Bea is at it again, and this time, it's party time! Join Bea and her friend, Makayla, as these two young entrepreneurs team up to launch a party-planning venture! Learn about a service business, some basics of market research and follow some simple steps to start any business.
Cabbage has as many faces as it does leafy furbelows. How could a vegetable be so beloved, so universal, and at the same time so disdained? One of the oldest crops in the world, cabbage has for millennia provided European and Asian peoples with vitamins A and C . . . and babies—a belief lent credence by folktales about infants found “under a cabbage leaf” as well as contemporary Cabbage Patch Kids. Cabbage is both a badge of poverty and an emblem of national pride; a food derided as cheap, common, and crass, and an essential ingredient in iconic dishes from sauerkraut to kimchi. Cabbage is also easy to grow, because it contains sulfurous compounds that repel insect pests in the wild—and human diners who smell its distinctive aroma. We can’t live without cabbage, but we don’t want to stand downwind of it, and in this lively book, Meg Muckenhoupt traces this culinary paradox. From senators’ speeches in ancient Rome to South Korean astronauts’ luggage, she explores the cultural and chemical basis for cabbage’s smelly reputation and enduring popularity. Filled with fascinating facts and recipes for everything from French cabbage soup to sauerkraut chocolate cake, Cabbage is essential reading for both food lovers and historians around the globe—and anyone craving their daily dose of leafy greens.
This book examines posttraumatic autobiographical projects, elucidating the complex relationship between the ‘science of trauma’ (and how that idea is understood across various scientific disciplines), and the rhetorical strategies of fragmentation, dissociation, reticence and repetitive troping widely used the representation of traumatic experience. From autobiographical fictions to prison poems, from witness testimony to autography, and from testimonio to war memorials, otherwise dissimilar projects speak of past suffering through a limited and even predictable discourse in search of healing. Drawing on approaches from literary, human rights and cultural studies that highlight relations between trauma, language, meaning and self-hood, and the latest research on the science of trauma from the fields of clinical, behavioral and evolutionary psychology and neuroscience, I read such autobiographical projects not as ‘symptoms’ but as complex interrogative negotiations of trauma and its aftermath: commemorative and performative narratives navigating aesthetic, biological, cultural, linguistic and emotional pressure and inspiration.
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