Use your noodle to build this DIY drying rack for hanging homemade pasta, herbs, dish towels and anything else you come up with. The folding rack won't take up valuable counter space when not in use.
When opened, the legs of this DIY drying rack will span a standard 32-inch kitchen sink. When closed, the rack can be stowed out of the way next to your cutting boards and cookie sheets.
Cutting instructions for the legs and sides of a DIY drying rack.
Assembly instructions for a DIY drying rack.
This folding rack is perfect for straining homemade cheese over a sink.
You've just read DIY Fresh Pastas: Make Traditional, Whole-Grain or Gluten-Free Noodles, and now you're itching to get flour under your fingernails. If you want to save some pasta for later, you'll need a way to dry those noodles. These plans show you how to build a rack for drying your fresh pasta. The rack is collapsible, so it needn't clutter up your countertop when not in use. You'll find lots of other uses for this rack besides drying fresh pasta — see 10 Things You Can Do with a Folding Rack.
Although these plans direct you to build a pasta drying rack from pine, you can also use oak, maple, or any other hardwood for strength and appearance. Get started by referring to the materials and cutting lists, and then follow these step-by-step instructions to build a rack that will dry yards of pasta over years of use.
1. Cut the rack sides (A) to the length indicated in the cutting list. Mark the positions of the 3/8-inch-diameter holes for the dowels, as shown in the illustration. Bore the holes using a drill press or a drill with a stop collar. Use a brad-point bit (with a center spur to keep the bit in line), and make the holes 7/16-inch deep. Note: The position of the leg pivot holes is critical because it determines how far the legs will splay out when the collapsible drying rack is opened and in use.
2. Use a compass to draw the 1-1⁄4-inch-radius semicircles for rounding the ends of the rack sides. Use a jigsaw to cut the ends to shape, and sand the edges smooth.
3. Cut the rack ends (B) and dowels (C) to length and round the ends slightly with sandpaper. Tap the dowels into the holes on one of the rack sides (A), and then lay the assembly on a flat surface. Position the other side across from it and then, starting at one end, fit the dowels into the holes of the second side. Don't use glue. Note: You can simplify this task by using bar clamps to gently squeeze the sides toward each other as you fit in the dowel ends.
4. Drill pilot holes for the rack ends (B), and then secure the ends between the sides (A) using two 2-inch trim head screws for each joint. Drive the screw heads slightly below the surface and fill the depressions with wood putty.
5. Cut the legs (D) to length, and then mark and drill the pivot holes all the way through the legs as shown. Mark a 3/4-inch radius on the leg ends, and shape them with a jigsaw and sandpaper as you did with the rack sides in Step 2. Cut the leg crosspieces (E) to length, and slightly bevel the ends. Pre-drill the holes to prevent splitting, and then secure the crosspieces to the legs using glue and 2-inch trim head screws. Use a carpenter's square to make sure the leg assemblies are square as you fasten the parts.
6. Create the four small leg pivots (F) by cutting dowels to length and then using sandpaper to slightly taper one end as shown in the leg pivot detail at right. (The tapered ends will allow the folding rack's legs to swing easily.) To install each leg assembly, apply a dab of wood glue to the pivot holes in the legs (D), line up the leg pivot holes with the rack side pivot holes (A), and then tap the leg pivots (F) through the legs and into the sides, with the tapered ends facing the rack sides (A). Note: If you've measured, cut, drilled and assembled the collapsible drying rack correctly, the distance between the bottoms of the legs when swung out should be between 33 and 35 inches, and the legs should fold neatly into the rack for storage.
7. Sand your collapsible drying rack and finish it with two coats of paint or polyurethane to protect the wood from moisture during use.
1. Hang your cheese-straining bag over a bowl or sink.
3. Place the rack over a heating vent to dry damp mittens and hats.
4. Air-dry laundry, dish towels and washrags.
5. Serve breakfast in bed with a tray on top of the rack.
6. Hang freshly cut herbs and spices for drying.
7. Use the rack as a laptop desk when you're working in an easy chair.
9. Keep bugs off your picnic food by draping netting over the rack.
10. Cool pies and cakes on your DIY drying rack.
Spike Carlsen is an author and woodworker whose first article for MOTHER EARTH NEWS was Arch House: A Different Way to Build in 1989. This piece is an excerpt from his terrific new book, The Backyard Homestead Book of Building Projects.
Richard, The article did say you can drain in the sink OR in a bowl. So, you have options. Besides this article just gives you ideas/suggestions, its not the end all beat all way to use it. :-) Never thought to pour whey on a garden or flower bed, my chickens would probably go after it there. Plus, can't you use whey for making yogurt or other things such as pop beverages if you want the fizz of a conventional pop?
I like this project. One thing I noticed about hanging homemade cheese Is letting whey run down the sink.Since I salt my cheese (usually cottage cheese) after draining. I save the whey to feed to my chickens. Or pour on garden and flower beds. it is never a lot at one time but every bit of fertilizer helps. Not complaining about your post just sharing ideas. Whey works great to soak whole oats until soft and feed to meat chickens for a couple of weeks before processing (if you can keep the ducks out of it.) Enjoy reading post on Mother Earth.


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You are here: Home / Body Image / Patricia Leavy Wins National Honor for Arts Advocacy
Patricia Leavy, Ph.D. is an independent sociologist and best-selling author. She has published twenty-four books, earning critical and commercial success in both nonfiction and fiction, a rare feat by any author. Her work has been translated into numerous languages. She is also the creator and editor for seven book series with Oxford University Press and Brill-Sense, the co-founder and co-editor-in-chief of Art/Research International: A Transdisciplinary Journal, and a blogger for The Huffington Post and The Creativity Post.
Patricia has received career awards from New England Sociological Association, the American Creativity Association, the American Educational Research Association, and the International Congress of Qualitative Inquiry. In 2016 Mogul, a women's empowerment network, named her an "Influencer." It was recently announced that Patricia is the recipient of the National Art Education Association 2018 Distinguished Service Outside the Profession Award. Established in 1965, previous recipients include Nelson Rockefeller, Jacqueline Kennedy, and a who's who of vice presidents, governors, senators, and CEOs. Patricia has made history as the first sociologist and first full-time author to receive the honor. Patricia received this award for her internationally recognized work advancing and popularizing arts-based research in both the academy and public. Letters of support called her "a visionary" and "pioneer" and credited her with inspiring countless careers. Patricia is a long-time supporter of Mental Fitness, Inc, and a blogger for We Are the Real Deal. We've spoken with her several times over the years and recently had a chance to chat about her monumental, and indeed history-making, award win.
Congratulations on the NAEA! It's an impressive honor.
Thank you so much. I have a deep love and respect for art educators so to receive this nod from them is quite humbling.
What does this recognition mean to you?
I see this much more as recognition of arts-based research and less about my own work. It's thrilling to see arts-based research, a paradigm that's been formally established for less than three decades, receiving this kind of validation. I'm thrilled for the field and grateful to be a conduit for this milestone.
Your background is in sociology. How did you become an arts advocate?
I was frustrated with the limitations of traditional ways of doing and sharing sociological research. I turned to the arts first in my own work to develop new insights and make my work more accessible, including to public audiences. I was blown away by the power of these approaches, not only in my own work but also work I consumed by others. That set me on this path of advocating for the arts in spheres in which sometimes the arts are excluded or minimized, such as education, the social sciences, and natural sciences.
What is arts-based research?
Arts-based research exists at the nexus of art/the humanities and research/science. ABR involves researchers in any discipline adapting the tenets of the creative arts in order to address research questions. An arts practice may be used during project conceptualization, data collection, data analysis, and/or to represent research findings. These approaches to research are useful for producing new insights and learning; description, exploration, discovery, or problem solving; forging macro-micro connections; evocation and provocation; raising critical consciousness or awareness; cultivating empathy; unsettling stereotypes; applied research; and contributing to public scholarship.
You published a beautiful "love letter to the arts" detailing your lifelong love of the arts. What inspired you to write the love letter?
It was a confluence of extraordinary factors. On a personal level, I had a serious injury to my spine for which I needed surgery. I was in rough shape physically and emotionally. The word that would best define those months is pain. On a political level, the arts and artists were under attack. Funding was being slashed, art education was being undervalued, artists were being threatened and punished for speaking out, and so on. I was deeply saddened that at a time when art was needed more than ever, it was becoming more difficult for artists to create. So as I lay on my back, in a brace and in pain, mourning for my body and mourning for my country, I turned to art. It was the only thing that could lift me out of my grief. I watched concerts, films, interviews with artists at different moments in their careers, and it somehow started to give me strength. Art reminded me that no matter what, we can and must create. We are creative forces. That's when I decided to write the love letter. In part, I wrote it as a thank you to the arts for pulling me out of some heavy duty grief.
You published the first edition of your bestselling book Method Meets Art nearly ten years ago. Have you seen arts-based research grow during that time?
Yes, enormously. Publishers had barely heard of ABR back when I was working on my book proposal. Guilford Press was visionary to take it on. When Method Meets Art first came out there was a groundbreaking book by Shaun McNiff, but very little else out. Within two years of the release several other books came out, and since then many others have been released. The same is true of journals, conferences, book series, and blogs. I think the growth can best be measured though by teaching practices, and certainly it's the best predictor of future growth. There are many more undergraduate and graduate courses that teach ABR.
We spoke last May about the release of your book Research Design: Quantitative, Qualitative, Mixed Methods, Arts-Based, and Community-Based Participatory Research Approaches. In the letters of support for your NAEA award, nominators noted how significant this book is to the teaching of research methods and that you're bringing the arts into research practice in a way no one else has. Can you talk a little about this book?
Research Design is a step-by-step guide to designing research using the five approaches to research: quantitative, qualitative, mixed methods, arts-based, and community-based participatory. Most research methods books focus on two or three approaches so it was a big undertaking. Honestly, the textbook is meant to serve a simple function, which is guiding students in research methods courses and offering a reference to researchers. For me the book wasn't only about adding additional approaches, but also tackling the standard fare in my own way, with lots of social justice examples, ethical guideposts, and instructions for writing a proposal with each approach. For example, all the books include quantitative research but I wanted to offer something unique, with in-depth guidance on constructing surveys, attention to replication studies, and so forth. I wanted to write a user-friendly research design book. So that was the primary purpose. However, I also wanted to document and legitimize all five approaches to knowledge-building, without prioritizing or privileging any particular approach. Each approach is useful for different research questions and purposes. The two approaches in the book that aren't considered standard fare are arts-based and community-based participatory research. So why include these? It's vital to expand how we think about "standard research designs" because the newer approaches were developed during a time of more diversity and inclusion in the field. How knowledge is created, for what purposes, by whom, and with whom, matters. Our taken-for-granted ideas about what is valuable to know and how we best come to know are complicit in relations of power. These assumptions impact our research practices which ultimately impacts our funding structures and what research is funded. Why does this matter to the average person? It matters because it shapes the knowledge we create and put into practice in all areas of social and environmental life. How we create knowledge impacts what knowledge we have. There are real-world implications down to each and every person reading this, including the frameworks people in daily life use to evaluate information presented to them. I felt there were practical and ethical reasons to document the five approaches to research design.
Tell me about Art/Research International: A Transdisciplinary Journal, for which you're co-editor-in-chief.
ARI is an online, open access, peer-reviewed journal that I co-founded with Dr. Diane Conrad. We publish work in all media at the intersection of art and science. There are some wonderful online journals that include ABR or focus on a particular genre of ABR, but we felt it was important for the arts-based community to have an online journal solely devoted to this work. We wanted to create a space for artist-researchers to publish their work. Being online is essential because it allows you to consider works in different artistic mediums. Getting a journal off the ground is a lot of work, more than we probably bargained for, and I'm grateful to Diane as she's assumed the lion's share of the day-to-day operations. We have an extraordinary volunteer staff and they labor hard to put out issues we're all proud of. The reception for the journal has been amazing so we all feel like we're helping to fill a void.
It's rumored that you had paid offers from publishers to start a subscription journal about arts-based research. Is that true? If so, why volunteer instead?
Yes, that is true. Paid offers mean that either authors have to pay submissions fees or that consumers have to pay to access the journal, or both. I felt it was important that the journal is open access. It's no secret that I'm not a big fan of the academic journal system as a whole, in part because so few people have access to it and there's enormous educational bias built-in with people outside of the academy totally excluded. While I did carefully consider other opportunities, in the end I felt it was too important that the journal is open access. The only way it works is if people are willing to donate their time. In truth, there's a limit to how much time I can devote to it, but as a part of a team, it's doable.
You are both a scholar and an artist, with multiple bestselling novels and a recently coauthored collection of short stories on your resume. Do you think being both a scholar and artist has given you unique insight into the potential of the arts in research studies?
Most arts-based practitioners are both scholars and artists so within my community, it's not unique. But yes, it's been a benefit to me. Some arts-based researchers began with a fine arts practice. I started with a research methods background and that's informed how I've tried to make sense of the field, which I've documented in Method Meets Art. In his work on ethnodrama, Johnny Saldaña has written about thinking like a researcher and thinking like an artist. I agree that placing both lenses onto the work makes a difference in how you see and think. Arts-based researchers simultaneously wear two hats. For me, the act of both writing and releasing my novels has affirmed what I already believed about the arts and their potential to illuminate, engage, and disrupt. I had been researching and teaching about women's lives and popular culture for a decade. Yet I learned so much during the process of writing my first novel. I was able to weave insights together that even I hadn't yet connected. Even in reading that novel now, years later, I continue to learn. So on a personal level, I gleaned many new insights. But audience response was the real eye-opener. Releasing that novel and subsequent works of fiction was totally unlike releasing nonfiction. Many readers developed strong, highly personal responses, some identified closely with characters or situations and used the work to prompt personal change, and for others there was deep learning about those with whom they may not share much in common. Impressions were lasting as some readers have contacted me years later, still thinking about particular characters or scenes. So there's no question that my own creative work has taught me the arts hold enormous promise for knowledge-building across subject matters.
Let's talk about your novels. They all center on women's lives and relationships but really they seem to be about women's relationships with themselves. What was your goal writing them?
That's a good observation. I'm a big believer that the most important relationship we have is the one we have with ourselves, which ultimately shapes all other relationships. So yes, that message underscores my novels, albeit in different ways, as each novel has its own theme.
Low-Fat Love became a cult classic and one of the books you're most closely associated with. In the anniversary edition your publisher said, "It is rare to have the privilege of publishing a book that changes the field, blurs academic and trade publishing, and ultimately becomes a landmark text." What does that book mean to you now?
What it means to me keeps changing. When you have success with your first novel you're aware how lucky you are. But it's challenging too when you become closely associated with something and you've moved on to work that you think is better, but it doesn't necessarily have as large an audience. I've spoken privately with some well-known artists about this, the double-edged sword. On the one hand, the success allows you to keep creating, but on the other, people are always interested in the older work. So my relationship with Low-Fat Love has been tricky. But I also continue to receive emails and notes from readers as well as comments whispered in my ear at book events and conferences, that all touch me deeply. I'm truly honored the book has meant something to so many readers and grateful when they share their stories with me. I even continue to get occasional emails from readers that say the book literally saved them from suicide. I mean, that's humbling. So I've landed in a place of gratitude for the book, both what it's afforded me as an author and what it's meant to others. I hear people use the term "low-fat love" now and it makes me smile. I also recently re-read it for the first time since putting out the anniversary edition. I was dealing with a health challenge and feeling depressed. The characters really held my hand. They lifted me up. I'm grateful for that. It made me appreciate the book much more.
True to form, you didn't publish your novels in a traditional way but rather created the Social Fictions series. Creating spaces for others has been a hallmark of your career. The American Creativity Association lauded the Social Fictions series as a "landmark achievement and watershed moment in the academy and publishing" which was just echoed in your NAEA award nomination letters. Clearly the awards committee agreed. Can you describe this series and why you began it?
The Social Fictions series exclusively publishes the products of arts-based research. We publish novels, short story collections, plays, and poetry collections that are informed by research and teaching practices, but written entirely in literary forms. Each book includes a brief academic introduction. I created the series out of necessity. I had written Low-Fat Love and had no idea how I was going to publish it. Typically with a novel you get a literary agent and pitch to trade publishers. But I wanted to publish the novel for both academic and popular audiences. I wanted it to count as research. I had relationships in the academic publishing world but not trade, so I got creative and came up with the idea for the series. After some convincing, the second publisher I approached took it on. It turns out they were the ideal publisher for the series and it's been a wonderful partnership ever since. I think maybe there's a useful message here about applying our creativity not just to our art, but also to problem-solving and creating opportunities when it seem none exist.
What does the Social Fictions series mean to you today?
It's something I remain very proud of. I think we did something special and that even many years later, we're still doing something special and unique. But today social fictions means more to me than just the series. The series launched this concept of "social fiction" which now pops up all over the academic landscape. I wrote a book and several book chapters about fiction as a research practice, but it shows up well beyond my own work which is really wonderful. The term is used in academic articles, books, dissertations, social media, and so forth. Ashleigh Watson recently launched SoFi which is a zine devoted to social fiction. I regularly receive emails from students and researchers wanting to do "social fiction" and seeking to share their work with me or ask for advice. I have no words to express how gratifying it is to see what this idea and series has inspired.
Which do you find more challenging, fiction or nonfiction? And do you have a favorite?
They're challenging in different ways. Fiction demands the most precision, even though that might seem counterintuitive. Fiction requires rigorous attention to language and it can often take a long time to get a small bit that truly works. You revise endlessly. Of course the rewards are enormous. There's such a high when you write something that truly captures what you were after, something that sings. It's quite magical. You start to chase that magic, hunt for it. Sometimes a character says something beautiful that touches you deeply, and you had no idea it was coming. It's an intoxicating process and in the end you're left with these stories and characters that can hold your hand for years to come. Sometimes I think I could write novels forever, but then after a while I miss the process of writing nonfiction which uses a different skill set. My favorite part of writing nonfiction is developing the structure for a book. It can take ages but when you nail it, writing the book is like placing puzzle pieces. Nonfiction is systematic and I guess you could say it's clean, and I enjoy that kind of process. I imagine I'll always work in both genres to some extent, but you never know. I think it's important for authors to experiment and branch out, if only to strengthen their work in their primary genre. I started in nonfiction but feel strongly that writing fiction has made me a better nonfiction writer.
Your work is consistently leading the field, in fact many fields. You literally wrote the book on arts-based research methods, on transdisciplinary research, on fiction as a research method, and so on. How have you managed such a varied and cutting-edge career?
I don't think anyone consciously thinks about those things. For me, it's really that I want to do work that engages me. I don't want to repeat myself because that's not interesting to me. There's a lot of pressure in academia and publishing in general that promotes the idea "repetition is reputation." And it's true to some extent that people are often rewarded for being considered "the person" who does X. I understand why many people make that choice. But it's not for me. I like challenges and I love learning new things. So there was never a conscious decision to do many different kinds of things but rather the research for one project would inevitably teach me about something else and inspire me to do the next thing. I keep chasing that muse.
What is the role of art in society?
Art has many roles in society: education, documentation, pleasure, hope, narrative, challenging stereotypes, moving the needle forward. And of course in these times we're reminded how critical art is for resistance.
What are your hopes for arts-based research and research methods?
With ABR I'd like to see growth: more voices, approaches, funding, publishing spaces, social justice work, and work that crosses over into the public domain. It's also important that more global connections are made. There's often a major western bent in the literature, in part, because we don't all know how to find each other and share what we're doing.
Overall, with research methods, I'd like to see the five approaches to research taught and practices widely, without any privileged over the others. Each approach is useful for different things and each has potential to contribute to knowledge-building.
You have so much publishing experience, I'm curious what you've learned. To start, what's the most important thing you've learned about the publishing industry?
Who you work with matters. Try to work with good teams, good people. You need people who are talented at their jobs, supportive of your vision, and who you enjoy working with. I've had negative experiences with publishers, but for many years now I've been working exclusively with three publishers and it's been terrific. There's mutual respect.
What's one thing you'd never agree to in a book contract?
Right of first refusal. Each project needs the right home and I don't want to be stuck in limbo or in a disadvantaged position during contract negotiations.
What's one thing you must have in your book contracts?
I've found it's less about the contract and more who you're working with. There's a lot of trust. Contracts aren't always honored, but honorable people won't let you down.
You've collaborated with numerous scholars, authors, and artists throughout your career. What have you learned about collaboration?
When it works, it's great, and the sum is greater than the parts. When it doesn't work, it's brutal and it's best to walk away. I learned that the hard way, by staying too long.
Any advice for aspiring artist-scholars?
Develop your own relationship with your work that's linked to a purpose, meaning a way of using your voice in the world. This is really difficult in practice, and we all struggle with it, but it's vital. If you're wedded to how other people perceive your work, you're always at their mercy. If you're work isn't accepted, you may give up or start believing the negative assessments. Innovative work isn't always embraced at first but that doesn't mean it's not valid. If you're work is praised, you may start making decisions based on chasing "success" in the industry, and there's always plenty of pressure to repeat yourself when something is successful. I don't think those roads lead to our best work or our best lives. I've been on all sides of this. I've had my work rejected, criticized, and flat out ignored. I've also had my work embraced by large audiences, praised, and recognized with various honors. So trust me, developing your own relationship with your work, staying true to your vision, and doing what engages you, is key to a long career. I protect my projects and process fiercely, so that I can be creative. I've said this before but it bears repeating, professional kudos are truly lovely, but they do not measure our worth, value, or success. They do not warm us from the inside, occupy our days, or help us sleep at night. Doing work that engages us and serves a purpose is what really matters. The rest is out of our control.
I spent the last couple of years working on a few big nonfiction projects so after that I really wanted to crawl into a creative writing hole. Given all of the social upheaval this past year, it also felt like a time when artists were being called to action. I have a few fiction projects in the pipeline. I'm nearly done with the first draft of a new novel. It's completely different than anything I've written before, sort of an adventure. I'm excited to share I signed a contract with Guilford Press to publish it. It's their first novel. Once I'm done with this I have another novel planned which will be a part of the Social Fictions series with Brill-Sense. It's a sequel to my novel Blue although it can also be read as a stand-alone. I also have a special collection contracted for the Social Fictions series but it's too soon to talk about.
To celebrate her award and share more about her body of work, we're excited to announce that Patricia has agreed to a series of three in-depth conversations which will each focus on different aspects of her body of work. We will be sharing these over the next few months. Each piece will include excerpts she has hand-picked from her books as well as books in the series she edits. And attention authors/researchers, the final two pieces will include open calls for book proposals!
Learn More about Patricia Leavy:
http://www.patricialeavy.com/
https://www.facebook.com/WomenWhoWrite/
Links to Selected Books:
Research Design at Guilford (automatic 15% off & free shipping in US/Canada):
Method Meets Art at Guilford (automatic 15% off & free shipping in US/Canada):
Handbook of Arts-Based Research at Guilford (automatic 15% off & free shipping in US/Canada)
Low-Fat Love
American Circumstance
Fiction as Research Practice
Essentials of Transdisciplinary Research
The Oxford Handbook of Qualitative Research

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Who were the Philadelphian Society?
July 6, 2015 liamtemple
The Philadelphian Society emerged into public view in 1697 and declared themselves to be returning to the teachings of the ancient Church from the time of the Apostles. They took their name from the Philadelphian Church described in Revelation 3:7-8, which promised to 'set before thee an open door' which 'no man can shut'. They strongly denied accusations they were a new sect, but rather insisted that they were a society under which those of all religious denominations could come together. They saw themselves as a way to heal the 'Divisions and Sects of Christianity, all pretending to be the True Church, [which] can not be otherwise cured but by the Effusion of the Spirit'.
They were encouraged by the prophecies of the millenarian and Independent minister Thomas Beverley (d. 1702), who attacked anyone who 'would shut the Door of the worship and ministration of Philadelphian witnesses' to the coming millennium. He dated the coming of the new millennium to August 23rd, 1697, the very day the Philadelphians read out their constitutions at two meetings. Beverley believed that there would soon:
'Certainly be a Subsiding and Sinking down of all Mountainous Church power, into the Philadelphian Plain […] they of it shall worship the Ascending witnesses; For that whole State of things since the Reformation shall be look'd back upon with Repentance, and self Condemnation, as no way Comporting with the Kingdom of Christ, but as One Demeritorious Cause of Sealing the Thunders, or Staying the powers of the Gospel, from bringing forth the Kingdom of Christ. The whole Robe or Garments of that State shall be laid aside, as Defiled'.
The group had its origins in a small spiritual community guided and supported by John Pordage and his wife Mary, formed in the early 1650s, which used their home in Bradfield as its base. This group were loyal to the teachings of Jacob Boehme, and grew in notoriety for supposed visions of devils and angels. In 1649 Pordage appeared before Berkshire county committee on charges of blasphemy, and was eventually ejected from his rectory of Bradfield in 1655. Yet despite his pleas of innocence, Pordage played host to a variety of guests at his Bradfield home that the authorities would have found suspect. Among them was the prophet Elizabeth Poole, the 'Ranter' Abiezer Coppe, William Everard of the 'True Levellers', and Theaurau John Tany, the self-proclaimed Lord's high priest of the Jews.
John Pordage (Credit: Wikimedia Commons)
In 1663 the prophetess Jane Lead joined this group, eventually living with Pordage after the death of her husband left her impoverished in 1674. Lead took over leadership of the group in 1681 after his death, writing the preface to his Theologia Mystica in 1683. She is recorded as staying in Lady Mico's College for Impoverished Gentlewomen in Stepney in 1694, before being joined by Richard Roach and Francis Lee to form the Philadelphian Society. Roach and Lee both attended Merchant Taylors' School in London, and later both matriculated at St John's College, Oxford. Roach was ordained as a priest on 16 March 1690 and was appointed to the rectory of St Augustine, Hackney, a day after his ordination, where he remained until his death. Lee would abandon university due to his nonjuring principles in the summer of 1691, and instead travelled across the Netherlands, Germany and Italy, entering the University of Leiden in 1692 to study medicine. He returned to England in 1694 and married the daughter of Jane Lead, before assuming the main duties of guiding the Society with Roach after their emergence into public view in 1697.
From 1697 to 1704 the Philadelphians continued in their desire to revive ancient ecumenical Christianity, although their meetings were often interrupted by riots and they were subjected to intense criticism and mockery. In many circles they were compared to Quakers, and many feared they would prove to be just as disruptive. The Philadelphians attempted to disprove these claims, but never totally freed themselves from accusations of sectarianism, despite Richard Roach insisting they were still part of the Church of England. One Quaker who attended their meetings, Richard Claridge, described how:
'A few People called themselves by the Name of the Philadelphian Society, having spread some Papers abroad relating to the said Society, and therein given Notice of their Meeting in Hungerford-Market, I was moved this 15th of the 6th Month Called August, 1697, […] to satisfy my self about the People, and their Worship, that made high Pretences to such a peculiar Dispensation of the Spirit, which no other Professors of Christianity, besides themselves (if they may be credited) were under'.
The Philadelphian Propositions, 1697
Claridge witnessed a man with arms crossed, head bowed and eyes shut speak of how God had entrusted them with a 'pecular Dispensation of the spirit' that had not been seen since the 'Apostles Days'. He described a woman identified as Cresilla and dressed like 'the Holy Women of Old' who had talked of the 'Spiritual Flesh and Blood of Christ'. The Philadelphians were apparently not to Claridge's taste, as he concluded that 'The Lord hath shewn me, that this Society is begun in Man's Spirit and Will, and shall soon pass away as a Morning Cloud, or as the Early Dew'.
Claridge's conclusion proved to be accurate, as the group largely dissolved after the death of their main prophetess Jane Lead in 1704. It was only Richard Roach who would attempt to continue the Society, combining it with the Camisard refugees referred to as the French Prophets in 1709. Francis Lee would abandon his Philadelphian principles after the death of his mother-in-law, and later featured in works criticising the French Prophets, his former Philadelphian allies, and visionary experience in general. Despite their almost naive enthusiasm for cross-confessional spiritual friendship and their very real belief in the coming millennium, they could not outlast the criticism levelled at them. A mocking elegy published after their downfall reveals the extent of the hostility and ridicule:
'Good English Folk, come shake both Sides and Head,
For after all her Vaunt Poor Philly's Dead.
Who in this Nation made such a fearful riot,
Folks could not eat and drink their common Dyet.
Nor play, nor fight, nor go to Church at quiet.
Whose notions soard above the starry Sky-Balls,
Beyond the reach of dim, and clearer Eye-Balls.
Icarus like she flew to near the flame,
Melted her waxen wings, and down she came'.
Apetrei, Sarah, Women, Feminism and Religion in Early Enlightenment England (Cambridge: Cambridge University Press, 2010), chs. 6 and 7.
Apetrei, Sarah, 'Epilogue: Jane Lead And The Philadelphian Society', in Ariel Hessayon and Sarah Apetrei (eds.), An Introduction to Jacob Boehme: Four Centuries of Thought and Reception (New York: Routledge, 2014), pp. 92-94.
Hessayon, Ariel, 'Jacob Boehme's writings during the English Revolution and afterwards: their publication, dissemination and influence', in Hessayon and Apetrei (eds.), An Introduction to Jacob Boehme: Four Centuries of Thought and Reception, pp. 77-97.
Hessayon, Ariel, 'Female agony and visionary experience: Jane Lead (1624-1704), her last days and its impact upon the Philadelphian Society, c. 1697-1704', Insititute of Historical Research Podcast, Click here to listen.
Hirst, Julie, Jane Leade: Biography of a Seventeenth-Century Mystic (Burlington: Ashgate, 2005).
Johnston, Warren, 'Thomas Beverley and the "Late Great Revolution": English Apocalyptic Expectation in the Late Seventeenth Century', in Hessayon and Nicholas Keene (eds.), Scripture and Scholarship in Early Modern England (Aldershot: Ashgate Publishing Limited, 2006), pp. 158-175.
Laborie, Lionel, Enlightening Enthusiasm: Prophecy and Religious Experience in Early Eighteenth-Century England (Manchester: Manchester University Press, 2015). Forthcoming.
McDowell, Paula, 'Enlightenment Enthusiasms and the Spectacular Failure of the Philadelphian Society', Eighteenth-Century Studies, Vol. 35, No. 4 (2002), pp. 515–33.
Raymond, Joad, 'Radicalism and Mysticism in the Later Seventeenth Century' in Joad (ed.) Conversations with Angels: Essays Towards a History of Spiritual Communication, 1100-1700 (Basingstoke, 2011), pp. 317-340.
Versluis, Arthur, Wisdom's Children: A Christian Esoteric Tradition (Albany: State University of New York Press, 1999).
Posted in: Civil Wars, Jacob Boehme, Jane Lead, John Pordage, mystical theology, mysticism, Philadelphian Society, Quakers, Radicalism, Ranters, Revelation, Thomas Beverley
Conference Report: Early Modern Catholics in the British Isles and Europe, 1-3 July 2015 →


text:
Five upcoming basketball prospects to watch out from Kerala (Mens)
young prodigies
Thiruvananthapuram: Kerala has always produced some great talents in the field of Basketball. There are innumerable number of basketball tournaments organized annually in the domestic circuits, be it the college tournaments, district tournaments, club tournaments etc. Considering the performances in the current tournaments Data4Basketball picks out five exceptional young players from Kerala who could be champion materials in the future.
Grigo Mathews
A talisman player for Sree Kerala Varma College, Thrissur, Grigo has been a consistent performer in inter college tournaments, district and state level.He is a constant scorer and also provides assists for his team mates. Grigo is one of the most trusted player of Thrissur district team and is the most experienced player of Sree Kerala Varma College. He always finds a way to bring his team back in the match whenever the opposition team is in control. He has a knack of scoring basket with ease which lifts the spirit of his teammates . Grigo is that kind of player who could control the pace of the match and understands the match situations better than other players.
Sejin Mathew
A tall and lanky player, Sejin is one of the highly regarded young player from Kerala. Standing at a height of 193 cm Sejin has played for Pathanamthitta district, Kerala U 16 and Kerala U 21. He is currently the most prolific player of Mar Ivanious team and has recently participated in the Indian Camp. His recent form has been out standing for both state and college team. He has been a vital presence in the recently concluded Khelo India tournament where he score 20 plus points twice. With his composure, height and and ability to read the game, Sebin is certainly one player from Kerala who has the potential to make it big in the world stage.
Prem Prakash
Tall and well built player currently playing for Christ College Irinjalakkuda , Prem Prakash has been an all round performer for all the teams he played for, be it Christ College,Irinjalakuda, Kasargod district team or Kerala .He has formed a formidable partnership with Sejin Mathew when the duo played together for Khelo India tournament. A very tactical player , Prem is good in both defensive and offensive game. He makes crucial blocks and interceptions and also finds the basket consistently for his team. With the right training and inputs, Prem could be a mainstay in Indian Basketball.
Moncy Bovas
Short but sharp; Moncy Bovas is an electrifying point guard for Palakkad district team and KE College, Mannanam. A vigilant player at the pivotal position, Moncy reads the match situations quickly. He is good at launching quick break-ins and counter attacks and has an amazing range of passing skills. Moncy also is capable of finding basket from distance despite his short height. He uses his short height to his advantage to dribble past his taller counterparts and quick inroads into the opposition defense. If groomed under an experienced coach this point guard from Palakkad could be a sensational player in the future.
Sam Jose Sunny
One of the most guaranteed player of Kottayam district team, Sam Jose Sunny is a vastly experienced player who has played for Kerala and is currently the most valued player of SB College, Changanassery. Sam Jose got noticed for his scoring skills primarily but is also acknowledged for his defensive work rate and the ability to lift the spirit of the team he plays for. He has been a vital cog in the Kerala U 21 team that participated in the Khelo India Youth Games 2019. Sam's abilities include his speedy run-ins into the opposition half and finding basket even amidst the most formidable defense . His interceptions and blocking is also highly rated by coaches.


Vacation at homein the Belgium – this can assist to decrease your carbon footprint. An airplane flight from London to Madrid consumes 1 / 4 of your complete sustainable carbon yr. That is the quantity of fossil gasoline every individual could use in all facet of their way of life over 12 months with out contributing unduly to local weather change. A flight from London to Sydney wastes two and a half instances this ration. Trains are the very best low carbon, lengthy distance journey choice by a good distance. Going by ship can be not a nasty concept. The fossil gasoline issue for lengthy distance voyages is minimal: Regardless of carrying 75 per cent of all world trades, delivery and rail added collectively produced 1.75 per cent of greenhouse gasoline emissions, whereas street transport produced 10.5 per cent.
Based on statistics, the variety of Belgium guests to sure French areas has pushed gross sales up by 38 per cent, with many households going for tenting journeys or renting out vacation houses. This is good news for the surroundings as these are precisely the sort of people that would usually journey to far off locations. Specifically, the areas of Brittany and the Pyrenees have been proven to be extremely popular amongst British vacationers in search of the French lifestyle.
As consciousness of the environmental results of lengthy haul flights involves consideration, vacation properties nearer to the Belgium are beginning to grow to be extra well-liked. France, Germany, Belgium and Netherlands are nicely positioned to learn from this demand. And certainly the demand for second properties in these areas will enhance proportionately.
By staying domestically and shopping for domestically you possibly can assist to chop your carbon footprint. It's doable to seek out eco-friendly holidays, the place you possibly can keep on farms, and purchase meals on the native farmers market.
When holidaying within the location la panne, vacation cottages are a wonderful secure wager for a spot to remain, however when you journey additional afield eg. into Europe then it is sensible to chop your carbon footprint by tenting or staying in domestically owned property. Higher nonetheless take into account staying in vacation parks in tents. These may be quite a lot of enjoyable and can provide your loved ones a incredible expertise.


we tried to update our enterprise server on saturday to the latest version and now are getting a 402 response from our installation.
I have seen here (viewtopic.php?f=31&t=10222&p=15185&hilit=402#p15185) that this could maybe be solved by support quickly so I would like to adress it here (support ticket has already been submitted) as we got no response since saturday.
If you have a paid license you should contact support@onlyoffice.com or register here and send us your request.
What instruction you followed to install Onlyoffice? Is it docker, RPM/DEB or exe?
thanks - support has already fixed this - Ticket # 1503: It seems that some outdated licencing info was in the DB. Support has deleted the entries and from there on everthing was fine. Maybe you could look into this, so it doesn't happen again.
Edit: Docker installation - upgrade with control panel.


2018 will probably be at its halfway point before very lengthy, quite a few systems service Miami as well as other IT publication rack residing in 2017, much for his or her hindrance. In tech more than almost every other industry, remaining up-to-date with advances is essential to success. So that you can make sure that you simply come under that category, listed here are a couple of ongoing trends with this particular year within it that you desire to include or at the best consider.
Cybersecurity changes: Along with conventional IT support in Miami, most companies, especially major ones, are actually purchasing cybersecurity. One only needs to look into the wide volume of high-profile hacks over the past handful of many how it's implemented to the victim companies to find out why this is often a worthy investment. 2018 could be the year where we will probably see a number of these investments bear fruit, with cybersecurity measures more and more fully embedded into platforms rather to become an add-on. Be prepared to determine more predictive and cognitive analytics to help companies convey more data to improve their safety precautions too.
More hires: If you're inside the marketplace or searching to move up in the world, now's the here i am in internet marketing speaking to in Miami. Stats demonstrate that Really, close to half of companies (44%) expect budgets to enhance while 43% anticipate no change whatsoever. Overall, expect a 19% rise in IT budgets typically. This can be very good news, since it implies that the appearance of recent tech signifies that more hands will probably be required for doing things. Particularly, it's mainly the biggest businesses that do that, exceeding 60% of companies with 500 employees searching to improve IT, staff. 70% of enormous enterprises (companies over 5000 employees) report they'll hire more IT staff in 2018 too. If you're curious, it seems as if Managed It service Miami will probably where nearly all these new hires in Miami goes.
AL: Probably this isn't the first time you've most likely heard AI stated, even when you are an IT vet. Precisely why it is so important now is niagra is the first time that technologies have grown to be close enough that which you must make sure that AI to start delivering round the promise it's. The primary factor behind this is a hurry of information and understanding analytics technology. We're not able to use AI without data for your machines to know from, that is via both professionals and finished users. The cost of computing, another roadblock, has furthermore gone lower dramatically.
Addressing legacy systems: At the moment, legacy systems occupy over seventy percent of obtainable sources. Part of the issues are financial, these guys stubbornness. Even if relocating to new architecture and systems is unthinkable, for now, it is rarely too early to start giving some thought precisely you'll transition. The greater waiting, the higher you are handicapping yourself.
Next: The best way to Improve Your Netgear Router's Performance?


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Models improve our abilities to make accurate forecasts. They help us make better decisions and adopt more effective strategies. They even can improve our ability to design institutions and procedures. In this class, I present a starter kit of models: I start with models of tipping points. I move on to cover models explain the wisdom of crowds, models that show why some countries are rich and some are poor, and models that help unpack the strategic decisions of firm and politicians. The models covered in this class provide a foundation for future social science classes, whether they be in economics, political science, business, or sociology. Mastering this material will give you a huge leg up in advanced courses.


Ask any parents and the most common problem being faced by them in the current times will bring out the real picture of the educational institutes functioning in our present social system. Fast moving towards the extreme commercialism of this noble profession, the schools and colleges of every major city are no-where less than any corporate business houses running with the sole motive of profits. Have they forgotten their actual task of imparting education to the future generation and Have they completely given up the nobleness of the profession….are the questions raised by this well intended project aptly titled "Paathshaala".


text:
#pragma once

#include <string>
#include <utility>
#include <vector>
#include "paddle/fluid/framework/op_registry.h"
#include "paddle/fluid/operators/math/concat_and_split.h"
#include "paddle/fluid/operators/strided_memcpy.h"
#include "paddle/fluid/operators/utils.h"

namespace paddle {
namespace operators {
static inline framework::DDim ComputeAndCheckShape(
    const bool is_runtime, const std::vector<framework::DDim>& inputs_dims,
    const int axis) {
  const size_t n = inputs_dims.size();
  auto out_dims = inputs_dims[0];
  size_t in_zero_dims_size = out_dims.size();
  for (size_t i = 1; i < n; i++) {
    for (size_t j = 0; j < in_zero_dims_size; j++) {
      if (j == axis) {
        if (is_runtime) {
          out_dims[axis] += inputs_dims[i][j];
        } else {
          if (inputs_dims[i][j] == -1) {
            out_dims[axis] = -1;
          } else {
            out_dims[axis] += inputs_dims[i][j];
          }
        }
      } else {
        bool check_shape =
            is_runtime || (out_dims[j] > 0 && inputs_dims[i][j] > 0);
        if (check_shape) {
          // check all shape in run time
          PADDLE_ENFORCE_EQ(
              inputs_dims[0][j], inputs_dims[i][j],
              "ShapeError: Dimension %d in inputs' shapes must be equal. "
              "But recevied input[0]'s shape = "
              "[%s], input[%d]'s shape = [%s].",
              j, inputs_dims[0], i, inputs_dims[i]);
        }
      }
    }
  }
  return out_dims;
}

static inline int64_t ComputeAxis(int64_t axis, int64_t rank) {
  if (axis < 0) {
    axis = axis + rank;
  }
  return axis > 0 ? axis : 0;
}

template <typename DeviceContext, typename T>
class ConcatKernel : public framework::OpKernel<T> {
 public:
  void Compute(const framework::ExecutionContext& ctx) const override {
    auto ins = ctx.MultiInput<framework::Tensor>("X");
    framework::Tensor* out = ctx.Output<framework::Tensor>("Out");
    PADDLE_ENFORCE_EQ(ins[0] != nullptr, true, "The input should not be null.");
    auto axis = ctx.Attr<int>("axis");
    bool need_resize_out_dims = false;
    if (ctx.HasInput("AxisTensor")) {
      auto* axis_tensor = ctx.Input<framework::Tensor>("AxisTensor");
      axis = GetDataFromTensor<int>(axis_tensor)[0];
      need_resize_out_dims = true;
    }
    axis = ComputeAxis(static_cast<int64_t>(axis),
                       static_cast<int64_t>(ins[0]->dims().size()));

    if (need_resize_out_dims) {
      const size_t n = ins.size();
      std::vector<framework::DDim> ins_dims(n);
      for (size_t i = 0; i < n; i++) {
        ins_dims[i] = ins[i]->dims();
      }

      framework::DDim out_dims = ComputeAndCheckShape(true, ins_dims, axis);
      out->Resize(out_dims);
    }
    auto place = ctx.GetPlace();
    out->mutable_data<T>(place);

    // Sometimes direct copies will be faster, this maybe need deeply analysis.
    if (axis == 0 && ins.size() < 10) {
      size_t output_offset = 0;
      for (auto* in : ins) {
        if (!in || in->numel() == 0UL) {
          continue;
        }
        auto in_stride = framework::stride_numel(in->dims());
        auto out_stride = framework::stride_numel(out->dims());
        StridedNumelCopyWithAxis<T>(ctx.device_context(), axis,
                                    out->data<T>() + output_offset, out_stride,
                                    in->data<T>(), in_stride, in_stride[axis]);
        output_offset += in_stride[axis];
      }
    } else {
      std::vector<framework::Tensor> inputs;
      for (size_t j = 0; j < ins.size(); ++j) {
        if (ins[j] && ins[j]->numel() > 0) {
          inputs.push_back(*ins[j]);
        } else {
          continue;
        }
      }
      auto& dev_ctx = ctx.template device_context<DeviceContext>();
      paddle::operators::math::ConcatFunctor<DeviceContext, T> concat_functor;
      concat_functor(dev_ctx, inputs, static_cast<int>(axis), out);
    }
  }
};

template <typename DeviceContext, typename T>
class ConcatGradKernel : public framework::OpKernel<T> {
 public:
  void Compute(const framework::ExecutionContext& ctx) const {
    auto* out_grad =
        ctx.Input<framework::Tensor>(framework::GradVarName("Out"));
    auto ins = ctx.MultiInput<framework::LoDTensor>("X");
    auto out_var_names = ctx.Outputs(framework::GradVarName("X"));
    auto outs =
        ctx.MultiOutput<framework::LoDTensor>(framework::GradVarName("X"));

    {
      auto dx = outs;
      auto x = ins;
      for (size_t i = 0; i < dx.size(); ++i) {
        if (dx[i] != nullptr) {
          dx[i]->set_lod(x[i]->lod());
        }
      }
    }
    PADDLE_ENFORCE_EQ(ins[0] != nullptr, true, "The input should not be null.");

    auto axis = ctx.Attr<int>("axis");
    if (ctx.HasInput("AxisTensor")) {
      auto* axis_tensor = ctx.Input<framework::Tensor>("AxisTensor");
      axis = GetDataFromTensor<int>(axis_tensor)[0];
    }
    axis = ComputeAxis(static_cast<int64_t>(axis),
                       static_cast<int64_t>(ins[0]->dims().size()));
    // get output tensor that the name is not kEmptyVarName
    std::vector<framework::Tensor*> outputs;
    for (size_t j = 0; j < outs.size(); ++j) {
      if (out_var_names[j] != framework::kEmptyVarName &&
          outs[j]->numel() != 0UL) {
        outs[j]->mutable_data<T>(ctx.GetPlace());
        outputs.push_back(outs[j]);
      } else {
        outputs.push_back(nullptr);
      }
    }
    auto& dev_ctx = ctx.template device_context<DeviceContext>();

    // Sometimes direct copies will be faster, this maybe need deeply analysis.
    if (axis == 0 && outs.size() < 10) {
      std::vector<const framework::Tensor*> ref_shape;
      ref_shape.insert(ref_shape.begin(), ins.begin(), ins.end());
      StridedMemcpyWithAxis0<T>(dev_ctx, *out_grad, ref_shape, &outputs);
    } else {
      math::SplitFunctor<DeviceContext, T> split_functor;
      split_functor(dev_ctx, *out_grad, ctx.MultiInput<framework::Tensor>("X"),
                    static_cast<int>(axis), &outputs);
    }
  }
};

}  // namespace operators
}  // namespace paddle

redpajama_set_name: RedPajamaGithub


Often described as a dead-week, the week between Christmas and New Year is actually perhaps the closest many of us get to an extended period of real genuine non-doing. A time to disconnect from work and just be with your nearest and dearest. This of course can come with its own challenges but as the week is nearly over it's also worth reflecting how precious a week of non-doing is these days.
If my kids read this they would perhaps laugh at the idea of me ever having a non-doing week as there have been chilly picnics at nearby Audley End and several frosty walks through a nearby forest. Yesterday they were promised a lazy day and both declared they would not leave the house, even to venture into the garden.
They kept their word but by today my youngest, a spirited seven year old boy, was asking when that promised trip to the allotment would be. For want of better plan I said how about now and left the hubby in charge of lunch. We walked down to the plot in the fog and enjoyed getting some fresh air whilst aware we were the only people out and about bar a couple of dog walkers. I often make the comparison that having young kids is akin to having a dog, they really do need to get out at least once a day which makes non-doing a challenge to navigate.
Once at the allotment we planted out garlic, dug up some frozen onions and weeded a frosty patch of earth where we then planted out broad beans. No idea if this is the right time to do it, we found the broad bean seeds and went for it. My son enjoyed moving worms out of harms way and breaking a frozen pond in an abandoned plot next door. His hands got soaked and frozen and he shivered all they way home but we both enjoyed a brief bit of purpose amidst the non-doing along with a well-earned flask.
Now I have been out of the house I feel settled enough to enjoy non-doing for the rest of the day! I predict by tomorrow my feet will start itching for action and adventure once more though.
Today's total practice time: In the spirit of non-doing I have done no formal practice all week however I was mindful when I made my cup of tea this morning.
As a dyslexic I have often relied on to do lists and being super organised to get me through the working week. Being organised isn't a natural default setting for most dyslexics and so it is something I have had to cultivate over time. This can lead to a rather rigid approach to life that for me feels rather unnatural.
A while back I started toying with the idea of letting go of to-do lists, and instead embarked on the idea of doing things as the need arises. It's been about three months since I ventured down this experimental path and I can report back that life has been more chaotic than usual. I have been late for things, something us perfectionist dyslexics who have spent a lifetime cultivating strategies to hide their dyslexia, find really difficult. I have forgotten things. And as for a Christmas shopping list – forget it, it all went free form this year.
The surprising thing about all of this though is that none of the above stressed me out, I found myself bathing in the chaos and quite enjoying it. I knew things seemed a shambles at times but I somehow managed to meet it with a friendly curiosity. How do I feel when I am not quite so in control? How late, chaotic and shambolic can I let things get?
It's really healthy and a big part of the MBCT course to nudge ourselves out of our comfort zones. So often that gets translated as eating a curry when really we want chips, which is a great place to start but as a practice can we allow ourselves to go deeper with this and start to challenge the very way we interact with and meet the world?
I like to present as calm, competent and in control and I used to feel discombobulated if I couldn't present that side of myself to the world. But letting go of to do lists has helped me embrace the chaos that is life, especially life with two young(ish) kids.
I bought the kids a book called 'beautiful opps' which teaches every mistake is a chance to learn and grow. I've been battling against the chaos of parenthood for a long time but now I feel ready to embrace the mess and the chaos, confident it won't completely submerge me.
As I finished off my Christmas shopping today – yes the 23rd December – amid the crowds that would normally have annoyed me while I cursed myself for leaving it so late, I found myself instead doing a wry smile and wishing all the lastminute.com shoppers like myself well, us chaos prone types need to stick together!
Today's total practice time: None so far but I plan to hide in the kitchen at some point and do 10 minutes breath meditation!
As any busy member of a book club can testify once you start reading for a book club it can sometimes prove a challenge to fit in any other reading. Recently, thanks to not being able to get hold of one particular title, I found myself at liberty to choose any random book off my book shelf.
I chose 'Eyeless in Gaza' by Aldous Huxley. Bought well over a decade ago, inspired by reading Brave New World in the first book club I was ever part of, a group that discussed and dissected dystopian classics in Central London on Tuesday nights, filled with anarchists and radical feminists. Fast forward ten years and now I am part of a suburban book club, a group of mums who wanted an excuse to escape the drudgery of motherhood to discuss books and drink wine, authors have included Caitlin Moran and Julian Barnes, nothing too taxing on the whole. It's great fun reading other people's choices but I also miss choosing for myself.
'Eyeless in Gaza' is the most Buddhist novel I have ever read, not that I read many Buddhists novels, in fact I would probably actively avoid them being a secular mindfulness practitioner but it's message was basically – get to know your mind, choose a different path and liberate yourself from suffering.
I was blown away by the quality of the writing, the skillful way the story weaved between various time frames and characters. Written in 1936 it felt very relevant and prescient in many ways. Themes covered were love, lose, betrayal, abortion, homosexuality, addiction, disconnection, war, bullying, public school life, bereavement, redemption, forgiveness, patriotism, pacifism and having the curiosity to try to live a different life. And at the heart of it all was compassion. It is essentially about how one man shifts from a position of recoiling from life to embracing it.
It's a month since I read it and I quite possibly can no longer do it justice. For a book club book I sometimes make notes, as I was reading for personal pleasure I made no notes and so all the quotes I enjoyed are lost somewhere in the 500 page text but if you are looking for a compelling Christmas read that covers life, death and how to live and train the mind and walk a different path I can't think of a better, more relevant read.


text:
EXPLOREMY LIBRARYWHY ZINIO?
Home/Food & Wine/Louisiana Cookin'
Louisiana Cookin' March/April 2021
Louisiana Cookin' is the only national magazine for the connoisseur of Louisiana's unique culture, cuisine, and travel destinations - and now you can enjoy every single page on your tablet! Each issue contains more than 50 authentic recipes, with tips from professional chefs and home cooks alike.
Buy Issue
LAST SEPTEMBER, I had the pleasure of serving as a judge for the Louisiana Seafood Cook-Off, which aired virtually on Facebook. Ten chefs from across Louisiana competed in LASCO@Home, as it was called, for the title of King or Queen of Louisiana Seafood. The virtual format gave the competitors and the Louisiana Seafood Promotion & Marketing Board a chance to inspire viewers to make dishes at home with fresh Louisiana seafood. Additionally, the cookoff inspires people to support Louisiana's seafood industry, which plays such a crucial part in our cuisine. Find out more about the 2020 event on page 17. This issue is an homage to Louisiana seafood and the star of springtime in the Bayou State: crawfish. Within these pages, you'll find more than a dozen new and classic seafood…
Spillin' the Beans
New & Irresistible
GOV'T TACO BATON ROUGE Jay Ducote opened the first brick-and-mortar location of his government-themed taco shop on Election Day this past November. At its new home on Government Street, the menu features tacos such as Clucks & Balances (smoked chicken thigh, pimiento mac and cheese, Nashville hot chicken skins, and white barbecue sauce) and the Magna Carrot (cane-glazed carrots, black bean purée, goat cheese, chimichurri, and pepitas). The bar menu features margaritas, palomas, cocktails, wine, and beer. govttaco.com LILAH'S BROADMOOR BUNNERY SHREVEPORT Sopan "T.K." and Lisa Tike of Lilah's Bakery opened a cinnamon bun bar and bakery in December. The new bakery will operate year-round as a cinnamon bun bar and a pickup location for Lilah's king cakes. In addition to Lilah's original cinnamon buns, Lilah's Broadmoor Bunnery serves specialty and seasonal buns,…
Light & Fresh
Light & Bright
THERE'S A LOT TO LOVE about Louisiana Gulf shrimp. Their delicious flavor works well in all sorts of dishes, from heavy gumbos and jambalayas to lighter fare like soups and salads. Additionally, shrimp are low in calories and fat yet rich in protein and nutrients like vitamin B12 and phosphorus, making them a nutritious add-in to this flavorful salad. With seared shrimp and a variety of vegetable mix-ins, it feels light but is still filling as an entrée. A simple vinaigrette made with freshly squeezed lemon juice adds a bright, acidic flavor while mint leaves give this salad a fragrant burst of coolness. SHRIMP SALAD WITH LEMON VINAIGRETTE MAKES 4 TO 6 SERVINGS This green salad is packed with lightly seasoned shrimp and plenty of veggies, including baby artichoke hearts and roasted red…
Spring Stalks
ASPARAGUS IS AVAILABLE throughout the year, but spring is when the flavor of this delicious vegetable truly shines. In Louisiana, asparagus is harvested from mid-March until early May, and the tender, crisp stalks are plentiful at local farmers' markets and grocery stores. Fresh asparagus brings a bright flavor to any recipe, no matter how you cook it. The versatile vegetable can be enjoyed any number of ways, but we've come up with a few dishes we think you'll love, including a creamy risotto, a hearty panzanella salad, and roasted spears over whipped goat cheese. SHRIMP AND ASPARAGUS RISOTTO MAKES 4 TO 6 SERVINGS A drizzle of tarragon-infused oil brightens up this Shrimp and Asparagus Risotto. 6 cups water1 pound large fresh asparagus, trimmed1 tablespoon plus 1 teaspoon kosher salt, divided¼ cup unsalted butter1 pound…
Afield & Afloat
Crawfish Dish Royalty
I AM OFTEN ASKED about the differences among Louisiana's top three crawfish dishes—crawfish stew, crawfish étouffée, and crawfish bisque. While all are delicious, the differences among them are the roux, vegetable seasonings, and stock. Originally, crawfish stew was made with pork fat (lard), which is heated to the smoke point (about 375°). That's when an equal amount of flour is added. When the roux smokes again, diced onions are added, immediately dropping the roux temperature to prevent burning. The dark brown roux of the Cajuns has been achieved. As the onions cook, a sweetness is released, which flavors the roux. Seasonally, green onions or shallots might be substituted. Crawfish tail meat, including the fat, is added, along with water, and cooked until a stew-like consistency is achieved. As the stew simmers,…
Louisiana Foodways
Honduran Soul
CHEF MELISSA ARAUJO may not have realized that she'd be opening a modern Honduran eatery in the Bywater when she started cooking in New Orleans, but she feels it was her destiny. After an extended internship in Italy, Melissa honed her skills at notable Crescent City restaurants—including Mondo, Restaurant R'evolution, and Doris Metropolitan—and even opened a successful catering company but felt something missing. Out of a yearning to return to the kitchen and reconnect with her childhood summers in Honduras, Melissa opened Alma as a pop-up at the former Roux Carre culinary hub in Central City New Orleans. People responded to her soulful and authentic interpretations of Honduran classics, like baliadas (a street taco often filled with egg, refried beans, crema, queso, and avocado), but the timing wasn't right to open…
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Duplex Villas at Sobha International City Gurgaon are twin-family independent homes with lower unit comprising Ground Floor & Basement and upper unit comprising First & Second Floor, providing a secure and convenient urban community living experience.
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