A sweeping tale of life in Sault Ste. Marie from the 1930s through the Second World War. Clara Durling and her teenage daughter, Ivy, move to Sault Ste. Marie in 1932, where Clara is starting a job as head nurse at the local residential school. As Clara adjusts to life in the Soo, she discovers the town is a many-layered society. Clara works with Indigenous children who have been ripped from their communities and now live frightening, lonely lives in a crumbling building. While Clara struggles to deal with the despair at the school, Ivy makes a friend from the working-class Italian community and has a brush with the bootlegging underworld. After high school, Ivy heads to nursing school in Montreal but finds society’s expectations for young women do not foster their self-reliance. As Ivy struggles with sexism and societal norms, she and Clara seek to bring humanity to those living at the margins of society.
A sweeping tale of life in Sault Ste. Marie from the 1930s through the Second World War. Clara Durling and her teenage daughter, Ivy, move to Sault Ste. Marie in 1932, where Clara is starting a job as head nurse at the local residential school. As Clara adjusts to life in the Soo and tries to scrape together funds to buy a duplex, she discovers the town is a many-layered society. Clara works with Indigenous children who have been ripped from their communities, and now live a frightening, lonely life in a crumbling building. While Clara struggles to deal with the despair at the school, Ivy makes a friend from the working-class Italian community and is dragged into the bootlegging underworld. After high school, Ivy heads to nursing school in Montreal, but finds society’s expectation for young women does not foster their self-reliance. As Ivy struggles with sexism and societal norms, she and Clara seek to bring humanity to those living at the margins of society.
Their stories - of impoverished childhoods, hardscrabble work, and strong families - are enhanced by over seventy color photographs of historic quilts ranging from the early 1800s to the 1950s."--BOOK JACKET.
Tanya finds her grandmother sitting by the window one day surrounded by pieces of material. Grandma has decided to make herself a patchwork quilt to replace the old one her mother made her. This story covers the progress of the quilt.
The author of The Basement Quilt delivers a novel of mystery, romance—and ghosts!—as flower shop owner Anne Brown searches for a place to call home. The second saga of Anne Brown and the Colebridge Community! In The Basement Quilt, the debut novel by Ann Hazelwood, you got to know the family and friends of Anne Brown, a plucky florist whose daily ups and downs are as familiar as your own. In this follow-up book, Anne and her fiancé, Sam, start house-hunting, or is that haunting? Once again, a quilt holds keys and clues to important family secrets, but whose family is it this time? And why would anyone hide a quilt in a potting shed? Life continues apace for Anne’s family and friends, too. Share in their joys and sorrows as Colebridge goes about every community’s business. The Potting Shed Quilt is not just the title of this sequel—the quilt itself is a character. You’ll want to meet other quilt “characters” throughout the series. Praise for Ann Hazelwood and the Colebridge Community Series “I found myself immersed in the tale of this extended family and this wonderful quaint town . . . You will laugh, cry and share in their hopes and dreams.” —Community News “Ann Hazelwood knows a few things about the human spirit, family and dreaming big. Add a mixture of the love of quilting and all the things Missouri historic and otherwise; you will experience the words and passion of this unique and gifted author. Enjoy the experience!” —StreetScape Magazine
Treasury of Amish patchwork artistry considers color combinations, borders, quilting methods, backings, binding. Instructions, full-size patterns for such colorful beauties as "Honeycomb," "Sunshine and Shadow," "Wild Goose Chase," many more — all derived from Amish quilts of the late 1800s and early 1900s.
In contemporary Manila, slums and squatter settlements are peppered throughout the city, often pushing right up against the walled enclaves of the privileged, creating the complex geopolitical pattern of Marco Z. Garrido’s “patchwork city.” Garrido documents the fragmentation of Manila into a mélange of spaces defined by class, particularly slums and upper- and middle-class enclaves. He then looks beyond urban fragmentation to delineate its effects on class relations and politics, arguing that the proliferation of these slums and enclaves and their subsequent proximity have intensified class relations. For enclave residents, the proximity of slums is a source of insecurity, compelling them to impose spatial boundaries on slum residents. For slum residents, the regular imposition of these boundaries creates a pervasive sense of discrimination. Class boundaries then sharpen along the housing divide, and the urban poor and middle class emerge not as labor and capital but as squatters and “villagers,” Manila’s name for subdivision residents. Garrido further examines the politicization of this divide with the case of the populist president Joseph Estrada, finding the two sides drawn into contention over not just the right to the city, but the nature of democracy itself. The Patchwork City illuminates how segregation, class relations, and democracy are all intensely connected. It makes clear, ultimately, that class as a social structure is as indispensable to the study of Manila—and of many other cities of the Global South—as race is to the study of American cities.
