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Home Entertainment Profile of Former Chi Chi Member Lee Si-a
Profile of Former Chi Chi Member Lee Si-a
All About Actress and Former Girl Group Member Lee Si-a
Lee Si-a is a South Korean actress. She debuted as an actress in 2013. Before this, she was a member of the Korean girl group Chi Chi which debuted in 2011. Lee Si-a has already starred in a lot of dramas and has established her career as an actress really well.
Let's get to know more about Lee Si-a!
Full Profile and Facts
Real Name: Lee Ji-a
Birthday: July 10, 1990
Origin: Seoul, South Korea
Education: Sungkyunkwan University – Performing Arts
Occupation: Actress, Singer
Specialty: Acting, Drawing, Singing
Hobbies: Yoga, Reading
Years Active: 2011 – Present | 2011 – 2013 as Chi Chi member
Agency: Trophy Entertainment, Tokuma Japan | 1n1 Stars, Artist Company
She can speak in Korean, English, and Japanese.
Her favorite music genres are soul and R&B.
She debuted as a Chi Chi member in 2011, but they later disbanded in 2013.
She became a model for Kim Jae-joong's music video Just Another Girl in 2013.
She became a contestant on episodes 1 to 3 in 2013 on MBC Every1's Korean Art Idol Competition – Everyone Gather!
Lee Si-a as a Chi Chi Member
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Lee Si-a debuted as a Chi Chi member. Chi Chi stands for "Creative Electronic House Idols" and was under Trophy Entertainment in 2011. Lee Si-a debuted with the stage names Shine when she was still under Chi Chi and E Xia when she was a soloist. The group was active in Japan and Korea but later disbanded in 2013. She became active as an actress afterward and is still active in the entertainment industry until now. Before Chi Chi's disbandment, there were a lot of rumors saying that Shine was being abandoned by other Chi Chi members.
Dramas and Movies
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Lee Si-a pursued an acting career right after Chi Chi was disbanded in 2013. She made her first appearance as an actress through MBC's drama Hur Jun, the Original Story as a cameo in 2013. Slowly, Lee Si-a gained public attention for her acting skills. Although most of her appearances were only as supporting roles or cameos, Lee Si-a gains public and worldwide attention slowly for every drama and movie project she takes. Here is the list of Lee Si-a's dramas and movies.
Lee Si-a's Drama List
Year Drama Title Role Network
2013 Hur Jun, the Original Story Lady Yu (Gwanghae's wife; Guest appearance) MBC
2014 My Lovely Girl Yoo So-eun SBS
2015 More Than a Maid Heo Yoon-ok jTBC
Cheo Yong – Season 2 Han Ji-soo (Special appearance, Ep. 6) OCN
Remember Kim Han-na (Special appearance, Ep. 5-6) SBS
2016 Signal Kim Won-kyung tvN
Doppelganger Yeon-joo (Web Drama) Naver TV Cast
The Unusual Family Kang Dan-yi KBS
2017 Tunnel Shin Yeon-sook OCN
Suspicious Partner Lee Na-eun (Special appearance, Ep. 6) SBS
2018 Mr. Sunshine Choi Yoo-jin's mother (Special appearance) tvN
Let Me Introduce Her Ji Eun-han SBS
Lee Si-a's Movie List
Year Movie Title Role
2017 Lucid Dream Mi-yeon
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Advent candles spark church fire
Baxley First United Methodist Church was damaged by fire Sunday afternoon, Dec. 15. No injuries were reported.
Church leaders say the fire was an accident that started in the pulpit area where candles on an advent wreath were left burning unattended.
"We're brokenhearted, but we know that buildings can be replaced," said Rev. Steve Meguiar, pastor of Baxley First UMC. "We're very blessed that it was reported as early as it was."
A passer-by who saw smoke coming from the church called the mayor and first responders.
The Sunday afternoon fire left Baxley First UMC standing, but much of the interior – including a piano, an organ, and projectors – was damaged. A communion table, a nativity set, lights, and flooring were destroyed.
In the midst of the devastation and loss, there have been several miracles. The church's pulpit Bible, from 1968, somehow survived without a single singe. The new Chrismon tree was also spared. The community and connection's rapid and overwhelming response has been another miracle, Rev. Meguiar said.
"We just have a wonderful, wonderful community," he said. "They've really been rallying around us."
Rev. Paula Lewis, superintendent of the South Central District, was in Baxley at the time of the fire and went to pray with Rev. Meguiar and the congregation.
"Even in the midst of tragedy, God is still with us and Christ is still on the throne," she said.
Sunday morning, the congregation celebrated the Third Sunday of Advent and lit the candle for joy. During a time of prayer, they gave thanks to God for His blessings. Two people offered thanksgiving for the Baxley First UMC sanctuary and Rev. Meguiar gave thanks for first responders.
"We prayed for them that morning and they ended up coming and helping us that afternoon," he said. "That's kind of a cool thing."
The sanctuary was built in 1929. Worship services will be moved to the church's family life center while repairs are made to the sanctuary.
During this time of Advent, when many congregations use candles, Rev. Lewis and Rev. Meguiar urge everyone to make sure candles are extinguished before leaving. Rev. Lewis also praised Rev. Meguiar and the Baxley First UMC congregation for quickly jumping into action following the fire.
"It's important for churches to talk about what to do if something like this were to happen," she said. "Being prepared and being ready to be the Church when tragedy happens is important. They were really great at that yesterday."
In the midst of their grief, church members are cleaning up and pressing on.
"There's always hope," Rev. Meguiar said. "We have a remarkable group of people and church family. Our hearts are broken, but we never give up."

redpajama_set_name: RedPajamaCommonCrawl


Summertime Accessories can be tricky, especially if you're spending most of your time at the beach or by the pool (I'm Jealous). So, I usually wear minimal pieces that are easy to throw on and take off. I was gifted this perfect summertime accessory and you're not going to believe what it is….a WOOD WATCH! Jord Watches created this beautiful piece and let me tell you is it so pretty! The beautifully crafted wood band is light weight and gives me all the beachy vibes. Although I can't be at the beach all summer long, it's nice to have this piece around to remind me of the hot summer sun & all of my exciting travel plans coming up!
I chose the Zebrawood & Champagne watch from the Frankie Collection. I love the minimalist design of the watch and that you can get it engraved to really personalize it. The watch comes with a beautiful wood box that you can continue to use and store your Jord timepiece. So wether you need a unique gift idea, or a summer treat for yourself Jord watches are perfect.


Cozy family apartment, well located in Reykjavik.
Swimming pool in walking distance. Playground for children in the garden. Two balconies, one facing the garden, the other with panoramic views over Reykjavik.


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Don't fear sanctions over energy supply plans, US tells Lebanon
Ambassador Dorothy Shea handed Lebanese PM Najib Mikati a letter from the US Treasury allaying fears
A view of Lebanon's capital, Beirut, with the lights on only in some buildings. Lebanese rely on highly polluting diesel generators run by private neighbourhood operators to make up for shortfalls in electricity supply from the state utility. EPA
The US ambassador to Lebanon has told the Lebanese government it should not worry about the effects of a sanctions law on Syria as it plans to import energy and supplies from across the region, the office of Lebanese Prime Minister Najib Mikati said on Friday.
Lebanon, which is grappling with a deep financial crisis, is looking to import energy from fellow Arab states to ease an acute power shortage, but supplies would have to transit through Syria, which is subject to a US sanctions law.
US Ambassador Dorothy Shea handed Mr Mikati a letter from the US Treasury Department "to answer some of the concerns the Lebanese authorities had regarding regional energy agreements that the United States helped facilitate between Lebanon, Jordan and Egypt", the statement from the prime minister's office said.
Lebanon's Nabatiyeh rocked by overnight explosion
Ms Shea said the letter "represents forward momentum and a major event as we continue to make progress towards more sustainable and cleaner energy to help address the energy crisis facing the Lebanese people", Lebanon's National News Agency reported.
Under a plan agreed to by Lebanon, Egypt, Jordan and Syria in September, Egyptian gas will be piped to Lebanon via Jordan and Syria to help boost Lebanon's power grid, which now delivers a few hours a day of electricity at best.
The plan, which has US backing, aims to pump the gas through a pipeline established about 20 years ago.
However, the plan has been complicated by US sanctions on the Syrian government, led by President Bashar Al Assad, prompting Lebanese officials to ask Washington to grant an exemption.
MENALebanon
Jordan 'to sign electricity deal with Lebanon next week'
US sanctions three Hezbollah financiers in Lebanon
Beirut port blast probe faces risk of new obstruction
Lebanon's Cabinet boycott ends but new challenges await amid economic ruin


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Alan Turing is the face of new polymer £50 note
New note is expected to enter circulation by the end of 2021.
By Campbell Kwan | July 16, 2019 -- 02:13 GMT (19:13 PDT) | Topic: Innovation
The concept design for UK's new polymer £50 note, featuring Alan Turing.
(Image: Bank of England)
Alan Turing, one of the pioneering figures in modern computing, has been chosen to be the face of the UK's £50 note.
The selection process for who would appear on the new note was open to the UK public, which provided over 200,000 votes for nearly 1,000 different nominations. These nominations were whittled down to a shortlist that included the following people: Mary Anning, Paul Dirac, Rosalind Franklin, William and Caroline Herschel, Dorothy Hodgkin, Ada Lovelace and Charles Babbage, Stephen Hawking, James Clerk Maxwell, Srinivasa Ramanujan, Ernest Rutherford, Frederick Sanger, and Alan Turing.
Turing was ultimately chosen from the shortlist, the Bank of England said, with the bank consulting with scientific experts when making the decision.
"Alan Turing was an outstanding mathematician whose work has had an enormous impact on how we live today," Governor of the Bank of England Mark Carney said. "As the father of computer science and artificial intelligence, as well as war hero, Alan Turing's contributions were far ranging and path breaking. Turing is a giant on whose shoulders so many now stand."
See also: Alan Turing: 10 ideas beyond Enigma
The Banknote Character Advisory Committee had announced in 2018 that the face of the UK's £50 polymer note would be someone who worked in the science field.
Turing is famous for creating the theoretical underpinnings for the modern computer, which includes his development of code-breaking machines during World War II, in addition to helping create early computers at the National Physical Laboratory and at the University of Manchester.
He also created foundations for work on artificial intelligence by considering the question of whether machines could think.
The decision to anoint Turing as the face of the £50 polymer note follows the Queen in 2013 issuing a posthumous royal pardon for unjustly convicting him of being a homosexual, which was illegal at the time. As a result of his conviction, he was chemically castrated and lost his security clearance to work for the government.
"His later life was overshadowed by his conviction for homosexual activity, a sentence we would now consider unjust and discriminatory and which has now been repealed," then-Justice Secretary Chris Grayling said at the time of the pardon being issued.
"Dr Turing deserves to be remembered and recognised for his fantastic contribution to the war effort and his legacy to science. A pardon from the Queen is a fitting tribute to an exceptional man."
See also: Cyber spies take a step out of the shadows with history of codebreaking
The new polymer £50 note design has not yet been finalised, but it will feature a 1951 photo of Turing, a table of Turing's mathematical formulae from his 1936 paper On Computable Numbers, with an application to the Entscheidungsproblem -- which has been widely recognised as being foundational for computer science -- and his signature from the visitor's book at Bletchley Park, among other details.
Bletchley Park, the iconic estate where Alan Turing and many other codebreakers helped decrypt Nazi communications, is currently home to UK's first National College for Cyber Security.
The college is aimed at nurturing the cybersecurity skills of 'gifted' 16 to 19-year olds, and is backed by QUFARO, a not-for-profit body created by senior figures at Cyber Security Challenge UK and the National Museum of Computing at Bletchley Park.
The new polymer £50 note is set to be rolled out in 2021.
UK code breakers release Enigma war machine simulator
You can also try out Bombe and Typex code-cracking for yourself.
Colossus veteran salutes Bletchley Park's first cyber-security graduates
Some of the first students to complete Qufaro's cyber-security course were presented with their certificates by a 94-year-old Colossus code-breaking veteran. The online course is a step towards setting up a cyber-security college at Bletchley Park.
Last chance to put a Bombe in the UK's National Museum of Computing
The National Museum of Computing at Bletchley Park is crowd-funding £50,000 to build a new gallery and install the electro-mechanical Bombe codebreaking machine alongside its Colossus rebuild. The deadline is 9.30am on Tuesday 13 March.
The secret to being a great spy agency in the 21st century: Incubating startups
What happens when a top secret intelligence agency turns to entrepreneurs to help build new tools to protect a nation from cyberattacks? GCHQ found out.
Cracking Hitler's unbreakable code: How the Colossus computer helped beat the Nazis (TechRepublic)
Hear recollections from Bletchley Park veterans on how efforts to crack the Lorenz cipher led to the creation of one of the world's first computers.
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GAINESVILLE, FL: The College of Engineering Dean's Advisory Board (DAB) held its spring meeting on Thursday, March 14 with Carlos Del Sol (BS IE 1972) serving as Chair. After introducing himself, del Sol offered a draft of Board By-Laws as well as a committee structure, covering topics of Education, Diversity, Development and Research/Industrial Relations.
"My objective is to harness the full potential of the advisory board to support the Dean," said del Sol. He retired as Vice President for Global Engineering at the Campbell Soup Company. In this position, he was responsible for supporting operations worldwide. Prior to joining Campbell Soup, he held positions in manufacturing, engineering, production, logistics, and advanced manufacturing technology. "I didn't know I'd be working this hard in retirement," he said with a laugh.


A detached house in Dublin has become the first property in the UK to be sold at auction using Artificial Intelligence.
Clicktopurchase launched its AI auctioneer, gAbI, in April of this year. The home on Sweeney's Terrace was sold by agency Allen & Jacobs, at a guide price of €250,000. The final bid came in at €345,000.
The home sold on Sweeney's Terrace, Dublin.
Artificial Intelligence auctioneering by Clicktopurchase emulates the old-fashioned ballroom experience, where bidders interact with the auctioneer in real time, see other bids and comments from the auctioneer, and react accordingly.
The AI auctioneer, gAbI, controls the bidding, encourages offers, and closes the sale when appropriate. Human error or manipulation cannot occur, instilling total trust in the process for all involved.
The sale process also incorporated Clicktopurchase's blockchain technology, which provides online exchanges, digital signatures, and anti-money laundering measures.
Gary Jacobs, director of Allen & Jacobs, said of the experience: "I'm delighted with the smooth running of our auction. From start to finish, the bidding was kept going at a good pace whilst allowing ample time for the bidders in the room to bid. It also ensured that we had plenty of time to get all our verified bidders into the online auction room and also allowed us to be able to interact with our client during the auction.


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MONTREAL, Que. /Troy Media/ – The Canadian population is aging. For the first time, Canadians 65 years and over outnumber those 14 years and under. To face this major demographic change head on, we need to adapt. In particular, to meet the preferences of the great majority of Canadians who want to age in the community, we must rethink how we support the caregivers who make this possible.
In a recent journal article, my colleague and I argue we must begin by recognizing that the fragmentation of the health and social systems generates a substantial burden for caregivers. Yet this structural burden of caregiving often goes unrecognized by the system, not to mention caregivers.
Part of the reason is that research has mainly defined caregiving burden in terms of the time and stress it takes to provide care to another person – helping with daily tasks and personal hygiene, for instance.
But what about the time spent negotiating health-care systems, scheduling and getting to and from treatments, often in the middle of the day, figuring out which services will be covered and under which circumstances?
That part of the burden isn't well-articulated, measured or understood. And it certainly isn't often appreciated.
As academics in the fields of aging and health services research, we only came to fully realize what this part of caregiving means to the caregiver when we began more actively providing care for our aging parents. We thought we knew what we were getting into.
We anticipated that providing direct care would be challenging and we knew what help to seek and where.
What we weren't prepared for was how much time we would spend and stress we would experience trying to understand, negotiate and manage medical and social care for our loved ones.
Particularly surprising was that we both encountered this problem via two very different health systems: in Quebec and Florida. Of course, financial worries for health provision were much less prevalent in Quebec than Florida, but they were not altogether absent, as the home and long-term care sector is very much privately financed in Quebec (and throughout Canada).
And despite the difficulties we encountered, we recognized that our positions, in terms of education, income and even profession, gave us more social currency and health-care literacy than most – and likely helped us gain information and access services. This realization left us concerned for the potential that this structural burden has for exacerbating social inequalities among patients and caregivers.
The market has already figured out this opportunity. Private services exist in both countries to assist caregivers navigating the system. This indicates there's a real need and that shortcomings in the public sector are being fulfilled by the private sector, at the cost of equitable access.
First, the structural burden of caregiving has to be included in health policy research and health reform.
For example, most surveys on caregiving only question how much time caregivers take feeding or bathing their care recipient, or providing other daily tasks such as taking out the trash.
We should increasingly ask how much time and stress is expended by caregivers negotiating with medical and social care systems, trying to figure out which services are available and when. The answer might surprise many health policy analysts – but it won't surprise caregivers.
With these numbers in hand, we could advocate for support from governments to fund public navigator services. These services exist in certain areas, such as in cancer and palliative care, but they're not widespread and readily available to individuals without such clear diagnoses and prognoses. In our experience, it would have made a world of difference to be able to rely on such support.
It's also important that everyone understand the time and stress involved in managing care and negotiating services is also caregiving. It can be a substantial burden that should be acknowledged and recognized.
Because if we don't care for the caregivers, who will?
Amélie Quesnel-Vallée is an expert adviser with EvidenceNetwork.ca, the Canada research chair on Policies and Health Inequalities and director of the Observatory on Health and Social Services Reforms at McGill University. Miles Taylor is associate professor of Sociology and faculty associate at the Pepper Institute on Aging and Public Policy at Florida State University and a Fellow of the Gerontological Society of America.


Paul and I finally agreed on Tenerife – geographically Africa but socially and consumerly, Europe. I spent hours ploughing through Homeway and spain-holiday.com to find a child-friendly property. I found one in San Miguel – far enough, I reckoned, to not hear the last calls from the pubs in Playa das Americas but near enough to get baked beans if necessary. It had a cot, highchair, microwave, an enclosed courtyard with banana trees so Leo could feed himself as well as not escape. And they knew someone who could babysit. It was always hot in the Canary Islands. There were short flights from Seville. Perfect.
We kicked and screamed into north Tenerife, Leo loudly, me silently, Paul in German. Leo had managed to escape the seat belt and was somewhere between my legs and the floor. I apologised to everyone on the plane. Fortunately they were all Spanish so no one minded.
'Ciao-ciao,' Leo said to everyone, smiling, completely in denial that he was responsible for almost deafening the entire plane for two hours non-stop. He then promptly fell asleep as I carried him to the carousel to get the bags and pushchair.
I was exhausted. I fell asleep with one foot on the trolley and the other on the pushchair while Paul spent a further two hours trying to find the hire car, then followed a further three hours stuck in traffic (traffic jams in Tenerife? An Ikea?) It was night time by the time we found San Miguel and another hour before we found the house.
'No cot? But it said…' I was about to launch an attack but realised I would get nowhere as it was not her property and she'd already told us that she hadn't been paid and that the owner hadn't been out for two years. There was no cot, no highchair, no microwave, no hairdryer, the TV didn't work, there was no hot water in the kitchen, the most the fridge could manage was room temperature and there were rickety steps leading from the courtyard. And it was cold and damp. Only the thought of two hours on a plane kept me from flying home. So I simply cried, put two single beds together for myself and Leo, and left the milk bottles outside the bedroom door as I reckoned it was cold enough and the bedrooms were outside of the main house.
'It will be better in the morning with the blue skies and sun,' Paul said calmly, strangling a bottle of red wine as he tried to open it.
We woke to grey clouds. We climbed the rickety steps and found a terrace with a view to the sea – and a local dump. We went shopping – together with two thirds of the island on a pre-Xmas binge. But amongst the shoppers I found nappies, Puleva milk for Leo – even baked beans. And we bought a hairdryer in a Chinese shop. The sun came out. We had coffee in a marina. Things were looking better.
There are two main attractions in Tenerife: Loro Parque and the cable car up the volcano. On Xmas day we went up into the Natural Park and entered a black and burnt orange crunchy and sculptural landscape. Up and up. We left the clouds behind. 2000 metres and climbing. Snow glistened from the top of the Teide volcano.
'Up! Up!' cried Leo, pointing out the window.
We parked and toddled up a barren hill to look at the mountains, the rock formations and dusty ground. I sat waiting for hobbits to appear from over the rocks, a Gollum perhaps, but there was only the occasional tourist.
The cable car was closed due to ice and/or Xmas – I wasn't sure which due to two different notices. So, instead we went to Puerto de Santa Cruz, a west coast town with smooth black beaches and old buildings. I love black – and so I was at home in the black sand. The interminable journey round the mountains prevented us from ever going back to Puerto de Santa Cruz and the other main attraction, Loro Parque (an animal and marine zoo).
Leo coped well with the travelling. Eating was much trickier. Especially eating out. How do you eat out with a toddler? He's too big for a high chair (and wouldn't stay put anyway) and he won't sit on a chair for longer than about 2.5 seconds. Fortunately in a way he was on hunger strike. I think the only thing I managed to get him to eat in a week were a few baked beans. The rest inevitably would go on the floor or over me. We did find a café in the village with a children's room: brightly lit with a slide into a paddling pool of coloured balls, a push motorbike and some little dens. Paul and I managed to eat a pizza there one night – almost together. The rest of the time we had to eat in relays – while the other person took care of Leo. Eating at the house wasn't much better as Leo had learned how to move a chair and could reach a whole new world that was forbidden. It was tiring.
I began dreaming of a restaurant with a crèche. Not for romantic couples but for couples with children who enjoy food and eating out. I imagine a large room with the central part matted and crash proof, lit up with colourful lighting and a supervised little fun island for youngsters to explore and then tables around the outside with dimmed lighting so that parents could observe but not have to chase around after the kids. And eat.
On the last day as I was heating up a pan of water to do the washing up, I said to Paul, 'I have enjoyed it – despite difficulties.' It was true. We hadn't quite made it to the two main attractions but we had seen new things, different places, people. My senses felt refreshed – albeit the rest of me completely knackered.
'Good,' he replied and smiled.
On the plane as Leo was screaming again from the floor and even the Spanish were muttering beneath their breath, I began to think if this was really worth it?
In the park of the Pyramids of Guimar.
This entry was tagged difficulties of travelling with toddlers, flying with toddlers, Tenerife, toddlers on holidays. Bookmark the permalink.
Thank you, Caroline, and thank you for reading. Sorry for late response – afraid toddlers gobble up time! I've tried to submit articles to The Guardian before – Travel section – but no response. I think they keep closed doors but may try contacting the Family section and see if they're open for articles.
Hi, Lisa. I tried to contact you by the email in your website, but it seems your inbox is full. I am a Brazilian author whose first language is Portuguese but who's trying to write fiction in English. I would like to have some "creative writing feedback" on my fiction. Do you still accept this kind of job? Thank you very much. Best regards, Lucas Nicolato.
Hi Lucas. Thanks for contacting. I will email you a little later.


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Isaac Newton once said, "If I had seen any further it is by standing on the shoulders of giants." Throughout history, countless movers and shakers of the world have had mentors guiding and moulding their lives. Aristotle had Plato, Arnold Schwarzenegger had Reg Park, Mark Zuckerberg had Steve Jobs, and the list goes on.
Mentorship is nature's method of passing on instincts and valuable skills to the next generation; it is a vital component of one's success in business. In the same way how a lion cub learns to hunt for prey by following its mother, ancient societies such as those of the Greeks and Chinese placed heavy emphasis on the relationship between a teacher and disciple, a shifu and student.
One of the most common mistakes beginner entrepreneurs make is succumbing to the trap of overconfidence. They waste a fortune and the most precious years of their lives experimenting through costly trial and error.
Here are three principles you can apply to your life and business today to avoid making these painful mistakes.
The first step to any kind of change is to realize that you don't know enough. Socrates said, "The only thing I know, is that I know nothing." Most entrepreneurs and business people go about trying to learn things through their own mistakes and experience, but the fact is, it is better to save yourself the trouble and learn from other people's experiences. The first thing I had to do to come out of where I was at age 15, arrested by police and kicked out of school, to get to where I am today at the age of 19, starting my own social media business and getting mentored by billionaires and CEOs, was to realize I needed to seek out help.
Your dreams of building a successful business will materialize much faster if you realize that you should not solely rely on your own ability. We have to swallow our pride and go seek out shadow and learn from mentors who are years ahead of us. That is the only way to shortcut the learning curve.
In an interview, Steve Jobs said that one of his formative experiences was at the age of 12 when he called up Bill Hewlett, the founder of HP, and asked him for help to build some electronics. He concludes that the thing that separates the people who "do things" and the people who only "dream about them", is the willingness to ask.
Psychologists refer to the foot in the door technique, where asking for a small piece of advice or favour, will tip the scales in your favour when you ask for a bigger one. Next time you see a successful entrepreneur or industry expert, ask for 5 minutes of their time or a "small favour". You don't know what that could lead to.
Everything in life operates in a reciprocal manner. This is the fundamental aspect of our market economy, to provide value in exchange for money. In the same way, in order to build relationships with mentors in life and business, we need to have something to give to them in return. In building relationships, a helpful acronym to remember is WIIFM. What's in it for me? Develop your empathetic intelligence and imagine yourself in the other person's shoes. What can you offer to give back to your potential mentor or adviser? What does that person need?
If you are starting out, Gary Vaynerchuk recommends offering to work for free. In some cases, the only thing you are able to offer is your time and sweat equity. In other cases, you may offer your special knowledge or expertise. Eventually, you should consider paying successful people for their time.


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About the Song
Interviews, Essays, Press
Book Club Questions
Emily Ruskovich
New York Times Book Review:
What Can Explain a Mother's Murder of Her Child?, a Novel Asks
With an act of unspeakable violence at its heart, "Idaho," Emily Ruskovich's debut novel, is about not only loss, grief and redemption, but also, most interestingly, the brutal disruptions of memory. We first meet Ann, the book's conscience and sleuth, as she tries to imagine a horrific moment faced by her husband, Wade: "When Ann's mind opens up again like an eye, what is most startling is how peaceful the scene has become. May, in the back seat, sits with her head down on her knees, perfectly still."
The image is Abrahamic, but the act itself isn't. When we learn that Wade's first wife, Jenny, killed their 6-year-old, May, we are in the very antipode of a Bible story. Jenny's is not an act of faith; it is an act of senseless destruction. The other daughter runs away, never to return. Jenny is imprisoned. Wasted and wrecked, Wade marries the emotionally intrepid Ann. She is drawn by his darkness to care for him, a darkness that soon takes the form of a dementia that runs young in his bloodline. The meaning of this is not readily at hand. And as Wade loses his mind — boring holes in the walls of his home like the Swiss cheese of his memory — there is Ann, plugging the holes, bailing out the boat, trying to get at the truth.
The construction of this truth is the book's vital energy. Despite large sections devoted to the girls, Wade and Ann, the novel's central character and cipher is Jenny. We enter her thoughts, but they give us no answers. At most, she worries "that her death won't matter enough to happen, that she might live forever in this state."
There is no outrage more visceral than the grief and wrath we feel for harmed children. We cannot sanction a child's death without losing a piece of our decency. We need answers. "Idaho" will thwart readers expecting a defining pathology or demon at the heart of Jenny's act. Even when situated in the mind of the murderer, we find no answer: "Whatever brought that hatchet down was not a thought or an intention. No, the hatchet caught on the inertia of a feeling already gone."
But read those last sentences aloud, the chopping "t's" evoking the finality of the act, ending on the sad, sonorous "n" — brought, thought, caught, gone — and you know you're in masterly hands here. Ruskovich's language is itself a consolation, as she subtly posits the troubling thought that only decency can save us. When that decency expresses itself — in dozens of portraits of a missing girl, in the epiphanies of a prison poetry class — an ennobling dignity begins to suggest that a deep goodness might be a match for our madness. In any case, that's the best we're going to get.
"Idaho" is also a very Northwestern book. Thoughts eddy here as they do in Jim Harrison's work, and Ruskovich's novel will remind many readers of the great Idaho novel, Marilynne Robinson's "Housekeeping." But for me, the most winning recognition comes in a late passage evoking Ken Kesey or Rick Bass:
"The loose skin of a bloodhound is meant to hold the ground. . . . The heavy ears flopping forward at all times create the walls of the trail, a kind of tunnel and tunnel vision, the tips of the ears stirring up the particles on the ground for the wrinkles to gather and hold."
Ruskovich nods to the bloodhound Ann, as well as to the bloodhound reader of this wrenching and beautiful book. The next six sentences offer the blunt consolations of nature, what must be done:
"Off-duty, head up, the bloodhound is a different dog. The wrinkles fall open. The forehead is smoothed, the scent let go. This is how a dog forgets. This is how a dog moves on. He lifts his head."
There are some things that cannot be explained, violence mysterious in origin and obliterating in effect. And if you're still standing afterward, sometimes the best thing to do is the same as the only thing to do. Indeed, the only way to affirm this life's goodness is to go on living.
Shatteringly Original Debut
The first thing you should know about "Idaho," the shatteringly original debut by O. Henry Prize winner Emily Ruskovich, is that it upturns everything you think you know about story.
Ostensibly it's a novel about a tragedy — young mother Jenny inexplicably kills her daughter May with a hatchet, while older daughter June vanishes into the woods. Refusing to explain her actions, Jenny is charged with murder and sent to prison. Wade, her grief-stricken husband, is punishingly alone, struggling until he eventually marries Ann, the local piano teacher.
You might think that the primary focus of the book is going to be a business-as-usual exploration of why Jenny killed May, or where June is and how they find her. But this novel is much more interested in a deeper, more haunting meditation on love, loss, forgiveness, time and memory.
"Idaho" begins with Wade and Ann, married many years, their love tested by both the solitude of their environment and Wade's increasing dementia, something he inherited from his father. They live in the fierce, snowy mountains of Idaho, and in many ways, Ann loves Wade more than he returns it, because she endures his fits of violence and his moments of disconnection.
The more Wade disintegrates, the more Ann integrates. She's determined to resurrect all of his memories, especially the ones about the tragedy, to remember his life for him, if she has to, because that might be the only thing to keep them bound together, and to keep him alive.
Engulfed in her husband's past, her own present life changes. She begins to have memories from Wade's little girls themselves, as if she is actually living part of their former lives. More and more, she's determined not only to discover the truth about what happened but to find June, too, and not just for Wade, but for herself as well.
Ruskovich dips in and out of various points of view, quilting together everything known about that tragic day. We're in young May's head as she pines for her sister June's attention. We take on the point of view of June, who is pulling away from her baby sister in an attempt to be her own person — no matter the cost. We hear from peripheral characters, like Eliot, a boy June knew, who had a tragic accident himself.
We hear, too from Jenny, silent and undemanding in prison, taking a writing class, but not for herself — instead handing in the work of her cellmate, Elizabeth, who has lost privileges and is desperate to write. Both women's lives begin to slowly open up, and Elizabeth discovers that in the dark, unforgiving world of prison, she finds the friend she desperately needs.
Each character's voice is real and authentic, rendered with hypnotic precision. But the narrative is hardly linear. Characters weave, bob and crash into one another. Ann meets Tom, who paints portraits of missing people as they might look in the future, sure he can help her find June if he can just create the right image. She uncovers and delves into the life of another June, who has a strange connection to both Wade and to Wade's daughter, and who sticks in Ann's mind because, unlike Wade, "she has found a way not to disappear."
As Ann struggles to remember, Wade forgets everything, including his pain. Ann becomes the sole keeper of it, recalling all this turmoil for him, desperate to find a way of answering and resolving the questions the past keeps bringing up. How can you continue to hope, and when hope seems gone, what, in the end, might sustain you?
You could read "Idaho" just for the sheer beauty of the prose, the expert way Ruskovich makes everything strange and yet absolutely familiar. There is the sullen, oppressive heat, the lush verdant green of the forest, and the smothering cover of snow. There are "the drippy pines, the mulchy ground." She startles with images so fresh, they make you see the world anew.
In one passage, Elizabeth ponders how listening to a new woman play the piano makes her "fold her soul up like someone else's sheet fresh out of the dryer." In another Jenny describes "the tangled mat in June's hair the size of a kitten."
"Idaho's" brilliance is in its ability to not to tie up the threads of narrative, and still be consummately rewarding. The novel reminds us that some things we just cannot know in life — but we can imagine them, we can feel them and, perhaps, that can be enough to heal us. And to do that, Ruskovich reminds us, we need only have "hearts whole enough to know they can break."
That an act of such brutality inspires storytelling as beautiful as this is reason enough for this debut novel to stand out
In the middle of summer, somewhere on a forested mountain in the wilderness of Idaho, without warning or provocation, a mother kills her six-year-old daughter May with the swift, unanticipated swipe of a hatchet. May's sister, eight-year-old June, "terrified of what is possible now", turns and flees deep into the trees. The girls' father, Wade, is stunned – one moment, one act of unimaginable violence, and his life implodes; each of his familylost to him: Jenny to a life sentence for murder; May six feet under; and June missing without a trace.
It's a set-up that reads straight out of the darkest of psychological thrillers, the rural surroundings – the seasonal changes of which Emily Ruskovich uses to great effect, from sticky summer days to long, lonely snowed-in winters – reminiscent of the mysteries of David Lynch's Twin Peaks or Jane Campion's Top of the Lake, but what Ruskovich actually does with her material is decidedly more daring.
Why? That morning, Jenny dressed her little girl in long pants. She knew that while she and Wade chopped the wood they were collecting, the girls would be tumbling around in the long grass. She was "worried about her child getting snakebitten or sunburned the very day she killed her". What makes an otherwise sweet-tempered, loving mother do such a thing?
Readers looking for answers will be disappointed, but Idaho is a much better novel because of what Ruskovich doesn't tell us. Its subject is the murky ground that must be navigated after the fall of the blade, "the hatchet caught on the inertia of a feeling already gone": a landscape of loss, grief, punishment, and perhaps even redemption. It's also a story about the permutations of memory. As Wade loses his, falling prey to the same early dementia that killed his father before him, his second wife, Ann, becomes the gatekeeper of his past. Although Ruskovich utilises a chorus of voices to tell this tale, which spans more than half a century – from murderer through victim, players with only walk-on parts, even the ruminations of the bloodhound initially set on June's trail that fateful day in the forest – it's Ann who provides the central consciousness of the novel, a host to memories that are and aren't hers, following "a secret trail of lost images, real and imagined".
That an act of such brutality inspires storytelling as beautiful as this is reason enough for this debut novel to stand out from the crowd. To discover the sheer exquisiteness of Ruskovich's prose is an unforeseen added bonus, one that confirms the distinctiveness of her talent. There's a rare, rich plangent quality to her sentences, as present in the spaces between the words, in what's not said, as much as in what is articulated. As when Jenny, after weekly poetry classes in prison, suddenly realises that a new language is available to her, "the language between words". Meaning – and if not forgiveness itself, something akin to it – we learn, can also be found in absences, in silences, and in not knowing.
Meditation on the power and limits of the individual imagination
In 2004 Ann Mitchell, Wade's second wife of nine years, sits in their out-of-commission family truck parked on an Idaho mountainside. In this truck, one summer morning in 1995, Wade's first wife, Jenny, took an axe to her beloved younger daughter, May. The older child, June, fled into the forest and was not seen again; Jenny was sentenced to life imprisonment. Why? What happened? The scene appears set for a murder mystery, with the usual twists and thrills, guaranteeing ultimate gratification of the reader's thirst for solutions. Emily Ruskovich's moving and profound debut novel denies such generic satisfaction.
Within the abandoned truck, Ann recurrently seeks to imagine what led up to the murder. Her quest is urgent now, since her husband suffers from early onset dementia. What Wade has not disclosed may never be communicated: the memories he does retain are obscure. Although the love between Ann and Wade is enduringly passionate and tender, his behaviour is tinged by minor outbreaks of bizarre violence. The scene in the truck is dominated by scent, residual or imagined: a pair of leather gloves Wade kept, perhaps to preserve the trace of the "last smell in his daughter's hair"; the "smell of grease and honeysuckle".
Idaho is a world of vivid particularity, a collection of evanescent traces and tracks, stains and remnants. Ruskovich presents a landscape of aftermaths and mnemonics: cryptic remains of indeterminate presence. I was reminded of Heathcliff's speech in Wuthering Heights: "The entire world is a dreadful collection of memoranda that she did exist, and that I have lost her." People vanish, like a boy Ann once taught who left a smudge on piano keys, a fingerprint on a window. The motif of loss recurs in the poetry of the simplest sentences: "The mountain's gone."
Ruskovich's human characters keep company with native animals, from moose to deer, from beetles to flies, subject to the same vicissitudes and the one death. The author's sympathetic imagination extends, movingly, to all animal life, the child who is killed and the fly she may have killed: "Ann sees May, sitting with her hand perfectly still in midair, waiting for the fly to trust her so she can kill it, and then there is a black stop in Ann's mind."
Structurally, the novel is complex, requiring and rewarding a reader's intent concentration. A fragmented construction zigzags to and fro between multiple perspectives and unchronological dates, from 1973 to 2025 – a mimesis of the lost mental bearings of its characters. Idaho ricochets between images of integration and disintegration, like the "dozens of blackbirds" Ann and Wade watch as they "converge and scatter like a handful of black sand thrown against the sky". Some narrative angles are tangential to the major story: Elizabeth, Jenny's cellmate, movingly enters into friendship with the taciturn, wounded woman who murdered her own daughter. Ruskovich's sympathy extends to all her characters, trapped within their limitations, doing their decent best, mediating for one another, but prey to random compulsions of violence or flight.
Idaho is a meditation on the power and limits of the individual imagination, as well as on memory and its aberrations. What can we understand or intuit about other people, given that our knowledge owes so much to subjective guesswork? Ann, labouring to reconstruct the unthinkable murder, recognises her imaginings as a form of fiction, projected on a world of multiple truths. After the murder, the fleeing June was tracked, too late, by a police dog. A late, bravura, chapter is told from the bloodhound's point of view – or rather, from its "tunnel vision", as, head to the ground, its senses are suffused by an explosion of compound smells. A single scent is scarcely distinguishable from the flood of odours that cross-contaminate. June's "glove that they've held over his snout" conveys too many messages, identifying a multiplicity of sources: "the sweat inside, the deer it was once the skin of … the truck … blood [and] dirty, perfumed hair … the bright zing smell of seeds burst open from pods grazed by a child's fingertips". The child's fugitive trace has perished nearly at source.
In the final third of the novel, telling becomes excessively fragmentary, resembling short stories in a composite novel. At one point I failed to recognise a character and had to return to the beginning to identify him. That I was prepared to do so speaks volumes for the exceptional quality of Ruskovich's writing.
Kirkus Review starred review
Lyrical Meditation on Memory, Loss, and Grief
Ruskovich's debut opens to the strains of a literary thriller but transforms into a lyrical meditation on memory, loss, and grief in the American West.
Ann, a young music teacher, falls in love with Wade Mitchell, the father of two girls in her school, over piano lessons. That summer, Wade's family is ripped apart by a tragedy that leaves one daughter dead, another missing, and Wade's now-ex-wife, Jenny, serving a life sentence for murder. Against all odds, Ann and Wade marry, and she tries to soothe her new husband's insurmountable grief by piecing together what happened that day. Her efforts are thwarted by Wade's creeping dementia, which has a tendency to turn violent. Ann is left with only the powers of her imagination to reconstruct an account of the murder, putting her personal safety at risk as Wade becomes less predictable. Like memory, Ann's shifting vision of that day is fleeting, ephemeral, and imperfect, scattered as easily as "dozens of blackbirds, startled at nothing." In fact, her emotional porousness might be a key for the entire novel, which hopscotches across more than 50 years and multiple perspectives to draw connections, parallels, and portraits of the men and women who populate Ruskovich's Idaho. We also catch glimpses of Elizabeth, Jenny's cellmate; Wade's fractured recollections of his childhood and first marriage; the final days of May, Wade's murdered daughter; and, at long last, Jenny herself. Ruskovich builds poetry out of observing the smallest details—moments of narrative precision and clarity that may not illuminate what happened the day of the murder but which push the reader to interrogate the limits of empathy. Fans of lush, psychological dramas like the BBC miniseries Top of the Lake or Broadchurch have their winter reading cut out for them.
A provocative first novel filled to the brim with dazzling language, mystery, and a profound belief in the human capacity to love and seek forgiveness.
the Possibilities of Love and Forgiveness
Idaho, the first novel by O. Henry Award winner Emily Ruskovich, is a gorgeously designed immersion into the best and worst of life. In rural Idaho, a jumbled family rearranges itself painfully, trying to live on after a great loss. In 2004, Ann Mitchell surveys the Idaho farmstead she shares with Wade, her husband of eight years. Her recollections introduce the reader to their marriage--troubled by the diminishing strength of Wade's memory and a terrible tragedy at the beginning of their relationship. She plays the piano; he makes finely crafted knives by hand. They tiptoe around the past.
In 2008, a woman studies her new cellmate at the Sage Hill Women's Correctional Center. Jenny Mitchell doesn't talk much. Neither of them has much future, with one distant chance at parole between them. Tentatively, they explore friendship, but Jenny doesn't talk about her marriage to Wade, or her daughters. Then, Idaho flashes back to the 1980s and '90s, when Wade was still married to Jenny and both of their daughters were still alive.
As decades are revealed, Wade's family lives through happy, tragic and minute experiences. In layers of disjointed chronology and varied perspectives, the reader slowly picks apart the story: Wade's love for one woman and then another; his luckless family history; the moment in time, the loss of control, that redirected these lives and more.
Ruskovich's prose is exquisite. Music halts "like an animal at a gate, a child at a word it doesn't know." Her expressions of love, in its clean and messy incarnations, are singular, and she handles Wade's mental decline and a child's piano lesson with equal care and clarity. "On a sunny fall day, she lay next to him on the ground, and as he dozed she felt his old life, his memories, radiate off his skin. She felt everything leave him but her. She shed her own life, too, to match him. They lay there together like a point in time." That point in time is what Ruskovich does best: sharp, clear moments alongside emotional enormities so great they can only be felt, not explained. This care, detail and realism applies to the novel's background as well as to its stars. For example, a side plot involving an artist who paints meticulous age-progressions of missing children offers poignancy and attention to detail, and is worthy of its own novel.
With lovely language and piercing pathos, Idaho focuses on the power of love and the possibilities of forgiveness and memory. This debut novel deals blows as large as life.
IDAHO ponders unfathomable tragedy and its aftermath
The heinous life events that gut humanity and leave people asking why are all too familiar. A brutal assault, an abduction, the murder of a child — the list is too numerous and depressing to compile.
These events can leave people stunned, grasping for answers that might never come. That void of understanding is at the heart of Emily Ruskovich's debut novel, Idaho. Ruskovich, a 2015 O. Henry Award winner for Owl, builds her story around the implosion of the Mitchell family after Jenny murders her younger child, May, and the older daughter, June, is lost in the woods. Wade Mitchell is the lone survivor of the carnage, but his memories are being claimed by dementia.
And even the memory doesn't provide a definitive answer to the question of why a mother would kill a child on an ordinary afternoon out with the family. It's that sense of the ordinary, somehow always just a beat or two off, that makes Idaho a compelling tale.
Ruskovich's writing is vivid and dense. She's telling stories — there are strong subplots woven through the tale — that need to be told, but not necessarily resolved. After all, can society ever really resolve the death of a child at her mother's hand?
Instead, Ruskovich follows the blurred lines that make up life, rather than the resolutions that make up fiction.
Ruskovich, who grew up in northern Idaho, has chosen this region as her setting. Her narrative is gritty and dark. Years later, May's murder and June's terror-filled disappearance are still too raw to be discussed. This isn't a story about the mental state and psychological baggage that drive a mother to kill her child. It's about the aftermath and the search for a new normal.
Less than a year after May's death, Wade marries Ann, a music teacher who had been teaching him piano. It's not a marriage of convenience, but there are some elements of obligation and responsibility. Wade, whose father was in his 50s when he died as a result of dementia, is beginning to exhibit symptoms and Ann promises to take care of him.
Their relationship and May's death drive the story. It's a rich story as Wade and Ann grapple with the omnipresent grief from May's murder and June's disappearance, as well as his descent into dementia.
His reactions to Ann and treatment of her can be as gut-wrenching as they are tender.
The story is told from several points of view — Ann, Wade, Jenny and the girls are joined by compelling secondary characters like Jenny's prison cellmate. For her part, Jenny accepts responsibility for her act, but her subsequent behavior is as murky as her actions on that fateful day.
Rather than trying to excuse an inexcusable act, Ruskovich focuses on how people cope in the aftermath. Her narrative is wonderful as she looks at the ripple effect May's murder had on those closest to the events of the day. She goes beyond the boundaries of the family, reflecting on how tragedy can prompt even those on the periphery to re-examine their lives.
Much of the story is told from Ann's perspective. She gets glimpses of family from Wade's memories. As his mind fades, his memories become hers. Her anguish over the loss of Wade's mind before his death is heartbreaking. So too is the phase when Wade understands that he is slipping away.
Jenny's life in prison is also a striking narrative as Ruskovich is careful not to make Jenny, or any of the women in prison, a cliched inmate — hard-boiled characters always searching for a fight or saints whose eyes have shed their scales.
Idaho is a wonderful debut. Ruskovich knows how to build a page-turner from the opening paragraph.
Ft. Worth Star Telegram
Publisher's weekly starred review
A Remarkable Love Story
In Ruskovich's beautifully constructed debut novel, Ann attempts to piece together her husband Wade's past—namely, the murder of his younger daughter, May, by his ex-wife, Jenny, and the disappearance of his elder daughter, June, which took place years ago, on the mountain where Wade and Ann now live. The book is set in the alluring and haunting landscape of Idaho, spanning over 50 years, and depicting Ann's obsession and determination to figure out what exactly Jenny's motives were and just what happened to the girls. Jenny is now in jail, mostly keeping to herself while serving a life sentence, and Ann is caring for Wade while he suffers from genetic early-onset dementia, training dogs, and making knives. All the while, Ann and Wade hope that June may still be alive, after 18 years of no news. With her amazing sentences, Ruskovich draws readers into the novel's world, using a number of well-developed voices to describe various perspectives, allowing readers to understand the complexities of the story as well as Ann does. Shocking and heartbreaking, Ruskovich has crafted a remarkable love story and a narrative that will stay with readers.
Complicated Life of Murderess Plays Out in IDAHO
Why does a mother kill a beloved child? By the end of Emily Ruskovich's riveting debut, we get sufficient insight into the complex amalgamation of love, darkness and madness in the soul to approximate a kind of understanding.
"Idaho" isn't exactly a thriller. Yet it's certainly a page-turner. First, Ruskovich makes us curious about the exact circumstances under which Jenny kills her 6-year-old daughter, and then she keeps us insatiably hungry for why.
But that isn't the only mystery in this novel. What happened to Jenny's older daughter, who ran into the woods after seeing what her mother had done? Why would anyone marry Jenny's ex-husband, Wade, with full knowledge that he has started to lose his mind? And why does a local loner obsessively paint portraits of one of the missing girls, appropriately "aging" the portrait as time progresses? We get some answers, but nothing is given easily.
The story is told in a highly fragmented way. The narrators include Ann, Wade's second wife, a music teacher who accepts his odd courting while he's still married to Jenny. Wade gets his turn to tell a part of the story, as do Jenny and her prison cellmate, Elizabeth. One of Jenny's daughters speaks to us, too, in some of the most brilliant passages about sister relationships I have ever read. We also hear from Wade's father and that mysterious painter, as well as a local boy, a former student of Ann's, who lost a leg. Even one of Wade's bloodhounds has his say.
But Ann's narrative is what holds the book together. We start and end with her perspective, before and long after her complicated relationship with Wade. She is sharply drawn to his family from the beginning. We learn most of what has happened from Ann's sleuthing, her careful putting together of clues and her reimaginings of Wade's now-shattered first family. "Ann married right into that missing Jenny made, right into the darkness Jenny lives in," observes the painter, who can't fathom that kind of "love and insanity."
Ann remains burdened with guilt for falling in love with Wade while he was still married – although they didn't exchange an affectionate word until six months after the murder.
But this story is about redemption, too. Ann eventually finds herself again – in her music, in teaching, in the community. She composes at the piano, letting go of the pain with each note she plays.
About Jenny's life in prison we know little except what Elizabeth, her impetuously passionate cellmate, tells us. Serving two life sentences for murder, Elizabeth often thinks about her childhood self, an innocent who would have been lost inside "the woman they thought they were putting in prison" if it weren't for her friendship with Jenny. Jenny becomes a kind of saint in prison, patiently suffering her fate while secretly committing acts of kindness to help Elizabeth.
If all this sounds a bit chaotic, it is. But it is the chaos of life, exquisitely rendered with masterful language and imagery. You leave "Idaho" feeling as though you have been given a rare glimpse into the souls of genuinely surprising and convincing people.
"Idaho" is a powerful and deeply moving book, an impressive debut that portends good, even great, things to come.
The Journal Gazette
The Idaho Statesman
A Heartbreaking Search for Understanding
Some books grab you by the seat of your pants from the first page. Books such as "A Farewell to Arms," Dreiser's "An American Tragedy" and Robert Penn Warren's Pulitzer Prize-winning novel "All the King's Men."
The debut novel by Idaho native Emily Ruskovich is one of those books, so do not be surprised if you read that "Idaho" wins the National Book Award or the PEN/Hemingway Award—presented to an author who has not previously published a novel or book of short stories of fiction. Or perhaps "Idaho" captures the Pulitzer Prize for fiction, catapulting Ruskovich among the pantheon of premiere writers with just one book.
"Idaho" is a mediation about an unspeakable crime, forgiveness, and isolation; it is also a detective story. The main characters, Wade and Ann, are at the center of the story, and through their plights we learn about Wade's first marriage to Jenny and life with their two children, May and June, who is now missing. Readers will want to learn more about Jenny and Wade's divorce, and the author provides those answers with great profundity.
Ann, originally from England, is a piano teacher, and Ruskovich's prose is as lyrical as one of Ann's concertos: "When you love someone who has died, and her death disappears because you can't remember it, what you are left with is merely the pain of something unrequited."
But whose death is Wade mourning? The reader will identify the victim early in "Idaho" but will not understand why that person is dead and why the murderer committed the monstrous act with a hatchet. At the point in the novel where Ann marries Wade, moves into his small house and starts giving lessons in their home to adults only, the reader understands why Ann cannot teach children to play the piano.
The author also expertly evokes emotion and memories through olfactory senses. In a touching scene between mother and daughter, Jenny states, "May does not have this smell. She knows this … Do I smell like June? No. It's just nerves."
The book is told from several viewpoints and is divided into key years. And like William Faulkner, Ruskovich writes in non-chronological order, with the first three sections of the book taking place in 2004, 2008 and then 1985-1986. The final section is titled "August 2025," which features scenes of forgiveness and additional heartbreak. Through all portions of the novel, Ruskovich's prose is sublime, but also saturnine, and therefore believable.
The author also focuses on Wade's fading memories due to his early onset dementia, and Ann's curiosity about Wade's past life, which he will not discuss: "Other details came, slowly, but Wade never did tell Ann the whole story again. Why would he. … " It is too painful.
In addition, there is a plethora of Idaho-centric activities taking place throughout the book. There should be—the author was raised in the mountains of northern Idaho. First, the children fill up garbage pails with water and dip into them to cool off from a hot summer's day: "May's dress is nearly dry from her swim in the garbage can." Secondly, Wade raises six hunting hounds and creates custom knives, something a New Yorker likely would not do. Prisoners deliver piglets, and Wade and Jenny live on a mountain, where Jenny finally becomes pregnant with June after she and Wade have attempted to conceive for 10 years.
Although not at the heart of the book, secondary and tertiary characters like Eliot, whom Ann and June admire amorously, are adroitly drawn. Eliot shattered his leg in an accident on a dock, resulting in the amputation of one of his legs. Then there is Tom Clark, a sketch artist who paints pictures of June. Ann clings to his artistic prowess in the hopes of locating June.
The key to the novel, though, is Ruskovich's ability to tie all of the scenes together with a compelling plot structure, unique form and dark mood, which entices the reader to turn the pages so they can understand why someone would perform such a dreadful crime. And it is the final section of the book, which Ruskovich pens with convincing ingenuity, which assists the reader to infer their own denouement.
The AV Club
Writing as Bruisingly Beautiful as the Idaho landscape
Poetic and razor sharp, Emily Ruskovich's Idaho is a mystery in more ways than one. The decades-spanning narrative is scaffolded on the question of why a mother would murder her child, seemingly randomly and without the intent to do so, and on a central mystery: When the mother kills one daughter, the other daughter runs away through the trees and disappears. No one knows if she died in the woods or still lives, undiscovered by her remaining family. Idaho opens years after this event, when the girls' mother is in prison and their father has remarried Ann, the character that Idaho spends the most time with. She's an outsider peering into these events, trying to understand. Living in the home where this other family spent nine years, she finds clues, pieces together hints of information, and spends time in the truck where the daughter died. Her husband, Wade, meanwhile, is in the beginning stages of early-onset dementia, further blurring the truth as his memories become tangled.
Idaho shifts to his perspective, as well as the perspective of his first wife, Jenny, who we meet serving a 30-year prison sentence. Each point of view is imbued with a strikingly different perspective on the events that connect them. Each is powerfully psychological, as Ruskovich gingerly peels back their respective psyches, regrets, and dreams and each character's undeniable urge to gaze backward. There is a plot, but it can't be said that much happens in Idaho. These characters go through their lives, connected by love and tragedy. They walk the same places, specters in an unchanging mountainous landscape, where their lives are played out in temporal blips.
Idaho is sad, but not despairingly so. Ruskovich's prose is lyrical but keen, a poem that never gets lost in its own rhythm. Even as the plot can be seen to loosely hang over the murder, most of the chapters are more concerned with a Marilynne Robinson-like emphasis on the private, painfully human contemplation going on inside the characters' brains. The result is writing as bruisingly beautiful as the Idaho landscape in which the story takes place. Why Jenny killed one child, and where the other might be, are little more than an excuse to study these characters' motivations and deepest cravings. Ruskovich does this exquisitely.
Why would a mother murder the child she loved?
Why does a mother kill a beloved child? It is inexplicable. Yet by the end of Emily Ruskovich's riveting debut novel, "Idaho," we get sufficient insight into the complex amalgamation of love, darkness and madness in the human soul to approximate a kind of understanding.
Ann remains burdened with guilt for falling in love with Wade while he was still married — although they didn't exchange an affectionate word until six months after the murder. Her fear that their love contributed to the tragedy "becomes overbearing," Ruskovich writes. "Sometimes it's enough to keep her in bed."
But this story is about redemption, too. Ann eventually finds herself again — in her music, in teaching, in the community. She composes at the piano, letting go of the pain with each note she plays. "This is what saves her, her ability to transform that first song with her hands into the feelings that she knows and understands, not the feelings of anyone else, not speculation or fear. Her own loss. Her own life. It is a peace like she has never known."
About Jenny's life in prison we know little except what Elizabeth, her impetuously passionate cellmate, tells us. Serving two life sentences for murder, Elizabeth often thinks about her childhood self, an innocent who would have been lost inside "the woman they thought they were putting in prison" if it weren't for her friendship with Jenny. "A woman who once murdered her own little girl has made possible a kind of love that has kept another little girl alive. A kind of love Elizabeth did not know she was capable of giving or allowing." In fact, Jenny becomes a kind of saint in prison, patiently suffering her fate while secretly committing acts of kindness to help Elizabeth. "I wish that you would kill me," Jenny had reportedly said at her trial. "But I should never again be granted anything close to what I wish."
If all this sounds a bit chaotic, it is. But it is the chaos of life, exquisitely rendered with masterful language and imagery. You leave "Idaho" feeling as though you have been given a rare glimpse into the souls of genuinely surprising and convincing people, as E.M. Forster would have characterized the inhabitants of this world.
"[A] devastating debut novel...a textured, emotionally intricate story of deliverance...[Characters ] are drawn with empathy and pscyhological care; the result is a completely immersive world. Ruskovich allows her characters deep and active imaginations, imbuing them with dignity and humanity. Each has the power to break your heart.
And Idaho is rich not just with plot but with language. Ruskovich's soothing style contrasts with and serves to amplify the unspeakably brutal act at the story's core. Love, too, is described with an intensity that makes the pulse race, especially when seen through the complicating lens of one partner's memory loss: "She felt everything leave him but her. She shed her own life, too, to match him. They lay there together like a point in time." Ruskovich's writing is a deft razor, able to etch the finest of distinctions and truths.
The novel's defining act happens in a split second, yet its aftereffects reverberate so profoundly, they echo beneath every word and between every line of sharp prose. Idaho makes a convincing argument that no one is ever blameless, nor beyond redemption.
Haunting Debut Novel Hangs on the Inexplicable
'Idaho,'' Emily Ruskovich's haunting debut novel, hangs on the inexplicable. Its subject is the thoughtless, almost accidental violence that is dealt us by life and the possibility of living with decency and grace inside those psychic wounds.
Ostensibly, "Idaho'' is the story of a murder. Ann, a piano teacher born in Idaho but raised in England, is the reader's guide through the destruction of her husband Wade's first family: the killing of his 6-year-old daughter, May, by his ex-wife, Jenny, followed by his older daughter June's disappearance and Jenny's imprisonment. To Ann, the act itself seems senseless, a mystery. "Whatever brought that hatchet down was not a thought or an intention," she thinks. "No, the hatchet caught on the inertia of a feeling already gone." But Ann, whose very marriage is built on the absence that Jenny's act created, finds herself obsessed with Jenny's motivations.
The novel begins long after the tragedy when Ann and Wade, living on the fictional Mount Iris in Idaho in the home Wade had shared with Jenny and the girls, have already been married eight years. Jenny is serving a life sentence. Wade, meanwhile, has started to show signs of early-onset dementia, so even as Ann revisits the August day of the murder, piecing together its bones from the fragments she's gleaned and clothing it in details borrowed from her own life, Wade's unanchored mind leads him to react, sometimes violently, to a pain he no longer understands. Ann takes on the nearly futile search for the missing June, adopting the unhealed scars of Wade's former life as her own.
Ruskovich's prose is immensely seductive, drawing the reader into a narrative that defies easy resolution. The first section unfolds tautly, as though it were a short story onto which the rest of the novel was built in a search for explanation. The subsequent short sections, which move back and forth over 50 years and in and out of various points of view (the two little girls, Jenny, her cellmate, a local boy, even a bloodhound), fill in the gaps of the central mystery and meander, sometimes very far, away from it.
But within each section, there are sharp, clear moments of psychological observation. In one, Jenny remembers how her own childhood ended, the way she sees June's ending now: "[F]or the first several years of her life . . . [e]ven something as ordinary as the blue rolling chair in her father's office had some hold on her, some whisper of a new dimension in its puffs of dust sent upward by her fists against its cushions. There was an intensity inherent in everything until, one day there wasn't . . . [T]here was only a knot of longing somewhere deep inside of her, a vacant ache: adolescence. Boredom. 'It's why we fall in love,' Jenny will tell June."
The novel is atmosphere as much as it is story. Ruskovich finds a kind of severe beauty in these woods, in trash heaps hidden in the trees, in the burdensome heat of summer, in dripping pines and the smell of wood smoke, in the whine of horseflies and fingers sticky with lemonade. True to its name, this is a novel of place: The characters lives pass almost secondarily, less in what they do than in the private unraveling of their thoughts and dreams within this brilliantly specific rural northwestern landscape.
Without offering an explanation for the murder at her novel's heart, Ruskovich strays toward a sort of forgiveness predicated on broken hearts "whole enough to know they can break." This, too, is grounded in "something beyond all their lives," in "something in the rocks and soil and the smells of the trees, a reaching arm, a trailing hand." In a family marred irreparably by violence, "Idaho'' finds the ability to continue living by making a home in what is right before our eyes, in those details of life and land that remain, regardless.


Would you like to help, heal and share a deeper connection with animals? Have you always wanted to help animals, to bring them some peace, healing and love? Do you work or volunteer with animals, or would you like to?
We share a close bond with the animals in our lives and the relationship we build with them can be a source of great comfort to both. However, we can enhance this relationship further through the practice of Reiki, allowing us to support them fully, as they do us.
Japanese Reiki is foremost a spiritual practice leading to your own inner peace and a rediscovery of your own true self. This place of harmony is reached internally through a committed and consistent practice of the Reiki techniques taught at each level. It is through internalisation of the practice that we are able to experience the external effects we then see within our own lives and the lives of those closest to us, including those of our animals. Unless we have mastered our own energy and found balance within the world, we cannot join our animals in an open space of acceptance, non-judgment and healing.
Have you ever sat in the presence of an animal and felt a deep inner calm descend? Maybe whilst stroking a dog or a cat, or standing together with a horse? This connection, the quietening of our minds and the sharing of space with an animal holds great value and allows us to be fully present with them. When through our Reiki practice we are able to quieten our mind, animals sense it – as anyone who has spent time with horses will know! When we can just be with them, they are able to begin relaxing deeply, allowing their body and minds to heal and trust to grow.
When you work with Reiki internally you will begin to see the world differently, and in doing so will change how you interact with all animals. The overall aim of the Japanese journey of Reiki is to become Reiki, allowing Reiki to be part of your everyday life as opposed to solely a healing practice, and in this your relationship and connection with all animals will deepen.
This connection can be reached not only with our closest animal companions but also with wild and farm animals too – and is especially effective building trust and healing trauma within rescue animals, where it can be used to calm a stressed or anxious animal. Reiki can also be used to support healing or maintain health and to help an animal transition peacefully.
We teach Japanese animal Reiki in the style pioneered by Kathleen Prasad – Let Animals Lead TM, which adopts the strategy of allowing the animal to choose how he/she receives Reiki, which may be hands off or hands on.
Our Shoden and Okuden courses are available as full 2-day courses for those who have not studied Shoden and Okuden Reiki, or as 1-day workshops for those who have.
The Japanese meaning for Shoden is beginner or first teachings. This level teaches you how to practice healing the self and the basics of helping your animals and others. This is the first stage of building a Reiki practice into your life and starting on the path of self-discovery. Through these practices you will learn to share a deep connection and healing space with your animal.
The Japanese meaning for Okuden is hidden or inner teachings. It is at this level that you really begin to delve deeper into the teachings of the energetic practice of Reiki and how to use this deepening experience to help your own animals and those of others.
You will learn symbols and mantras, enabling you to learn and experience the Japanese energetic system of earth, heavenly and heart energy. This level also allows you to develop a professional Animal Reiki practice.
The Japanese meaning for Shinpiden is mystery teachings. This level is truly about a lifetime personal development practice, increasing the animal connection you share and healing space you create. It teaches you how to become an animal Reiki Teacher, enabling you to perform attunements and reiju. You will also learn a much deeper and philosophical understanding of Reiki and how you relate to the rest of the universe.


Beckhoff's EJ7xxx-series of EtherCAT plug-in I/O modules are designed to provide an efficient wiring solution for machines built in large and medium-sized production runs.
Beckhoff's EJ7xxx-series of EtherCAT plug-in I/O modules are designed to provide a wiring solution for machines built in large and medium-sized production runs. EJ-series plug-in modules can implement a platform concept for large-volume production runs without sacrificing customization capabilities.
The modules, with electronics based on the EtherCAT I/O system, are directly inserted into an application-specific signal distribution board that transmits signals and power to the individual connectors. Connections via pre-configured cable harnesses replace the expensive installation of individual wires, reducing per-unit costs and minimizing the risk of faulty wiring because the EJ components are clearly coded.
The EJ7047 stepper motor module was designed for applications in the medium performance range. The device features two inputs for limit switches; the second input can alternatively be configured by the user as an output. This makes it possible to install a holding brake, for example. The user can also optionally implement vector control for enhanced motion dynamics and reduced power consumption.
The EJ7211-0010 servomotor module has a compact design enabled by the integrated one cable technology (OCT), which combines the motor cable and an absolute feedback system into a single cable. The EtherCAT plug-in module integrates with motors and offers output current up to 4.5 ARMS. The control technology is suitable for demanding, highly dynamic positioning tasks.
The EJ7342 2-channel dc motor output stage is designed for direct operation of two DC motors, and offers galvanic isolation from the E-bus. Speed and position are set by the automation device via a 16-bit value, so a simple servo axis can be implemented by connecting an incremental encoder.


Improving movement, performance, and wellbeing.
Are you sick and tired of putting up with pain? Is your health holding you back? Now you can get safe, effective, no-nonsense treatment … without leaving the Sutherland Shire.
Biomechanics Healthcare in Cronulla provides a complete range of allied health services specially tailored for each individual.
Book Online or call our Cronulla Clinic on 9527 3322 today.
By making your appointment with Biomechanics Healthcare Cronulla, you're putting your trust in over a combined 60 years of experience treating musculoskeletal injuries, women's health, sports injuries, workplace/Workcover claims, everyday niggles and lots more.
You don't need a referral to see us, just make an appointment to get started. If you have any questions prior to your appointment don't hesitate to ask our receptionists, and if they can't help you out then one of our experinced practitioners will give you a call back.
Do You Want To Know How We Can Help You?
How To Give Yourself a Gift This Christmas.


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text:
Q: How can I put an array in the first index of a 2D array I basically want to put a created array that contains student grades that I took from numericUpDowns into the first index of a 2D array so if I created another student the first one's grades won't be replaced because I would place the second's one in the second index of my 2D array and call this index.
I created and initialized an array that contains 5 indexes with 1 grade for each index and I tried to give my 2D array[i][0](with a for of course) the value of the whole grades array
static NumericUpDown[] tabGrades = new NumericUpDown[5];

NumericUpDown[][] tempGrades = new NumericUpDown[tabGrades.Length][];

...

for (int i = 0; i < tempGrades.Length; i++)

{

tempGrades[i][0] = tabGrades[];

break;

}

I expected my 2D array to simply take the array as it's first index value but instead it is telling me that I have a syntax error and that a ";" is missing

A: The tempGrades[i][0] represents a single element of 2D array which is of type NumericUpDown and you are trying to assign an array to that, which is an error. What you need to do is assign the array to tempGrades[i] which will represent a row(1D array) in 2D array. So you code would look like tempGrades[i][0] = tabGrades;. Your code have other issue like:

*

*Array length should be defined while initializing them so
new NumericUpDown[tabGrades.Length][] this is an error , you have to specify the number of columns also and number of columns should be equal to the length of tabGrades.Length as only then you would be tempGrades[i] would be able to store tabGrades

*why you are using a loop if you need to run the 1st iteration only. You code should like:
tempGrades[0][0] = tabGrades;
So you final code should look like:
static NumericUpDown[] tabGrades = new NumericUpDown[5];

//Here use whatever length you want instead of 10.
NumericUpDown[][] tempGrades = new NumericUpDown[10][tabGrades.Length];

...

tempGrades[0][0] = tabGrades;

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text:
Taylor & Francis Group Logo
Click here to search books using title name,author name and keywords.
Breadcrumbs Section. Click here to navigate to respective pages.
Fair Trade and Organic Initiatives in Asian Agriculture
DOI link for Fair Trade and Organic Initiatives in Asian Agriculture
Fair Trade and Organic Initiatives in Asian Agriculture book
The Hidden Realities
ByRie Makita, Tadasu Tsuruta
Edition 1st Edition
First Published 2017
eBook Published 17 March 2017
Pub. Location London
Imprint Routledge
DOI https://doi.org/10.4324/9781315622941
eBook ISBN 9781315622941
Subjects Area Studies, Economics, Finance, Business & Industry, Environment and Sustainability, Geography
Makita, R., & Tsuruta, T. (2017). Fair Trade and Organic Initiatives in Asian Agriculture: The Hidden Realities (1st ed.). Routledge. https://doi.org/10.4324/9781315622941
In addition to constituting an evolving area of inquiry within the social sciences, agricultural certification, and particularly its Fair Trade and organic components, has emerged as a significant tool for promoting rural development in the global South. This book is unique for two reasons. First, in contrast to existing studies that have tended to examine Fair Trade and organic certification as independent systems, the studies presented in this book reveal their joint application within actual production settings, demonstrating the greater complexity entailed in these double certification systems through the generation of contradictions and tensions compared with single certification systems. Second, the authors, who are both Asian, reveal the realities of applying Fair Trade and organic certification systems within Asian agriculture. In doing so, they challenge the fact that most Fair Trade studies have been undertaken by Western scholars who have tended to focus on Latin American and African producers. Drawing on a wealth of grounded case studies conducted in India, Thailand, and the Philippines, this pioneering study on double certification makes a significant contribution to studies on Fair Trade and organic agriculture beyond Asia.
chapter 1|17 pages
Fair Trade and organic agriculture
A case from South India
Fair Trade, organic, and genetically modified organisms
A case from Central India
Plantation management and workers
A case from Darjeeling, India
Social movements and commercial certification
A case from Thailand
Certification-supported farming and other diversified livelihoods
A case from the Philippines
chapter 7|9 pages
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Dr. Walley is a general internist and addiction medicine specialist at Boston Medical Center, and program director of the Addiction Medicine Fellowship program at Boston University. He provides primary care and office-based bupre-norphine treatment for HIV patients and methadone maintenance treatment at regional centers. His research interests include medical complications of substance use, specifically HIV and overdose.
Dr. Walley is also medical director for the Opioid Overdose Prevention Pilot Program at the Massachusetts Department of Public Health. This program has trained over 30,000 people including active users, people in recovery, and their social networks. He serves as medical director for several Massachusetts police and fire department naloxone rescue programs.
Dr. Green is an epidemiologist whose research focuses on drug abuse, addiction and injury, including HIV infection and drug abuse, non-medical prescription drug use, corrections health, drug policy, and opioid overdose prevention and intervention. Supporters of her research include the Centers for Disease Control and Prevention and the National Institute on Drug Abuse.
She helped design the ASI-MV®, a real-time illicit and prescription drug abuse surveillance system and co-founded prescribetoprevent.org. She chairs the Rhode Island Drug Overdose Prevention and Rescue Coalition for the Rhode Island Department of Health.


text:
Canadians Are Released After A Chinese Executive Resolves U.S. Criminal Charges
By Emily Feng
Darryl Dyck
The Canadian Press via AP
Meng Wanzhou, chief financial officer of Huawei, smiles as she leaves her home in Vancouver on Friday.
Updated September 25, 2021 at 2:27 AM ET
BEIJING — China has released two imprisoned Canadian men in exchange for a Chinese Huawei executive detained in Canada, ending a more than 1,000-day ordeal that helped tank U.S.-China relations.
"These two men have gone through an unbelievably difficult ordeal," Canadian Prime Minister Justin Trudeau said at a news conference held shortly after the two Michaels, as they are called, departed China. "For the past thousand days they have shown strength, perseverance, resilience and grace, and we are all inspired by that."
Michael Spavor and Michael Kovrig left Chinese air space on a plane accompanied by the Canadian ambassador to China, Dominic Barton, at around the same time Meng Wanzhou, Huawei's chief financial officer, flew back to China.
Canadian diplomats said the two Michaels were in high spirits but had lost significant amounts of weight during their time in Chinese detention. Spavor is being flown to Calgary, while Kovrig will continue onward to Toronto.
U.S. Secretary of State Antony Blinken said in a statement "we are pleased that [the two Canadian men] are returning home to Canada."
Spavor and Kovrig were suddenly detained in December 2018 on espionage charges, shortly after the U.S. ordered Canada to detain Meng, who is also the daughter of Huawei's founder, on suspicion that she had broken American sanctions on Iran.
The detentions signaled the beginning of an ongoing showdown between the U.S. and China over technology standards and dominance over critical semiconductor components. The U.S. maintains sanctions on the Chinese telecom firm and briefly sanctioned of its major suppliers, the Chinese company ZTE. Last May, the U.S. went one step further, barring companies from selling semiconductors to Huawei if the products were made using American technology.
China has repeatedly denied that their arrest of the two Canadian men was in any way linked to Meng's detention but the timing of their mutual releases underscores the high-stakes game of hostage diplomacy between the U.S., China, and Canada.
Their exchange was a breakthrough enabled by a deal brokered by the U.S. Department of Justice. In a virtual court hearing Friday, Meng pleaded not guilty to charges of bank and wire fraud, but did acknowledge that she misled some financial institutions about Huawei's dealings with Iran. As part of the deal, federal prosecutors will defer prosecution, and if she complies with all of the obligations under that deal, the U.S. will drop the charges against her in just over a year.
China held both men incommunicado and tried both of them in closed trials. Spavor was given an 11-year sentence in August; Kovrig was still awaiting a verdict at the time of his release.
Meng, on the other hand, was allowed to reside in her Vancouver mansion and roam the city for private dinners and shopping sprees at boutique outlets while sporting an ankle monitor, outings eagerly documented by the Canadian tabloids.
NPR's Jackie Northam contributed to this report.
Emily Feng
Emily Feng is NPR's Beijing correspondent.
See stories by Emily Feng


Hi everyone, it's Helen with you today, and I'd like to share with you a clock that I've made using some of the new JOFY stamps..
You can make a clock out of almost anything as long as you are able to punch or drill a hole for the clock mechanism. These can be bought from craft shops or just buy a really cheap clock and take it from there. As it happened I had this MDF clock frame that I bought years ago stashed away in a drawer and thought it would fit the stencil really well.
These new JOFY stamps are lovely - I like the little bit of book text in the centre of the flower and the scribbly outline flower that stamps brilliantly with paint.
The products I used are the JOFY76 set and PS110 from Tracy Scott.
This is the clock blank that I had - the frame is separate from the base which makes it much easier to decorate.
The stencil just fitted where the clock face was. I picked out my paints but then swapped the pink for Cherry Red - I was inspired by the gorgeous colours used in some of the samples made for the latest Tracy Scott stamps.
Just used two colours here.
I then decided to stamp the sketchy flower in yellow, I wanted to both get the colour down and keep the petal shapes. I found it easiest to spread the paint out on a mat and dip the stamp in.
Lots of stamping but you can still see the shapes.
It took me quite a while to work out what to do with the frame. I didn't want a solid colour and I wanted to keep some of the white, so I decided to do the same as on the base.
Love how the colour builds up.
I finished off with black for more definition. I liked this effect - like a massive scribbly doodle! You can see all the paint pads spread out to the left.
I then outlined the frame with a chisel tip pen; a really easy way of finishing off an edge as it always goes in a straight line, no wobbles!
I stamped the images in black paint as well as ink wasn't quite intense enough.
I had the blank already for this project but wasn't quite sure how it would turn out. However I like it. Stamping with paint gives it texture and lets you keep the colours true as you layer them up; i.e. no mud! It was pure luck that the stencil fitted so well although with the wide choice of designs from PaperArtsy you're bound to find something that works.
As I said before what you use for your clock is up to you - a box canvas, a plate, mountboard, MDF shapes, clay - you've just got to be able to make the hole for the mechanism. The clock works on the back usually have a little hook for hanging built in as unless it's recessed like a canvas, it won't lie flush to the wall.
Simply gorgeous Helen!!! Love all the colour madness of it!
Love the stamping on the frame, so effective. Fab tick tock creation Helen.
fantastic Helen!!! Love how bright and cheerful this is!


text:
Vinicius Rangel Costa (né le ) est un coureur cycliste brésilien, membre de l'équipe Movistar.

Biographie

Vinicius Rangel vient au cyclisme vers l'âge de treize ans par l'intermédiaire d'un cousin, lui-même ancien coureur cycliste.

Palmarès
 2016
  Champion du Brésil sur route cadets
  Champion du Brésil du contre-la-montre cadets
 2018
  du championnat du Brésil du contre-la-montre juniors
  du championnat du Brésil sur route juniors
 2019
  Médaillé de bronze du championnat panaméricain du contre-la-montre juniors
  Médaillé de bronze du championnat panaméricain sur route juniors
 2021
 Classement général du Tour de Cantabrie
 Tour de Salamanque :
 Classement général
  et
  du championnat du monde sur route espoirs
 2022
  Champion du Brésil sur route
  Champion du Brésil sur route espoirs
  Champion du Brésil du contre-la-montre espoirs

Classements mondiaux

Notes et références

Liens externes

Coureur cycliste brésilien
Naissance en mai 2001
Naissance à Cabo Frio

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