mongolia city attorney

 'One of the many things no one tells you about aging is that it's  such a nice change from being young.'   Will Rogers

From MB, celebrating National Fiddler's Day.

So, last week somebody was lounging by our pool and contemplating navels, but asked me if the tomatoes were ready to eat.  Huh?  What tomatoes, as in 'Yes, We Have No Tomatoes, No Tomatoes Today...'She called me over and~
 

Still I don't see tomatoes.  I get closer~

Well, l'll be damned, I DO have tomatoes.  (Picture taken right after I picked all the ripe ones.)

And I went right back and 'staked' them by winding the longer trailers around the lounge chair~

Lots more little bundles of green ones, some infant yellow ones, and many blossoms-  I will be kept in tomatoes the rest of the season.  This was apparently a volunteer that took root in one of my landscape plants-  see those little bundles of grass in first picture?)  Salad, anyone?

 Susan Jamison's "Drowning Dress" is a tribute to Virginia Woolf. It has "Fare Well" stitched around the collar, with the flimsy fabric of the skirt adorned all over with metal weights, alluding to her suicide. 

Ruth Rae's journal dress embroidered in red threaded writing (mixing poems with diary-style revelations and observations)

Louise Bourgeois' coat with "The Cold of Anxiety is Very Real" standing stark in black letters on its back, there's a rich history of women transforming clothing into a space for confession and brutal honesty. 

Lorina Bulwer endeavored to capture something of their unhappy existences in stitches through working on elaborate samplers: wide stretches of fabric embroidered with snippets of their life-stories.  Bulwer, by contrast, was a needle-worker who was incarcerated in the lunatic ward of Great Yarmouth Workhouse when she was 56. There she made several large-scale samplers that mixed family history with letters, protest, fantasy, and serious accusation. One part reads, "I HAVE WASTED TEN YEARS IN THIS DAMNATION HELL FIRE TRAMP DEN OF OLD WOMEN OLD HAGS". For both, under different circumstances, these samplers opened up a space for voicing and documenting their grim experiences—preserving the kinds of stories that the history books tend to forget.

Kate Daudy's Wedding Dress features a poem cascading down the back from the waist, bright against the white fabric. The final few lines spill out to the edge of the hem, reading, "a bunch of bleeding roses."

For as long as women have been sewing, they've been using embroidery to tell their own stories—often in societies that refuse to hear them otherwise.

Agnes Richter's jacket is, on first glance, not unlike something one might expect in a Gothic-inspired couture collection. With its rust-colored lace collar and cropped silhouette, and with dense writing stitched delicately across its rough surface, it has more than a hint of McQueen about it. The origin is startlingly different, however: dating back to the 1890s, it's the work of a German seamstress who had been consigned to an asylum. Although it's often falsely described as her straightjacket, it was actually cut and assembled from a hospital gown, tailored and then turned into an autobiography wrought on fabric. Many of the phrases are indecipherable, although a few have been translated.