JE M'APPELLE CLAIRE

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Bonjour à tous!Je m'appelle Claire. Je vis en Belgique dans une famille BCBG à mort, j'ai un petit ami qui est super et (mais?) du même milieu que moi.Je fais des études de journalisme. Je fais des voyages, des sorties, des restaurants, mais je m'emmerde.J'ai envie de changer d'air.J'aimerais parler de sexe, de sorties qui tournent en virée plutôt que les sorties organisées et plan-plan que je pratique.Je fais parfois quelques photos de mode pour des amis photographe... en amateur.Je posterai des pics de moi, de ma vie, ... je n'ai pas de cam (interdiction parentale). Laissez vos commentaires (cochons ou autres, mais ne soyez pas sentimental, j'ai ça tous les jours....)Voilà dans un premier temps....Je suis la propriété de My Lord ShaitinxxxxxxxxxHi!My name is Claire. I live in Belgium in a classy "Bon chic bon genre" (quite WASP for the usa i think) familly, i have BF (very cute, i love him) from a familly quite as mine.I study to become journalist. I travel in very nice and expensive places, i go out in expensives nightclubs, i eat often in restaurants but i'm boring.I need air.I'd like to talk about sex, about parties not so planned that the ones i live, ...I sometimes do some amateur model shoots for photograph friends.I'll post pics of me, my life, ... i don't have cam (parents don't want to)! Leave your comments (porn and nasty ones welcome... don't be gentlemen, i live that everyday)Well not too bad for a first step....Owned by My Lord ShaitinClaire
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Hometown:
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Occupation:
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i'm jessica a hottt LESBIAN from the awesome state of CALIFORINA. i love to go to CHARGER @ USC games. go clubbing,dancing and meet other hott gurls there.i also roller blade, snowboard, shop my ass off and play on line with my sista's in out yahoo groups. i'm not on yahoo IM much because i get to many from my groups wanting to chat with me.i feel i'm a sweetheart and treat everyone rather nice unless you piss me off then i become a real BITCH))))) ha ha haYES GUYS I'M A LESBIAN)))))))))) I DON'T WANT TO SEE DICK PICTURES ! i may talk with you guys if you don't come off as jerks.
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hi im jean a 19 yo bisexual daughter of a bimom and bi grandmother. guess you know where i inherited my love of women. i still live at home only because its so much fun. my mom has the ladies over for a get together once a month and ive been joining in since i was 16. i dont have a bf or gf right now. enjoy BBC at times after seeing my mom with a blk man when i was 16. ive always enjoyed women of all ages . i work in retail. i work in a ladies shoe store in west hollywood. hope we can be friends. if you like my profile add me. im in california too and on most mornings early or at night till late.
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By JOHN KENNY CRANE;
Published: November 15, 1992
FIDELITY Five Stories. By Wendell Berry. 201 pp. New York: Pantheon Books. $20.
WENDELL BERRY'S latest collection contains five stories that return to one of his favorite places, the fictional town of Port William, Ky., across the Ohio River from Indiana. As always, he richly evokes the region's farmland and hamlets, and his characters are fiercely individual, yet mutually protective in everything they do.
The first story, "Pray Without Ceasing," is the tale of a murder committed in the summer of 1912, 78 years before the narrator learns its details. According to a newspaper account published at the time, his great-grandfather, Ben Feltner, "friend to all," was shot to death by a farmer named Thad Coulter ("a good kind of feller, too," as one old man recalls) in a crime that has haunted Port William ever since. The narrator's grandmother knows the facts, and her recollections take up most of the story.
It seems that Coulter's son, Abner, was a young man with possibilities -- or at least so his father believed. Thad risked everything, including his farm, to set Abner up in the grocery business in the town of Hargrave, only to have Abner turn wastrel and lose everything. On the day the local bank foreclosed on his property, a drunken, grief-stricken Thad visited Ben Feltner, who had helped him buy the farm, not only to rant against injustice but also to seek "release . . . from the solitary cage of his self-condemnation." Release came, but not in the way Thad expected. And the narrator is surprised to learn that this tragedy, which shaped the destiny of two families, has created in his own life a legacy of a very different sort.
In this story and the others that accompany it, Mr. Berry's sentences are exquisitely constructed, suggesting the cyclic rhythms of his agrarian world. Seen from the distance of time, there is a definite pattern to the events of this world, which otherwise, in immediate experience, appear random and unpredictable. "He seemed to see always not only the changing road beneath his feet," Mr. Berry writes of the fugitive Thad, "but also that other world in which he had lived, now lighted in the dark behind him, and it came to him that on that day two lives had ended for a possibility that never had existed: for Abner Coulter's mounting up in a better place." Such taut phrases, filled with often painful self-awareness, recur throughout the story, providing much of its quiet beauty.
"A Jonquil for Mary Penn," which follows "Pray Without Ceasing," is not so much a fully formed tale as it is a portrait of the teen-age heroine's mental state a year and a half into her marriage. Mr. Berry presents Mary Penn on a cold March day when she feels physically ill, a rare occurrence that can perhaps be traced to her uncertainty about her 19-year-old husband and "the heavy, mostly silent force of his anger." As the story progresses, Mary broods about her husband and the farming community in which they live, pondering both Elton's dark moods and the way, in better times, he can "light up everything around him."
"Making It Home" seems to me the least original, most derivative story in the collection. Clearly inspired by Hemingway's "Big Two-Hearted River," it presents the flip side of that tale's themes. Where Nick Adams returned from World War I so shattered that even a beloved fishing stream could not calm him, Art Rowanberry comes home from World War II with a new appreciation of the Kentucky farm country that bred him and now reinvigorates him.
The title story is the most memorable. "Fidelity" tells what happens when Danny Branch and his family "kidnap" his comatose father from a Louisville hospital so the old man can avoid a long, undignified death and be buried in his native soil. It is a story of the conflict between natural and civil law, with even the police officer who represents the latter quietly giving way, preferring to "leave . . . the small, clear world of the law and its explanations and to enter the larger, darker world not ordered by human reasons or subject to them, in which he sensed obscurely that something might live that he, too, might be glad to have alive."
In a collection of essays called "What Are People For?" Mr. Berry called himself "a farmer of sorts and an artist of sorts." In this description of his vocations, we feel the characteristic tension of both his plots and his prose; without one, he cannot be the other. Like Art Rowanberry, Wendell Berry is a person who feels "the joy of a man who sees, a joy that a man tends to forget in sufficient light." A FARMER FIRST
He had crossed the wide ocean and many a river. Now not another river lay between him and home but only a few creeks that he knew by name. Arthur Rowanberry had come a long way, trusting somebody else to know where he was, and now he knew where he was himself. The great river, still raised somewhat from the flood of that spring and flowing swiftly, lay off across the fields to his left; to his right and farther away were the wooded slopes of the Kentucky side of the valley, and over it all, from the tops of the hills on one side to the tops of the hills on the other, stretched the gray sky. . . .
Art Rowanberry walked like the first man to discover upright posture -- as if, having been a creature no taller than a sheep or a pig, he had suddenly risen to the height of six feet and looked around. He walked too like a man who had been taught to march. . . . But whatever was military in his walk was an overlay, like the uniform, for he had been a man long before he had been a soldier, and a farmer long before he had been a man. . . .
The noises of the town were a long way behind him. It was too early for the evening chores, and the farmsteads that he passed were quiet. Birds sang. From time to time he heard a farmer call out to his team. Once he had heard a tractor off somewhere in the fields and once a towboat out on the river, but those sounds had faded away. . . .
Once it had seemed to him that he walked only on the place where he was. But now, having gone and returned from so far, he knew that he was walking on the whole round world. He felt the great, empty distance that the world was turning in, far away from the sun and the moon and the stars.
"Here," he thought, "is where we do what we are going to do -- the only chance we got." -- From "Fidelity."
John Kenny Crane is the dean of the College of Humanities and the Arts at San Jose State University. His most recent novel is "The Legacy of Ladysmith."
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Gloucester Docks and Gloucester
As the boat rises in the lock, one is confronted with a panorama of nearly twenty huge warehouses, largely restored for modern useage. The warehouses were mainly constructed during the middle nineteenth century.

Immediately to the west of the lock is the former Gopsill Brown's sack warehouse, now an antique centre (shortly to be converted to flats). The western part of the dock basin has new flats built on it, with moorings on the West Quay before the two dry docks. Close to here, water is pumped from the nearby river into the basin to maintain levels in the canal and to ultimately feed the waterworks at the far end of the canal.
The moorings in the dock are extensive, with a fairly rigorously enforced 48 hour limit. Areas which cannot be used for mooring are from the dry docks to just before the Llanthony lift bridge (there are a couple of moorings immediately before the bridge on the West), on the quays which form part of the Waterways Museum (the corner to the Northeast of the lift bridge), and in the entrance arm to Victoria Basin (used by trip boats). Victoria Basin is reserved for permanent moorings. There is a water point in the Barge Arm just before the Waterways Museum (as well as a mooring for disabled boaters). Despite the pubs bordering the docks, and the city centre location, moorings are safe and there are regular security patrols. They are remarkably quiet at night (apart from the seagulls).
In March 2003, new pontoon moorings were installed in the docks. The pontoons run from just outside the lock, along the North Quay and then along Merchants' Quay. Seven short finger pontoons extend out from the latter, giving mooring for up to fourteen narrow beam boats. Note that for longer boats a centre line is essential to tie up here. Entry to the finger pontoons can be interesting in the strong winds which eddy around the docks!

The docks and nearby parts of Gloucester are well worth exploring on foot. On the Eastern side of the main basin (Merchants' Quay), parts of Kimberley warehouse have been converted to a pub, Dr Fosters, which serves a couple of real ales and restaurant (the food is quite good here). The glass entrance hall is a pleasant place to enjoy a coffee. The shops inside the building, and the pizza restaurant, closed in 2006 and are being redeveloped.
On the south side of the Victoria Arm, a new steel structure of quite extraordinary ugliness houses a new Asian restaurant, Vinings. It is destined to be known as Mr Rusty's. Reports of the food are awaitied, it appears to be an all-you-can eat buffet.
Cross the bridge to the South of Merchants' Quay and on the left is the Albert warehouse. Until recently this housed the Opie collection of Advertising and Packaging, and was well worth a visit. Unfortunately, it is currently shut down. The delightful Mariner's Church faces the Albert Warehouse. Further South, beyond the Barge Arm, is the National Waterways Museum. This is an essential stopping place. The entrance ticket can be extended to include a trip along the canal beyond Hempstead on Queen Boadicea II. The Museum has a small collection of historic boats moored outside, and the car park includes remains of the railway yards which at one time served the docks. There is a (usually not very clean) public toilet just outside the Museum. The museum cafe is good, and does a traditional breakfast for a reasonable fee. The Tall Ship pub close to the eastern road entrance serves nice food at very reasonable prices, with a speciality of fish, and Wadworth's beer.
The new, hideous flats (the ones that look like the worst of '60s municipal architecture) beyond the Barge Arm include a cash dispenser and a well-stocked convenience store, open to around 2100.
To visit Gloucester City, the exit just to the East of the North Warehouse (near the lock) is recommended. Cross the road at the pedestrian crossing, and follow the alleyway almost opposite past a private car park. On the left is Gloucester Prison, followed by the ugly Police HQ. Cross another road (a branch of Gloucester Museum is on the corner and houses some interesting vehicles) and pass to the right of the attractive, polygonal court house. Berkeley Street leads quickly to Westgate Street, part of the main shopping centre. On the right-hand side of Berkeley Street is the Fountain Inn, with a pleasant courtyard and well-served beer.
Opposite the end of Berkeley Street is the entrance road to Gloucester Cathedral. This is a most fine building, with frequent concerts (especially when it is Gloucester's turn to host the Three Choirs festival).
The bulk of the shopping centre can be found by turning right into Westgate Street. The alleyway just beyond the Cathedral houses the Beatrix Potter Tailor of Gloucester shop, which is cute or unspeakable depending on your attitude. There is a shop selling an extraordinary range o fbottled beers in the same alley. Most of the shops in Gloucester centre can be found in any other town. There is a large Debenhams and a small Sainsburys in Northgate Street, and the covered market behind Woolworths in Eastgate Street is good for veg., and especially fish at Mr Rigby's stall. Beyond Eastgate Street, the Barton Street area has a reputation as a good place to find drugs and prostitutes. There is a newly redeveloped leisure centre with swimming pool a little further along ("GL1").
Exiting the docks by the south or east entrance and continuing south along Bristol Road for around 400 m leads quickly to the Peel Centre (soon to be served by the new St Ann's lift bridge). This includes some large stores and a multi-screen cinema (beware the sticky floors!). There is also a branch of "Angel Chef", a rather excellent and extremely cheap all-you-can-eat Chinese (and other Asian influences) restaurant. Look out for the bargains to be had at lunchtime, especially for pensioners.

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