gen·til·i·ty (jn-tl-t) n. The quality of being well-mannered; refinement.
jane·til·i·ty (jān-tl-t) n. A salon where all discourse is carried out with refinement and courtesy. Where the spirit and civility of Jane Austen’s work is upheld, while exchanging news, views, and reviews on Austen, literature, tv, movies,special events, pop culture, food & cooking, and our pets.
For more than a hundred fifty years after her death, the canon of Jane Austen inspired a memoir, a few works of literary criticism and a a quarter shelf-full of sequels and adaptations of her work, but in the past fifteen years or so, Jane Austen has become a literary star, generating everything from critiques and biographies to annotated editions, sequels, adaptations, character spinoffs, modern takes, graphic novels, and mashups. Jane Austen has outlasted popular contemporaries like Mary Brunton, Sydney Owenson and Eaton Stannard Barrett, and touched off a market for derivative work comparable only to Conan Doyle’s Sherlock Holmes, and with a considerably smaller canon – talk about the six that keep on giving!
If you are thinking about writing a sequel, adaptation, or new novel featuring a minor Austen character as Austen might have done, it helps to decipher how Austen writes. It is more than a matter of knowing the period – in fact, knowing the period may be least important component. After all, Jane Austen did not write historical novels, she wrote contemporary novels, so it really is not important for an adaptive writer to explain how an entail works or the color of someone’s barouche. Writing like someone else can be tricky; if you have ever seen an impressionist, the good ones do more than getting the voice right – they get the inflection, the cadence, the body language. There is a book called What Jane Austen Ate, and What Charles Dickens Knew; to write like Austen, you have to grasp, not merely what Austen ate or knew, but what Austen did, not only regarding setting and social order, but what techniques she employed as a narrator and wordsmith.
It helps (that is, it helped us in writing Lady Vernon and Her Daughter, and with our current project), to have a few key volumes on the Austen shelf (or shelves) in your home library. A few may be taken for granted – Deirdre LeFaye’s Jane Austen’s Letters, and perhaps something like LeFaye’s Jane Austen: The World of Her Novels. You may pick up an annotated book, or James Edward Austen-Leigh’s A Memoir of Jane Austen or something fun like So You Think You Know Jane Austen?, and of course you have all of Austen’s fiction. Here are a few more that I think would be excellent additions to the Austen writer’s library.
I would consider Mary Lascelles’ Jane Austen and Her Art (Clarendon Press, 1939) to be an essential. Lascelles begins with a brief bio of Austen and the evolution of her literary taste, and then goes into a very clear study of Austen’s narrative style, with wonderful kernels of observation, such as Austen’s suggesting of her characters’ social variants in syntax and phrasing rather than vocabulary when they speak, or the pithy observation that a literary strategy – “What a young woman needs if she is to become a heroine of fiction is a little neglect and ill usage” – may have been extracted from experience. Of course some rules are meant to be broken and in Lady Vernon we did depart from two of Lascelles’ observations: that the marriage proposal of a lover is never verbally expressed (Mr. Collins doesn’t count; he cannot be considered an authentic lover); and a conversation exclusively between gentlemen (with a lady participating or at least being in the room), does not occur.
I had once remarked to an editor that Austen’s novels come down to two interconnected issues: marriage and money. Except for Emma Woodhouse, none of Austen’s heroines are so well off or well connected that they can anticipate “marrying up”; a number of siblings, a neglectful or imprudent father, a reversal of fortune threaten to keep many of Austen’s heroines from that “… pleasantest preservative from want” and “…the only honorable provision” for a gentlewoman of modest means, which marriage certainly was. How a marriage was contracted, how a wife, a widow and children were provided for was as inextricably linked to material assets as to personal ones. It’s helpful to understand what Mrs. Bennet means when she exclaims “What pin money…” Lizzy will have, or how Mrs. Jennings comes by her jointure. Amy Louise Erickson’s Woman and Property in Early Modern England (Routledge, 1993) takes the reader only to the early 18th century, but otherwise is a very clear, and clearly documented, study of women’s rights to ownership of money and property as unmarried women, as wives and as widows, and the precise meaning of terms like “dower” and “settlement”, with some interesting case studies. As a counterpart, Susan Staves’ Married Women’s Separate Property in England, 1660-1833, studies four categories of women’s property: dower; jointure; separate property and pin money; allowance for maintenance.
A profession common to Austen’s novels was one with which she was personally familiar: the country clergyman. The church may be the profession of choice for the hero – Edmund Bertram, Henry Tilney – or it may be the comfortable resort of the self-important and the ambitious – Mr. Elton or Mr. Collins – or it may be the prospect of securing nothing better than the lowly curacy, which limits the aspirations of a young man like Charles Hayter or Edward Ferrars. If you are writing Austen, it does help to be somewhat familiar with what livings were (and when they provided enough to live on) as well as what a clergyman’s obligations were to his patron and his parish. Irene Collins’ Jane Austen and the Clergy (Hambledon and London, 2002) takes the reader through the education, obligations and living situations of the country clergyman and links what Austen must have observed: that the English clergy represented a variety of individuals, from those who were genuinely called to the vocation to those who did not have the talent or ambition to distinguish themselves in the military or the law. There is even the suggestion that those clergymen who are particularly animated – Mr. Collins and Mr. Elton – may have been so well-drawn because Austen saw them as a more accurate representation of the clergyman’s covetousness for a good living; even in Persuasion, there are schemes to oust poor Dr. Shirley, who has “zealously” discharged his duties for more than forty years, from his post in order to free up the Uppercross parish.
Among my favorite books about Austen’s work is Peter J. Leithart’s Miniatures and Morals; The Christian Novels of Jane Austen (Canon Press, 2004). (Chapter One is titled: Real Men Read Austen. What’s not to love?) Leithart describes the “miniaturist” nature of Austen’s writing, proclaiming that “…she does more with less than any other writer in English.” Like Lascelles, Leithart observes the relationship between syntax and character in Austen’s dialogue. Unlike Lascelles, Leithart defends the theory that Austen’s Christian morality is the underpinning of her narrative style; he even concludes that Austen is “a humorist because she is a moralist”, noting that, like Elizabeth Bennet, Austen “never mocks what is genuinely good.” After the initial introduction to Leithart’s analysis of Austen’s style, a chapter is devoted to each of her major novels in relation to the moral principles that determine not only the content, but literary style: morals and manners in Pride and Prejudice, charity in Emma, restraint in Sense and Sensibility and so on. Beyond Leithart’s cogent, and good-humored, analysis of Austen’s novels, is a well-organized format with each chapter beginning with a synopsis and ending with both “review questions” and “thought questions”. Not only should this be an essential on every Austen writer’s shelf, it would be an excellent text for an upper high school study of Austen’s work.
So, if you’re writing an Austenesque work, what books do you keep on the Austen section of your shelves?
Stolen Magic, the third novel in Stephanie Burgis’ infectiously adorable Kat Stephenson trilogy is out today! I am heading out to the various bookwilds of NYC to see which lucky store is going to get my money, and I highly encourage you to do the same. (With your local bookstores, that is. You don’t have to head up to NYC.) I am so excited that this book is finally out, I think I will have to invent a new word for how I’m feeling. ’Exhubergast,’ I’m thinking.
Welcome to the second part of our look at Stephanie Burgis’ Kat Stephenson trilogy, the third and final novel of which is out on Tuesday. April 2nd. On Amazon and IndieBound and Abebooks and Alibris and yes, this is a hint. Just in case I’m being too subtle.
Sequels are tricky things. Can you recapture the magic of the original while telling an entirely new story? Can you satisfy both your old readers without losing your new ones? Should you have that Babysitters Club second chapter where they explain that Kristy came up with the idea but they hold meetings in Claudia’s room because she’s the only one with a private phone line? Or is that going to get really old around the tenth book, when the Pikes take Stacey and Mary Anne to the shore to help out with their annual vacation?
Happily, this is not a problem for Burgis, as Renegade Magic, the second book in Stephanie Burgis’ phenomenal Kat Stephenson trilogy, is every bit as fun as it’s predecessor. And, happily for both me and the Universe (though not so happily that we won’t be sending that memo), I learned of Renegade Magic immediately after learning of Kat, Incorrigible, so there was none of this ‘being oblivious for a year’ nonsense to make me feel like an idiot. So I was able to put down #1 and pick up #2 immediately. Which is a wonderful thing, because it is Completely Awesome.
How? (you ask.) Well, let me give you a few reasons…
Last year, I was lucky enough to meet Stephanie Burgis, who is about as sweet and nice a person as I’ve ever met on the Internet. And, contrary to whatever rumors you might have heard swirling around the locker room, the Internet does seem to be just chockerblock full of nice people. When I was sending out cold emails for my Ordinary Magic blog tour, I don’t think I got one email that wasn’t warm and friendly and generally pleasant in every way. Stephanie has also written a trilogy of middle grade fantasies, the third of which comes out in the US (finally) on April 2nd, and in honor of this event we’ll be taking a look at all the books in her trilogy, starting with the incandescent Kat, Incorrigible.
I admit, it’s kind of tricky doing book reviews, especially of books in your genre. (Which, in this instance means middle grade fantasy and Regency fiction). I mean, if you write military sci-fi, and you read a military sci-fi you don’t like, should you talk about it? Can you? Can you give a fair, honest, unbiased review of a book that you didn’t much care for, if that author happens to be on the shelf right next to you?
Fortunately, that’s not the case here, and not just because Stephanie Burgis is up with the B’s and I am all the way towards the end with the R’s. It’s not the case because when I was reading Kat, Incorrigible, it only took about 70 pages for me to descend into fully on, sparkly-eyed squee. This book, in a word, is awesome.
I am very happy to announced that Death of a DJ, Fruitcake, and Cheat the Devil — the first three books in my mom’s Jersey Shore-based mystery series — are now available on Kindle. Get them in a bundle for $5.99. I can personally attest that they are well-written and wonderful and suspenseful and funny and all of the things you are secretly looking for in a book but have never found.
A brief overview, you ask? Certainly.
Death of a DJ: Cat Austen, a cop’s widow with six overly-protective older brothers (five cops and one priest), takes a freelance assignment to profile a pair of shock jocks. When one of them is gunned down, Cat teams with homicide cop, Lt Victor Cardenas to track down the killer.
Fruitcake: The discovery of a corpse donned in a Santa suit draws Cat Austen into a conspiracy involving an Atlantic City casino mogul and his fashion designer wife.
Cheat the Devil: A young woman’s death interrupts Cat’s getaway with Victor when she is discovered to be the most recent of several murder victims linked to an Atlantic City parish and its priest, Cat’s brother.
Check them out on Amazon today!
My dear Cassandra
My expectation of having nothing to say to you after my last letter, if not the Truth, is very near it. I can only say that I have nothing that was of interest or pleasure to me, though you, my dear sister, may find some diversion in it.
On Sunday last, as I was leaving from church, I fell prey to the insufferable Digweeds once more, and they would not be at peace until I promised to drink tea with them this evening to watch another of their Programmes. I have found very little of merit in these Programmes, and cannot comprehend those who will sacrifice the better part of an evening to them. The Digweeds, however, would hear no refusal, and cried, “How can you not wish to see the Oscars! You must come to see the Oscars!” in such an insistent fashion, that I gave a hurried before their vociferous demands invited scenes unpleasant to more than myself.
I had, at least, the comfort of knowing that this Proposal would not lead to a weekly summons, as this particular Programme is but an annual Ceremony whereupon those who devise and put up the Playlets, of which I have spoke in my previous letters,all come together to single out some of their Profession for particular Honours. The notion of watching people who have got so accustomed to the praise of the Public coming together to praise each other is of little interest to me, but the Digweeds assured me that it was an excellent opportunity to observe all of the latest fashions, and that there would be the additional diversion of some music.
I arrived promptly at seven to find the Digweeds already assembled before their Device, and believed that I had mistook the time, but they assured me that it would be at least an hour or more before the commencement of the Programme, and that what they were watching was only a Prologue to the Occasion. This Prologue consisted of a Promenade, whereupon the Candidates for the Honours were set upon by a number of fawning Hosts and Hostesses and complimented upon their appearance and quizzed upon their finery, and importuned for the names of their dressmaker and jeweler, to which the long-suffering Candidates reply with admirable forbearance. The ladies, it seems are singled out above the gentlemen for this impertinent teazing; they for the most part, are asked little more than to introduce the mothers and grown-up daughters that they have brought to the Event. Their wives, I suppose, chuse to stay at home where they may watch the proceedings in peace and comfort.
Once all have been ushered into a great Theatre, a Master of Ceremonies appears and attempts to divert those present with a succession of quips and jests, often made at the expense of the anxious Competitors. Occasionally, one might catch a look of displeasure from one of the Objects, yet for the most part, they all affect a show of good-humour and forebearance.
There are a great many of awards to be presented, and it is the custom of the Programme to begin with a presentation to a Performer, who will step forward to triumph over his rivals with a great show of humility and a little speech of thanks to all of his acquaintance. A number of lesser awards are then presented by Performers of some renown to Candidates that nobody cares for, and the sole purpose of this seems to be to liberate Viewers at home so that they may go in quest of some light fare or pour out tea and coffee without any apprehension that something agreeable or diverting will be missed (a quest that is likewise reserved for those episodes of necessary Commerce that disrupt the Programme at frequent intervals).
As the Digweeds had promised, there was something of music to relieve the tedium of this prolonged Affair, but these were in the form of some dancing, or a chorale or a solo Performer who rendered a great, wailing ballad. When two hours had passed with nothing more remarkable than this parade of Honours and indifferent Music, I attempted to make my excuses, and was shocked to hear from Miss Digweed that the Programme was but half finished. Indeed, only last week, I attended a ball at the Mayhews’, and danced from nine in the evening until four o’clock the next morning, and I declare that I did not feel half as weary as I did after two hours of this Programme.
Miss Digweed assured me that the most significant Honours and the finest Speeches were saved to the last, and yet does it not display a want of sense or feeling to withhold until the end what a spectator may then be too weary to enjoy? I saw nothing at all to suggest that what was laid out in four hours could not be accomplished in one, unless it is to provide an Occasion for as many Performers as possible to air out their finery and show off their humility, generosity and other amiable qualifications.
As for the name “Oscars” given to the Occasion, I cannot satisfy your curiosity upon this point, unless it is drawn from Lord Byron’s Oscar of Alva as a subtle suggestion that, among the Performers at least, this annual rivalry is taken up in deadly earnest; or, it may be (as I am inclined to think) that it is an allusion to the volume wherein that verse is contained, that is, Hours of Idleness.
Your affectionate sister,
Here is a delightful Valentine’s Day poem, published in 1808, from the point of view of a gentleman who was “not handsome enough to tempt” his lady love.
Sent in the name of a Gentleman to a Lady
Who ridiculed his Appearance
Elizabeth Trefusis (1763-1808)
You will wonder, my dearest, how Leonard should dare
Throw his wit and his form at the feet of the fair;
That wit, at whose nod fools and caitiffs all bend,
That form, which love slights, but intenders the friend!
Now, our kind mother Nature no step-mother proves
All her children she chastens, yet all of them loves;
To some, she gives beauty, to some, she gives wealth,
To some, pride of birth, to some, labor and health’
On me, though, health, beauty and riches ne’er smiled
Yet this parent indulgent still gifted her child;
They speak from my lips! Virtue speaks in my heart!
And the world, my dear charmer, full often have said
That the faults of my face were atoned by my head!
Though defective my form, and imperfect my gait
Yet the line from my head to my heart is quite straight,
The line which fair virtue from intellect drew!
The line – O, that line which divides me from you!
From you, the sweet daughter of fashion and whim,
With beautiful bosom and ankle so slim;
With bosom display’d, and with ankle protruded,
With Nature’s allurements too vainly obtruded.
While I, the enchantments of science conceal,
And my soul’s dearest charities shrink to reveal,
Unless by the lash of kind satire I dare
Call the man back to honor, to virtue the fair!
Yet to virtue, my dearest, you never were wanting
Great favors refusing, frivolities granting!
Then check these frivolities, seem what you are,
And the world shall allow that you’re good as you’re fair!
I have heard, and believe it, that opposites prove
The sweetest incitements to friendship and love;
If you then are noble and wealthy and pretty,
Your Leonard is worthy, wise, learned and witty;
Your frolic and sweetness his moments shall cheer
His gentle philippics your conduct shall steer:
Then take him, fair nymph, and let friendship’s warm ray
Greet the sun which enlivens our Valentine’s Day.
Maria Edgeworth (1767-1849) is mentioned twice in Jane Austen’s letters. In a letter to Cassandra, written in 1813, Austen writes at rather dismissive, “The Clements are at home and are reduced to read. They have got Miss Edgeworth”, but writing to her niece, Anna, the following year, Austen declares that “I have made up my mind to like no novels, really, but Miss Edgeworth’s, yours and my own.”
Had Austen made up her mind to dislike Edgeworth, she would have been in a decided minority. The novels of Maria Edgeworth (who, unlike Austen, did not publish anonymously), were critical, popular and financial successes. Unlike Austen, Edgeworth enjoyed a long career: her first work of fiction (a collection of short stories) was published in 1796, and her last, the novel Orlandino, was published in 1848.
Edgeworth’s first novel was an immediate success. Castle Rackrent (1800) both satirizes and indicts property neglect and landlord absenteeism, problems that invited the exploitive practice of “rack-renting”, where a middle-man would lease a large tract of estate property from the landlord on reasonable terms and then sub-let it to tenant farmers at exorbitant rates.
Inspired by the registers of the Edgeworth family’s Irish property, the novel is the narrative of Thady Quirk, the steward of Castle Rackrent for four of its masters. The first master, Sir Patrick is a convivial squanderer who has left his estate in such debt that his creditors seize corpse to hold it hostage until they are paid.
His successor, the litigious Sir Murtaugh Rackrent, maintains that the insult to Sir Patrick’s body acquits him of the debts, and funds a succession of lawsuits by selling parcels of land and from draconian fines imposed upon his tenants. (The proverbial chicken that crosses the road is guilty of “trespass”). His wife, “…of the family of Skinflints…” provisions her household by claiming “duty fowls and duty turkies and duty geese…eggs – honey – butter …” from by charging a fee to intercede with Sir Murtaugh on behalf of his oppressed tenants.
Sir Murtaugh is succeeded by his younger brother, the spendthrift Sir Kit, who shows up at the estate only for some hunting and to run up debts, flees to Bath where he carelessly signs off on bills forwarded to him by his agent. Having brought his debts to critical mass, he attempts to remedy the situation by marrying a Jewish heiress, who foils his attempt to get hold of her fortune by converting it, before their marriage, into inalienable property in the form of a diamond necklace. (Edgeworth, received a letter from a Jewish-American reader who rebuked her for her stereotypical treatment of Jews; she attempted to make amends in a later novel, Harrington).
The last heir, the distant relation, Sir Condy, is a free-spending schemer; having squandered his money, he elopes with an heiress whose family promptly disinherits her. Debts mount to the point of Sir Condy’s arrest, a disgrace postponed by his election to Parliament. At the end of his debt-ridden stint as an MP, Sir Condy returns to a neglected Castle Rackrent that has fallen into disrepair, is abandoned by his wife, swindled out of the remains of his estate by Quirk’s conniving son, Jason, and dies poor and friendless.
Edgeworth’s observations on the potential for ruin and disgrace brought on by neglect were renewed in her later novel The Absentee (1812), and appear to have been views that Austen shared. Embedded in all of Austen’s novels is some example of the consequence of the interrelated neglect of duty, family and property.
On an income of two thousand a year, Mr. Bennet might have easily set aside a comfortable provision for his widow and daughters; neglecting to do so potentially consigns six women to poverty upon his death, unless some of the girls marry well. Unfortunately, he does not even do what he can to make them attractive marriage prospects: their education was inconsistent, left to the inclination of “…such of us as wished to learn”, while “Those who chose to be idle certainly might”, and his own antipathy toward London keeps his daughters from the sphere where many good matches were secured. Even Elizabeth’s immediate conclusion that a commotion at Hunsford was the result of the pigs raiding the garden hints at a familiarity with this occurrence that does not speak well for the maintenance of Longbourn’s fences.
Sir Walter Elliott, while scrupulous about the state of his property, placed himself “dreadfully in debt” because his vanity has determined that his income is “…not equal to…the state required in its possessor”. To his credit, Sir Walter refuses to sell off an alienable portion of Kellynch – he will mortgage it only – out of a commitment to pass an undivided property to the heir. Unfortunately, the heir could not be less deserving of the effort; William Elliot neglects the family connection in favor of immediate gratification. He is both so greedy and so disconnected from obligation (or both) that while he mocks the Elliot name and title, he is willing to elevate a butcher’s granddaughter to the rank of Lady Elliot. One wouldn’t blame Sir Walter if he retaliated by disposing of the saleable tract of land.
Both Sir Thomas Bertram and General Tilney fall into a similar neglect of their households, Sir Thomas by “teaching [his children] to repress their spirits in his presence”, while General Tilney was “always a check upon his children’s’ spirits”. In the former case, Sir Thomas neglects his duty by providing education without principled example; he “sacrificed the right to the expedient”, and in doing so, allows his children to fall in with associates who lead the heir into debt and near death, the eldest daughter to disgrace, while the younger elopes to avoid the “greater severity and restraint” that Sir Thomas might impose upon her following Maria’s scandalous conduct. It appears that only the prudence of one parent can counteract the faults in the other; one wonders if Henry and Elinor Tilney would have turned out so well if they had been left to the apathetic Lady Bertram and the enabling Mrs. Norris, or whether, under the influence of Mrs. Tilney, Maria and Julia might have turned out better.
And while one criticizes Darcy at risk, the reader is told, rather than impressed with, his attention to Pemberley. While he “…cannot comprehend the neglect of a family library in such days as these”, a remark that Caroline endorses with, “I am sure you neglect nothing that can add to the beauties of that noble place”, he is pretty much an absentee landlord. A wealthy gentleman might visit somewhere for the shooting in the fall, and pass a couple months in town in the winter; Darcy, on the other hand, comes from London with Bingley’s family in September, stays until the end of November, returns with the Bingleys to town until he visits Rosings in the spring. While, according to Mrs. Reynolds, Darcy spends “half his time” at Pemberley, it doesn’t appear that he finally shows up until he encounters the Gardiners and Elizabeth in July; nearly eleven months pass without his spending any substantial amount of time at “that noble place”.
Perhaps if Darcy had been more attentive to household matters, he would not have been so “unhappily deceived” in Mrs. Younge’s character, nor would his sister’s honor and happiness been salvaged by his premature arrival at Ramsgate.
Some years ago, I went shopping at one of those large discount retail stores and deliberated whether I wanted to spend $5 on a pair of house slippers that were on sale. The slippers stayed on the rack. Then I went across to one of those large retail booksellers and spend $200 on books.
We are a family of book lovers. Two ceiling-high shelves in our den, one in my study, bookcases in every bedroom and still, we run out of room for them, do a semi-annual prioritizing-slash-donation session (“No, I may want to read that again!”) and finally agree to relinquish just enough to the library for their used book sales to clear space for more books.
So at Christmas, more than half of the gifts under the tree, exchanged among six adults and one early reader ( not counting the baby who got her share of pop-up books and something that played a very loud and tinny Joy to the World when you opened it and the battery never ran out, not ever) were books. Here’s a sample of the pretty eclectic library that was under our tree
The Swamp Fox: Lessons in Leadership from the Partisan Campaigns of Francis Marion – Scott Daniel Aiken.
The Lost Stars: Tarnished Knight – Jack Campbell
The Particle at the End of the Universe – Sean M. Carroll
Jack Reacher’s Rules – Lee Child
The Art of Film Funding, 2nd Edition – Carole Lee Dean
The Truck Food Cookbook – John T. Edge
Producing Theatre: A Comprehensive and Legal Business Guide – Donald C. Farber
The Last Man – Vince Flynn
Trolls – Brian and Wendy Froud
Victory at Yorktown – Newt Gingrich, William R. Forstchen, Albert S. Hanser
Escape from Camp 14 – Blaine Harden
Wet and Wild – Sandra Hill
Dying of the Light – George R. R. Martin
Snow Treasure – Marie McSwigan
The first 3 books in the Wally McDoogle series – Bill Myers
How to Start Your Own Theatre Company – Reginald Nelson
Total Outdoorsmen Manual – T. Edward Nickens
Heads in Beds – Jacob Tomsky
The Tucci Cookbook – Stanley Tucci and Francisco Tonelli
Never Enough: America’s Limitless Welfare State – William J. Voegeli
Members of the publishing community have stepped up in support of the families of Sandy Hook, CT by donating their services to an online auction at Publishing Hearts Connecticut (http://pubheartsconn.blogspot.com). Since the agency where Caitlen works has recently opened submissions to young adult and middle grade fiction, Caitlen will be offering a full manuscript critique for a YA or MG novel, with a minimum of two pages of notes. To bid on this, or any of the other wonderful publishing industry services, go to the Publishing Hearts Connecticut site.
Caitlen’s auction ends today, 12/21 at midnight!