BOYS BEFORE FLOWER 12 - FLOWER 12

Boys Before Flower 12 - Red Flower Oil

Boys Before Flower 12


boys before flower 12
    flower
  • (of a plant) Produce flowers; bloom
  • Be in or reach an optimum stage of development; develop fully and richly
  • a plant cultivated for its blooms or blossoms
  • reproductive organ of angiosperm plants especially one having showy or colorful parts
  • Induce (a plant) to produce flowers
  • bloom: produce or yield flowers; "The cherry tree bloomed"
    boys
  • (boy) male child: a youthful male person; "the baby was a boy"; "she made the boy brush his teeth every night"; "most soldiers are only boys in uniform"
  • (boy) son: a male human offspring; "their son became a famous judge"; "his boy is taller than he is"
  • A son
  • A male child or young man who does a specified job
  • (boy) a friendly informal reference to a grown man; "he likes to play golf with the boys"
  • A male child or young man
    12
  • twelve: denoting a quantity consisting of 12 items or units
  • A video game content rating system is a system used for the classification of video games into suitability-related groups. Most of these systems are associated with and/or sponsored by a government, and are sometimes part of the local motion picture rating system.
  • twelve: the cardinal number that is the sum of eleven and one
boys before flower 12 - The Language
The Language of Flowers: A Novel
The Language of Flowers: A Novel
A mesmerizing, moving, and elegantly written debut novel, The Language of Flowers beautifully weaves past and present, creating a vivid portrait of an unforgettable woman whose gift for flowers helps her change the lives of others even as she struggles to overcome her own troubled past.

The Victorian language of flowers was used to convey romantic expressions: honeysuckle for devotion, asters for patience, and red roses for love. But for Victoria Jones, it’s been more useful in communicating grief, mistrust, and solitude. After a childhood spent in the foster-care system, she is unable to get close to anybody, and her only connection to the world is through flowers and their meanings.

Now eighteen and emancipated from the system, Victoria has nowhere to go and sleeps in a public park, where she plants a small garden of her own. Soon a local florist discovers her talents, and Victoria realizes she has a gift for helping others through the flowers she chooses for them. But a mysterious vendor at the flower market has her questioning what’s been missing in her life, and when she’s forced to confront a painful secret from her past, she must decide whether it’s worth risking everything for a second chance at happiness.


From the Hardcover edition.

A mesmerizing, moving, and elegantly written debut novel, The Language of Flowers beautifully weaves past and present, creating a vivid portrait of an unforgettable woman whose gift for flowers helps her change the lives of others even as she struggles to overcome her own troubled past.

The Victorian language of flowers was used to convey romantic expressions: honeysuckle for devotion, asters for patience, and red roses for love. But for Victoria Jones, it’s been more useful in communicating grief, mistrust, and solitude. After a childhood spent in the foster-care system, she is unable to get close to anybody, and her only connection to the world is through flowers and their meanings.

Now eighteen and emancipated from the system, Victoria has nowhere to go and sleeps in a public park, where she plants a small garden of her own. Soon a local florist discovers her talents, and Victoria realizes she has a gift for helping others through the flowers she chooses for them. But a mysterious vendor at the flower market has her questioning what’s been missing in her life, and when she’s forced to confront a painful secret from her past, she must decide whether it’s worth risking everything for a second chance at happiness.




Amazon Exclusive: Paula McLain Reviews The Language of Flowers

Paula McLain is the New York Times best-selling author of The Paris Wife. She grew up in Fresno, California where, after being abandoned by both parents, she spent fourteen years in the foster care system. A graduate of the MFA program at The University of Michigan, she has taught literature and creative writing for many years, and currently lives with her children in Cleveland, Ohio.


I feel it's only fair to warn you, dear reader, that Vanessa Diffenbaugh's central character, Victoria Jones, is going to break your heart three ways from Sunday. She's also going to make you want to pick her up, shake her and scream, why can’t you let yourself be happy? But for Victoria, the answer is as complex as the question is simple. She's spent her childhood ricocheting through countless foster and group homes, and the experience has left her in pieces. Painfully isolated and deeply mistrustful, she cares only about flowers and their meanings. She herself is like a thistle, a wall of hard-earned thorns.
When we first encounter Victoria, it's the day of her emancipation from foster care, her eighteenth birthday. "Emancipation" couldn't be a more ironic word for this moment. For Victoria, as for most foster care survivors—-myself included—-freedom really means free fall. She has nowhere to go, no resources, no one who cares about her. She ends up sleeping in a public park, tending a garden of pilfered blossoms, and living on her wits. It's only when a local florist sees Victoria's special way with flowers that she is given a means to survive. But survival is just the beginning. The more critical question is will Victoria let herself love and be loved?
The storyline weaves skillfully between the heavy burden of Victoria's childhood—-her time with Elizabeth, the foster mother who taught her the language of flowers and also wounded her more deeply than Victoria can bear to remember—-and the gauntlet of her present relationship with Grant, a flower vendor who's irrevocably linked to the darkest secret of her past. At its core, The Language of Flowers is a meditation on redemption, and on how even the most profoundly damaged might learn to forgive and be forgiven. By opening up Victoria's very difficult inner world to us, Vanessa Diffenbaugh shows us a corner of experience hidden to most, and with an astonishing degree of insight and compassion. So hold on, and keep the tissue box nearby. This is a book you won’t soon forget. --Paula McLain




Author Q and A with Vanessa Diffenbaugh
Q: What is the language of flowers?
A: The Victorian language of flowers began with the publication of Le Language des Fleurs, written by Charlotte de Latour and printed in Paris in 1819. To create the book--which was a list of flowers and their meanings--de Latour gathered references to flower symbolism throughout poetry, ancient mythology and even medicine. The book spawned the science known as floriography, and between 1830 and 1880, hundreds of similar floral dictionaries were printed in Europe and America.
In The Language of Flowers, Victoria learns about this language as a young girl from her prospective adoptive mother Elizabeth. Elizabeth tells her that years ago, people communicated through flowers; and if a man gave a young lady a bouquet of flowers, she would race home and try to decode it like a secret message. So he would have to choose his flowers carefully.

Q: Where did you come up with the idea to have Victoria express herself through flowers?
A: I’ve always loved the language of flowers. I discovered Kate Greenaway’s Language of Flowers in a used bookstore when I was 16, and couldn’t believe it was such a well-kept secret. How could something so beautiful and romantic be virtually unknown? When I started thinking about the book I wanted to write, Victoria and the language of flowers came to me simultaneously. I liked the complication of a young woman who has trouble connecting with others communicating through a forgotten language that almost no one understands.

Q: Why does Victoria decide to create her own flower dictionary, and what role does it come to play in the novel?
A: In many ways, Victoria exists entirely on the periphery of society. So much is out of the scope of her understanding--how to get a job, how to make a friend, even how to have a conversation. But in the world of flowers, with their predictable growing habits and "non-negotiable" meanings, Victoria feels safe, comfortable, even at home. All this changes when she learns that there is more than one definition for the yellow rose--and then, through research, realizes there is more than one definition for almost every flower. She feels her grasp on the one aspect of life she believed to be solid dissolving away beneath her. In an effort to "re-order" the universe, Victoria begins to photograph and create her own dictionary, determined to never have a flower-inspired miscommunication. She decides to share that information with others--a decision that brings with it the possibility of love, connection, career, and community.
I understand Victoria’s impulse completely, and I included a dictionary in the back of the book for the same reason. If readers are inspired to send messages through flowers, I wanted there to be a complete, concise, relevant and consistent list of meanings for modern communication.

Q: How does The Language of Flowers challenge and reconfigure our concepts of family and motherhood?
A: One of my favorite books is Rainer Maria Rilke’s Letters to a Young Poet. In it, Rilke writes: "It is also good to love: because love is difficult. For one human being to love another human being: that is perhaps the most difficult task that has been entrusted to us, the ultimate task, the final test and proof, the work for which all other work is merely preparation."
To love is difficult. To be a mother is difficult. To be a mother, alone, with few financial resources and no emotional support, is so difficult as to be nearly impossible. Yet society expects us to be able to do it, and as mothers, we expect ourselves to be able to do it as well. Our standards for motherhood are so high that many of us harbor intense, secret guilt for every harsh word we speak to our children; every negative thought that enters our minds. The pressure is so powerful that many of us never speak aloud about our challenges--especially emotional ones--because to do so would be to risk being viewed as a failure or, worse, a danger to the very children we love more than anything in the world.
With Victoria and Elizabeth, I hope to allow the reader a window inside the minds of mothers who are trying to do what is best for their children but who lack the support, resources, and/or self-confidence to succeed. The results are heartbreaking for so many mothers who find themselves unable to raise their children. It is my belief that we could prevent much child abuse and neglect if we as a society recognized the intense challenge of motherhood and offered more support for mothers who want desperately to love and care for their children.

Q: The Language of Flowers sheds light on the foster care system in our country, something with which many of us are not intimately acquainted. Did you always know you wanted to write a story about a foster child?
A: I’ve always had a passion for working with young people. As my work began to focus on youth in foster care--and I eventually became a foster parent myself--I became aware of the incredible injustice of the foster care system in our country: children moving from home to home, being separated from siblings, and then being released into the world on their eighteenth birthday with little support or services. Moreover, I realized that this injustice was happening virtually unnoticed. The same sensationalized stories appear in the media over and over again: violent kids, greedy foster parents, the occasional horrific child death or romanticized adoption--but the true story of life inside the system is one that is much more complex and emotional--and it is a story that is rarely told. Foster children and foster parents, like children and adults everywhere, are trying to love and be loved, and to do the best they can with the emotional and physical resources they have. Victoria is a character that people can connect with on an emotional level--at her best and at her worst--which I hope gives readers a deeper understanding of the realities of foster care.

Q: Victoria is such a complex and memorable character. She has so much to contribute to the world, but has so much trouble with love and forgiveness, particularly toward herself. Is she based on someone you know or have known in real life?
A: People often ask me if I drew inspiration for the character of Victoria from our foster son Tre’von, but Victoria is about as different from Tre’von as two people could ever be. Tre’von’s strength is his openness--he has a quick smile, a big heart, and a social grace that puts everyone around him at ease. At fourteen, running away from home barefoot on a cold January night, he had the wisdom and sense of self-preservation to knock on the door of the nearest fire station. When he was placed in foster care, he immediately began to reach out to his teachers and his principal, creating around himself a protective community of love and support.

Victoria is clearly different. She is angry and afraid, yet desperately hopeful; qualities I saw in many of the young people I worked with throughout the years. Though Victoria is entirely fictional, I did draw inspiration in bits and pieces from foster children I have known. One young woman in particular, who my husband and I mentored many years ago, was fiery and focused and distrusting and unpredictable in a manner similar to Victoria. Her history was intense: a number on her birth certificate where a name should have been; more foster homes than she could count. Still, she was resilient, beautiful, smart, and funny. We loved her completely, and she did her best to sabotage it, over and over again. To this day my husband and I regret that we couldn’t find a way to connect with her and become the stable parents she deserved.

Q: The notion of second chances plays a major role in The Language of Flowers for many of the characters. Does this in any way relate to your personal advocacy work with emancipating foster youth?
A: As my four-year old daughter says to me on a regular basis: "Mommy, you aren’t perfect." We all make mistakes, and we all need second chances. For youth in foster care, these mistakes are often purposeful--if not consciously so; a way to test the strength of a bond and establish trust in a new parent. A friend of mine called recently, after a year of mentoring a sixteen year-old boy, completely distraught. The young man had lied to him, and it was a major lie, one that put him in danger. My friend, in his anger, said things he regretted. My response was this: good. Your response might not have been perfect, but it was real and your concern was clear. As long as he was still committed to the young man (which he was), it didn’t so much matter what my friend had said or done; what mattered was what he did next. It mattered that he showed his mentee, through words and actions, that he still loved him, and that the young man’s mistake couldn’t change that.

Q: The Language of Flowers is one of those stories that will stay with its readers for a very long time. What lasting impression do you wish the book to leave them?
I believe that people are spurred into action when they both see the injustice of a situation and the possibility for change. With The Language of Flowers I tried to write a book that was honest and true, but hopeful enough to inspire people to act. Each year, nearly 20,000 young people emancipate from the foster care system, many of them with nowhere to go and no one to go to for support. I am launching a non-profit with the goal to connect every emancipating foster child to a community--a book club, a women’s club, a church group--to support them through the transition to adulthood and beyond. It is my hope that readers everywhere will read my book and become inspired to partner with emancipating young people in their own communities.

Q: If you were to represent yourself with a bouquet, which flowers would you choose and why?
A: Helioptrope (devoted affection), Black-Eyed Susan (justice), Hawthorn (hope), Liatris (I will try again), Lisianthus (appreciation), and Moss (maternal love). These flowers represent how I am--devoted, affectionate, maternal, and grateful--and also how I want to be--hopeful, determined, and constantly working for justice.

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A Different Kind of Flower
A Different Kind of Flower
Tonight I went through some pics from my archives, and found a bunch of shots that I'd taken over two years ago while I was visiting Tigger at Sugar Mill Gardens. For those who don't know the story of my cat, Tigger, he had been owned by an elderly lady who passed away. I was told that her ashes had been scattered in the gardens. (She had lived just down the street.) Tigger's name back then was Jack. I found this out when I met a girl in the gardens who claimed to have been the best friend of the lady's grand daughter, and she filled me in on some interesting facts. "Jack" was passed down to the girl, who was very young at that time. For some reason, he kept getting out and running down to Sugar Mill Gardens to hang out. It seems a little like a Greyfriar's Bobby kind of thing, (you know, where the dog's owner died and he laid on his owner's grave every day until HE died, too!) The family would come and get Jack, but he apparently liked hunting squirrels in the gardens, and being a very social cat, liked all the attention from visitors, and quickly became the unofficial greeter of the place! Eventually, the family had to move to St. Augustine, and for whatever reason, they decided to leave Jack to his gardens, and asked the garden staff if they'd look after him. At some point, Jack was renamed Tigger, and several of the volunteers fed him, and one would do things like periodically worm him, or pull ticks off him. After I came on Flickr, I met Tiger Lair, another member, who has a group called Tigger, the Gatekeeper's Garden Clubhouse. That's where I found out about Tig. I had heard so much about him that I planned to visit him, but like most people, never had the time. Well, Tiger Lair (Susan) would check on him every month or so, and bring him snacks and catnip. On January 1, 2008, she had gone out of town with her hubby, and the temps were going to plummet into the 20's, which is unusual for Florida. I wondered if Tigger had ever been exposed to such weather, or if he had someplace warm to go in. So, I made my first visit to the Gardens to bring him a blanket, just in case. When I got to the gardens, it was late afternoon, and it was already about 40 degrees. I found Tigger on top of the old ruins, shivering. The plants had been covered, but there was no bed or house, and nothing warm for the cat to cuddle up with. So, I tossed the blanket up onto the ruins next to him, while he looked at me like I was nuts! I walked away to take some photos, and when I returned, there was Tigger, cuddled up on the blanket! I brought treats and lured him over with them so I could pet him. Well, the rest is history. After that, I went back again and again, each time bringing more stuff...a "house" made out of a storage container with a hole cut in the side that I put blankets in for him to get out of the rain or wind. I ended up going there most every day and bringing him food and giving him fresh water. In the process, I discovered just how hard life had been for Tigger, who was about 8-10 years old. I would put fresh water in his bowl and give him fresh food, then walk around the gardens taking photos while he escorted me! When I went back over by his bowls, I'd often find his food half gone and his water bowl filthy with mud! It took me a while to discover the culprit who was making a mess of things and stealing his food. It was raccoons! Tigger could gallop like a race horse, and I have no doubt that it was due to running from angry mother raccoons, protecting their young, and eating his food! Tigger had hind leg problems, and I began to notice he would shake sometimes, and have difficulty making it over the fence, or climbing up on anything. His legs are longer than any cat I've ever seen, but not particularly strong. I believe he couldn't climb to get away from danger; he just had to run for it! Over time, I grew to love him like one of my own cats, and right before a tropical storm hit the following summer, I took Tigger home to keep him safe. He adapted so well that I ended up keeping him! A couple of months later, my mother took ill and passed away. I lost my job of 16 years, and had no money for food for myself, let alone 3 cats! Susan began to bring me food and supplies, not just for Tigger, but for ALL my cats! She has treated them as if they were her own for over a year and a half! Even now, I only have been able to find a part time job which pays much less than what I used to earn, and she has continued to help me so my three boys can stay healthy. I don't know what I'd do without her! It's been a long time since I went to the gardens. We had my mother's memorial service there, and that was the last time I went. I have taken literally thousands of photos of the 12 acre site, which was once part of the Dunlawton Plantation. Many of the photos I've never had time to process. So, like everything else, they will be done eventually, as I make room for new things! This is one of th
Knowsley Flower Show 12
Knowsley Flower Show 12
More than 16,000 visitors once again flocked to Knowsley Flower Show at the weekend (August 7, 2011) – the North West’s largest free horticultural event. Crowds dodged occasional showers to see the impressive displays of colourful fruit, vegetables and flowers, while entertainment was provided by a daring dog display team and seaside themed fun for children. Foodies were able to browse for tasty treats in the popular farmers market and food marquee, while green fingered visitors were in their element swapping tips with fellow gardeners and browsing the numerous gardening trade stands and plant stalls. There was also a large craft marquee, a circus skills workshop and a display by Hawkeye Falconry. With more entrants than ever before judges had a hard time picking winners from the 572 entries in the various categories. Overall winner this year was James Middleton from Huyton, who won the coveted Best Exhibit in Show. And, in the children’s categories, 12-year-old Rowan Williams from Huyton took Best in Section and Best Girl Exhibitor, while five-year-old Lewis Norfolk from Roby was Best Boy Exhibitor. Thanks go to the show’s partners, trade exhibitors and sponsors, which this year included main sponsors Mackrell and Thomas, Knowsley Community College, Home Bargains, Love Food Hate Waste Campaign, Morgan Sindall, Chill Out Spa, Balfour Beatty, Grassroots Fund from Community Foundation for Merseyside, Knowsley Housing Trust, Eli Lily, Mayfield Construction, King Construction and Knowsley Parish Council. The Knowsley Flower Show is Roby Horticultural Society, Whiston Gardening Society, Cuper Crescent and Bowring Park allotments association, and Friends of Court Hey Park.

boys before flower 12
boys before flower 12
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