not so much an image, and: I can’t listen to music, especially “Lush Life,” Diane Seuss (bio) [End Page 27] White violet, not so much an image Diane Seuss of tenderness as an image of a memory of tenderness. I am ashamed to look at it this closely but can’t stop fingering its five sticky petals, nebulous as water on the brink of becoming steam. Thin as a soul lingering for three days threatening to reignite into flesh, or a ghost climbing the body’s bone ladder in order to abdicate the body’s terms. This flower might as well be a girl named Violet, with dew on her upper lip, who elopes through her bedroom window, leaving only her thin, yellow-white chemise behind. Its petals are that fragile. They lack commitment to the material world, their molecules ascending, any minute now, evaporative, like a pretty infant bound and determined to fly back into the hands of nothingness, or a shepherd dispassionate about the lambs, always looking off into the lavender beyond. The only way to know tenderness is to dismantle it. That’s the essential problem, how we must get out the jeweler’s loupe and start dissecting, prying open the mauve sac at the base of the flower like a fox in the henhouse, looking for green ovaries spilling over with eggs, or Hawthorne’s Aylmer, prying away at Georgiana’s birthmark. I bring the torn flower to my mouth to confirm the myth of its honey, only to find it tastes gamey, green, like a hand that’s held too long to copper coins. This close, its scent is not sweet but sour—I crush it to awaken its perfumes— acidic, unripe, puerile, stinging, tined. I remember a poet reading translations of Paul Valéry when I was young. I wore a white, gauzy dress with laces at the bodice, and the poet stood in a pool of heroic white-gold light with his shirt half unbuttoned, his silver hair curling over his ears. [End Page 28] ‘Perfume is what the flowers throw away,’ he read, quoting Valéry. Later he tried to pry me open, but I ran home barefoot through the rain under a foggy membrane of moon—that ventricular patch sewed between the chambers of night and day, that wispy peephole in the screen between supplicant and priest in the confessional booth, that rice-paper privacy screen, painted with a profusion of white violets, in the black bordello. [End Page 29] Copyright © 2011 The Curators of the University of Missouri I can’t listen to music, especially “Lush Life,” Diane Seuss not as the era of tiger lilies wanes, not as their petals hang like the tongues of thirsty dogs, and the dusty star chart of baby’s breath, and the brown-eyed Susan’s dark mound wreathed by gold petals like a nipple bitten black. I long to frolic in the blue snow of an old television. Long for a bite of a deathbed pomegranate. For the green-haired girl wearing a pomegranate-hued fedora. So much like my fedora, but mine is black, and she is young, her body tattooed with my life story. There is Michigan on the palm of her hand, New York on her inner thigh. There’s Spain on her coccyx, and the boy who tore into my mouth on a blanket in a huge bowl of earth outside Madrid, and around us the throngs shouting Death to Kissinger. There are the almond trees in full flower outside my bedroom window, and the poisoned strawberries, so sweet, until later on the train back from Segovia. I lie on my back in the Retiro, braless, wearing a white lace blouse. I’ve cut my own hair and it’s short as a nun’s. I’m playing dead, like Lorca did at parties. Hit me over the head with his sugary femur. Nostalgia is depression. Who said that? So let’s toast to the present tense. Vodka and hummingbird nectar, stirred with a finger bone. Can’t even read the lyrics of that song or look at the sheet music. Notes buzzing like flies...

What’s Up, Tiger Lily? On Woody Allen and the Screen Translator’s Trojan Horse1

Woody Allen made his transition from stand-up comedy to cinema not as an author, but as a dialogue adaptor and film dubber. In 1966, he transformed a Japanese spy thriller into an American comedy by removing the film’s original dialogue and soundtracks, and then synchronizing a new dialogue of his own penning with the original film’s images. The result wasWhat’s Up, Tiger Lily?(1966), a film where Allen forces a cast of unwitting Japanese characters to act out one narrative visibly as they speak out another audibly. The film suggests a number of intriguing theoretical vectors for those interested in the subject of screen translation as a mode of intercultural appropriation (or misappropriation).What’s Up, Tiger Lily?,first of all, is a comedic exploration of authorial status in cinema. Indeed, the lesser status of “re-writer” becomes Allen’s cover, a way to avoid taking responsibility for a film that not only indulges in the most counterintuitive of experiments in the sound-image relationship, but also creates a particularly condescending form of Asian exploitation. Perhaps most important, however, is the perspective that the film offers on the voice-image antagonism implicit in any foreign-language dubbed film. Allen’s film may well offer a way for theory to transcend the aura of negativity with which academic discourse tends to surround the practice of dubbing, specifically by putting the latter to use in the service of intercultural parody. Michael Cronin’s latest work on globalization and Hollywood (2009) offers some helpful concepts for examining Allen’s film.

A Fragile Cloth

A Fragile Cloth Laurel Blossom (bio) House Held Together by Winds. Sabra Loomis. Harper Perennial. http://www.harpercollins.com. 84 pages; paper, $13.95. This luminous book, selected by James Tate as one of five winners of the 2006 National Poetry Series, is like a piece of transparent Belleek porcelain inherited from a grande grandmother. It is, in every sense, valuable. Its author, Sabra Loomis, author of an earlier volume, Rosetree (1989), and two previous chapbooks, The Blue Door (1995) and The Ship (2001), has won recognition from the Massachusetts Artists Foundation, the Yeats Society, and the British Council, and divides her time between New York City and Ireland, where she taught at the Poets' House, Donegal, for many years. Like Loomis herself, the book divides its observant attention between a privileged American childhood evoked in the precise and yet luxuriant terms we are familiar with from the movies of Merchant Ivory Productions and a present, equally evocative, in the Irish countryside. The first section of the book opens on the glamorous poem "Fur Coats," the imaginative recreation of a child's experience: "There may have been a jaguar. Or a leopard found its way in, from ancient parties on the lawn." This is the grandmother's house, filled with books from "the grandmother's time"—"A house with high-pitched roof and a side porch— // and a light that stayed on, from an earlier generation." It has a silk and satin quality, this section, with its subtly punned "boxes of pins, of old hairpins and opinions," and an edge of mystery and danger. The grandmother is remote in her white bedroom or by the fire reading a book. The servants, Delia and Mary, go on tiptoe. The uncle, a soldier and adventurer, tells stories of mountaineering and war that both fascinate and frighten the child, who is caught by his imaginings. The grandfather is intimidating: "you had to answer / all his questions at dinner." The stepfather, with a touch of menace, teaches her the Japanese game of Go, how "to dissemble...How to create a diversion— / in some other part of the world or house— / some other 'front' of the Go board." The mother, who takes the child to see the movie Flying Tigers (1942), wants her "to see the danger: / how pilots were smashed against windscreens, / fell from the half-open cockpits." In the face of these threats, the child asserts her own strength: She held her keys to her own placeand she was not too delicate. She bided her time in the storms,as winter came and went. House Held Together by Winds finds in Ireland a haven from the childhood made difficult by these characters. In the second section, we are introduced to Loomis's desire to "open" as she feels she may be able to do in the "saddle on the land between Slievemore / and Dooagh." She feels responsible for "My birds and lambs," for "the dark green alphabet of woods / ...of sounda, and of arrows." In the poem "Small Goats," she wants "to feel a kernel / of their presence, the animal peace." She finds her identity in the landscape and the rhythms of a language close to nature: Outside the tiger lilies walk away.They follow the habit of going down over bridges,to a café, by the harbor.The tiger lilies walk down the road to the hotel.They love the hedges, heavy with rain,and the clean scent of bridges. The central section of the book, called "The Trouble I Have in High Places," contains seven remarkable poems about the abusive stepfather who "needed to touch the children with whatever fear was." This is a man who throws children off terraces and boats, who steals their "wilderness," "their childhood home," who takes them "up to the high places, windy and tall— / outside of buildings, up masts and the tallest trees," and who, imitating the bear he once shot in Montana, "tried to come into the children's tents." The delicacy of language Loomis maintains prevents these poems from becoming "confessional" in the airing-of-grievances sense of the word; her reticence demonstrates both the damage done by this horrifying man and...

Variability in the coat protein of Lily symptomless virus isolates infecting various lily species

The coat protein sequences were characterized of Lily symptomless virus (LSV) isolates infecting Lilium longiflorum, Lilium tigrinum, Hymenocalis littoralis (spider lily) and Asiatic and Oriental hybrid lilies in India. The Indian isolates showed 78–96% homology with each other. With LSV isolates from elsewhere in the world, the Indian isolates showed 83–98% homology. The LSV‐L (L. longiflorum) and LSV‐A (Asiatic hybrid) isolates had unique stretches in the middle portion of the protein not found in other LSV isolates, even the Indian ones. The LSV gene sequence from the spider lily isolate (LSV‐S) was reported for the first time outside the Liliaceae. LSV‐S was 84–96% similar to the other Indian isolates at the protein level. The isolate infecting tiger lily (LSV‐T) was found to be different from the characterized isolates from elsewhere in the world (78–84% homology at the protein level). At the same time, LSV‐T showed much variability in the C‐terminal of the protein. A stretch of 41 amino acids in the C‐terminal was unique to this isolate. LSV‐T is proposed as a distinct isolate of LSV infecting L. tigrinum indigenous to India.