Copyright Valerie J. Hayes and Quiet West (2023). Unauthorized use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
Who and what can define us? The onus is on us. Be on the qui vive for wanton marauders, whose millstone will shackle, pulverize and grind, and will bottle you as a kickback, to grease their behinds. Solemn and syrupy, they will sodomize your mind. Our essence is our selfhood. It orbits around kith and kin, our level of education, what we do for a living, what we pilot to procure, our get up and go, the sidekicks we endear, and whether or not, we are bankrolled in dough.
Customarily, our portrayal is trussed up in family, and the semblance of order within. For some, it is in subduing a mammoth – and becoming a survivor of calamity and havoc, such as addiction, illness, accident, divorce, or a fall into some other harrowing abyss. Establishing a career is a pilgrimage. It can traipse us across a praiseworthy promenade, pitch us a salient hot potato, or place us in a ponderous pickle. Financial stability and net worth are worthwhile ambitions – because they bring challenge, peace of mind, veneration, and an enhanced lifestyle. Fair enough.
Change comes through all kinds of upheaval. There is opportunity for cerebration, rumination, reflection, and hindsight to wax the wheels of change. Fluky or fortuitous – those defining demarcations, are but thumbnail sketches of life as we know it, and can splinter or rupture, into a jumble of rubble. Detour and take the divergent route, lugging and dragging a convoy of paraphernalia and baggage, and even so, we are wrestling the wind. Rein in and buckle down for vital acclimatization, distended and magnified, when you envisage yourself as a pawn or memento.
As though soaked and sodden, steeped in lumps and oodles, blended and amalgamated, joined and entwined, thrust into the pandemonium of a hooligan’s hokum. Discern it. Don’t deny it. Don’t acquiesce, or permit it to pillage you further. For soon there is a juncture, from engulfed and submerged, as it sequentially sinks in – then ascends to a conversion, and will augment migration.
One of life’s central battles is to define our own purpose for existence. There can be ferocity in the resistance one meets, just in making a choice to live your own life. Every stage of development we go through in life is a step toward asserting our own autonomy.
Unfortunately there are those who grow up lacking the perimeters to sustain internal cohesion, in relation to their own autonomy. It is a type of arrested development. The resulting intrinsic insecurity causes controlling, dominating, and manipulative behaviors. What they want supersedes the rights of other people. They cling to a malignant self-love as a form of self-exaltation. Self becomes the monument and simultaneously their worldview shrinks. They are gummed up in a bubble of delusion.
Bullies insist on targeting, limiting, assaulting in a variety of ways, defining and exploiting others for their own gain. They manipulate until they are blue in the face, and it will never be enough. At the end of the day – this is what defines them. We are ultimately defined by our own character traits. Almost everything else is transient.
What superficially defines us can be clawed away, to bring us vis-a-vis with the nothingness Jean-Paul Sartre so bleakly wrote about in “Being And Nothingness”. But he did converge upon the urgency to overcome conniving and dismal, onerous, backbreaking and confining, tyrannical, superincumbent, oppressive forces – in order to live an authentic life. The upsurge within us, scintillates the brain waves, to reconcile for ourselves, who and what enlightens and emboldens us.
For slamming the door in the face of the Exclusive Brethren teacher at last, they condemn me to the depths of wickedness and the vehement blaze of eternal damnation. They cannot contain or conceal the smoldering animosity toward me. They justify penance around accusations of me being the cause of an incessant rumble. The battle encompasses rebuffing the teacher and his dog-eared refusal to take no for an answer. The dinky deduction is to make me the disturbance, even though it ejaculated from his own shrinking loins.
They redefined me as the designated and devoted doyenne of fighting and fracas for fraying the finery of a fibbing disaster. I have transformed into a provocateur with a hitch and become a problematic snafu. A whistling quandary to be contained and restrained, or cease to exist.
They chew it as sinew to prolong the affliction. They seek to seclude, to ambush again, with a paroxysm of more sonorous suffering. They shrink into a desolate domicile, by stunting and stuffing, slurping on swagger, and suffocating sensibilities, for sick selfish reasons.
They are prepared to do combat and will keep right on clashing, until they stumble into a sweeping fiasco. The teacher wants an orifice for a consummate conclusion. The unease they perceive as a menace, crowning this compulsion, prompting surveillance or minding – is provoked by the scant bounty of what I am thinking.
The point of convergence in all of my thinking is to stop the madness, abort the injustice, and transform this aberration into an acknowledgment of the fundamental rights of others, particularly women and children. They have no right to make acceptance in my own family conditional upon the Exclusive Brethren bulldozer teacher being my au pair and daddy-god. They counterfeit themselves as venerating religious fundamentalists, yet they flubbed the nitty-gritty nuances, to become a figment, a yarn entwined in ballyhoo and knotted in hoopla.
Sooner or later the authentic self rises from an intrinsic driving force, giving direction until you arrive at, and acknowledge that existential place of nothingness. It took until I came to that place of acceptance on being nothing, knowing when we die we must let go of it all anyway, and in understanding that once we are born, we exist in this world and have as much right to be here as anyone else…
Copyright Valerie J. Hayes and Quiet West (2023). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West (2023). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West (2022). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West (2022). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West (2021). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West (2021). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West (2021). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
When I steam and photograph dresses from the thirties to the fifties, I often wonder who wore the dress and how she was affected by the events surrounding the Second World War.
So many people migrated to North America during that period of time. I knew Stalin had ordered poets and writers to be murdered, and shuddered at the thought. Over the years I have written an anthology of lyric poetry – and could not see what the reason could possibly be, to execute people for writing poetry.
I mean, 1952 is not in the same historical time frame as the Salem witch trials, but these atrocities do have certain commonalities. When I examine a vintage dress, I often think, “This dress existed and was worn by a real person during the war, and post war time frame.”
Just ponder for a moment, what human conversations, deeds, deceptions, hope, and suffering had developed in the world. Imagine for a moment what inanimate objects could bear witness to. It makes me consider what was going on in Europe and the Soviet Union following the Second World War.
Although Stalin ordered the execution of an unknown number of writers and poets during his reign, the most notorious is “The Night of the Murdered Poets” August 12th, 1952, and is remembered by the Jewish communities and writer’s groups each year on August 12th.
It began with a group of Yiddish intellectuals and writers who were a part of, or in support of the Jewish Anti-Fascist Committee.
The committee was formed in 1942 to support the Jewish people during the threat of Nazi Germany. They soon became overwhelmed by the plight of the Jewish people throughout Europe, which led to an appeal to the Kremlin. The Jewish Anti-Fascist Committee (JAC) was started, and led by renowned Yiddish actor and theatre director Solomon Mikhoels.
It appears the primary objective of the JAC was to create, write and deliver material to influence Western public opinion.
After the war, with the onset of the Cold War and the establishment of Israel – Stalin became increasingly paranoid of a US invasion.
The JAC was accused of “slandering Soviet reality”. Stalin came to believe the Soviet Jews had stronger loyalties to the US. The JAC could not survive under these tensions. Mikhoels was murdered in January of 1948 under Stalin’s orders.
Although there are reports those who were murdered on August 12, 1952, were all writers and poets, only five of the defendants were known literary figures, one who wrote children’s literature.
The remaining people held prominent positions, and had become influential within the committee and beyond. The group of writers and intellectuals were arrested in 1948, imprisoned, tortured, forced to sign false confessions – and ultimately executed in the basement of the Lubyanka prison.
The charges were false accusations surrounding espionage, treason and bourgeois nationalism. All were convicted in a secret trial. The trial transcripts are painful to read. There are in-depth descriptions of the methods used to force the confessions, and how each of the accused handled the torture and trial.
How did we get the idea the fifties was a time of innocence?
The year the JAC was dismantled with the murder of its leader – is the same year Canadian lawyer John Humphreys’ (and others) drafted the Universal Declaration of Human Rights. It is the most widely translated document in Canada’s legal history (over 300 languages). It is considered the Magna Carta for all mankind. It revolutionized, and provided the baseline for International law.
The Universal Declaration of Human Rights was written after a colossal amount of human suffering, and violations of fundamental human rights.
People saw the progression to the atrocities after the fact. First, they took away economic and property rights. Then, they took away the right to freedom of expression and freedom of association.
They aim for absolute control – including thought reform. The outcome of the Universal Declaration of Human Rights on a global level, brought recognition of, and defined the equal and inalienable rights of all people. Every single person who attains power over the lives of others should become familiar with this document.
When we see a rise in fascism, along with human rights violations – we cannot deny what happened in 1952. We can only hope history will not repeat itself.
If walls and furniture, and dresses could speak – what judgment there would be on those who deceive, and abuse power over the lives of others?
Copyright Valerie J. Hayes and Quiet West (2020). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West (2020). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
This poem was written long before covid with the germ metaphor. It seems rather facetious now.
Copyright Valerie J. Hayes and Quiet West Vintage (2020). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2020). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2018). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2018). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
The Inside Passage Map is a soulful and romantic map integrating cartography, poetry, visual art, historical research, inspiration, nature and different cultures of people.
A unique portrayal of the west coast has been created. The goal was to create a beautiful collector’s map with a diverse range of information and ideas.
At the heart of the map is the desire to bring recognition and appreciation for the power and harmony within lyric poetry – by bringing it to you alive – as art.
Points of Interest
The Border – Intricate and full of detail, the design alternates between panoramic west coast scenery and flowers, with sea life weaved in between. The decorative cameos, which are centered in the border, contain ghosted flowers and verse. This tiny poem is referred to as the “rhyming riddle”. If you follow the rhyme of each line within each cameo, you will be able to figure out the correct order of the verse. It was originally written as a twelve-line poem. It captures the overall theme and design of the map.
The Legend Box – The legend box gives the title and the main poem, which together, create a parallel between both the outer and inner conditions that we face in our lives. The third line of the poem refers to tragedy and death (swallows sleep). Wind O’less means windowless and refers to the inner person. Inside of ourselves – unseen by other people, the waves of emotion, the cycles of despair, and contractions of grief are compared to the waves of the ocean in force and rhythm. The Inside Passage poem was born of this understanding. It is a sequel to grief-written poems called Lunar Tunes and Window Pain.
The Quiet-West Crest – The bottom center of the legend box is a crest designed to visually express the profile and goals of Quiet West Publishing. Firstly it contains a scrolled map to represent the historical BC coastal collector’s map concept. An open book contains reductions of actual stained glass windows with images of ladies wearing brimmed hats. Above the book a paintbrush and pen are crossed, combining the literary and visual arts. The rising sun represents the hope we have for each tomorrow.
Cartouches – The eagle, sighted frequently along the west coast is shown flying down to her nest and represents responsibilities to future generations. The bear, shown to the left of the legend box, is near Tatshenshini – Alsek Park. This region, which is home to countless species of wildlife, is one of the most important protected wilderness parks in the world. To the left of the compass rose, there is a scene depicting trade between the European and Haida people. The costumes, along with the illustration of the Haida settlement in the background are historically and culturally representative. The Nuu-chal-nuth people are featured in the whaling expedition scene. This dramatic cartouche was placed in close proximity to Quatsino Sound, the historical whaling harbor on northern Vancouver Island. The face in the wind represents the stormy and treacherous conditions on western Vancouver Island and the Olympic Peninsula. Cherubs hover over the globe to show the location of the Inside Passage and to represent a stylistic feature commonly used on seventeenth century maps.
The Compass Rose – The interesting and elaborate compass rose design was created by placing a borrowed seventeenth century brooch on a hand-made European lace doily. The brooch was brought to Canada by Scandinavian war bride Elinor Thun. She wrote the description as follows: “This particular brooch is more than eight hundred years old, and came from a western fjord in Norway at Siem, near Bergen from the maternal side of my family. It is known in Norwegian as “solje or kappe-brosje”. Brooches of these types were used by men and women to hold their capes in place. Jewelry of the day was worn as an expression of wealth, and would sometimes be given as gifts from one king to another. The Vikings were great travellers and the designs show an eastern flair which would eventually weave itself into the culture of the Norse-lands.” Elinor Thun Ueland 1994.
Cartography – The map was created by using an extensive amount of historical reference material, by translating poems into images – and by merging art with technology. Land contours and shoreline details were carefully blended to create emphasis and depth. Mossy greens, white mountain peaks, rich earth tones, hand lettered names, and locations of notable shipwrecks bring harmony and intrigue into the map.
Whether your interests are philosophical or artistic, this map demonstrates originality and lasting value. It is a truly great work – to honour one of the most beautiful places in the world.
Measures 24″ x 36″.
Created and Published in 1993 by Quiet West Publishing & Marketing.
Purchase on this website for $40.00 each + Shipping. It can be found under Categories – Accessories Art Objects. Two for $35.00 each. For wholesale prices contact Valerie at quietwest@yahoo.com.
Copyright Valerie J. Hayes and Quiet West Vintage (2018). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2018). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2018). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Lest she become lost – amidst the tick of the clock.
Valerie Hayes
Copyright Valerie J. Hayes and Quiet West Vintage (2017). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2017). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
‘Til absorbed by the darkness – & Shadows our lives…
Valerie Hayes
1992
Copyright Valerie J. Hayes and Quiet West Vintage (2017). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2016). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
My favorite trail on Haida Gwaii is Spirit Lake Trail, and is located in Skidegate. True to its name, it is a dreamy, undulating and inspirational loop through the trees, around the wilderness shoreline of a beautiful lake. There is a sense of privacy and privilege, in feeling so fully integrated with the forest. Big eagles perch on dead and broken trees jutting out of the lake, just feet from the trail. Moss and mist drape over sections, and then suddenly there is a brilliant contrast of azure blue. For just a few weeks in the winter, majestic white swans will often migrate through and spend some time (gliding by), adding to the picturesque beauty of the trail and lake. They make a variety of strange sounds, like grunting and hissing. Apparently they mate for life, through mutual bill dipping and head to head posturing. The males are called cobs. The females are pens, and the young are cygnets.
During the time I lived on Haida Gwaii, I walked it nearly every day, and will always remember it as a highlight of living in such a beautiful place. Each time I trekked around it – it was different, with some new and delightful lighting, or an unexpected scene around the next bend. Occasionally, there were huge black bears near the trail, with thick, luxurious coats that added to their size. Haida Gwaii is home to the largest black bear in the world. They were in my yard more often than I saw them on the trail. They were never aggressive, and for the most part, remained shy and aloof – demonstrating they can run shockingly fast.
Curiously, although there have been black bear and grizzly bear maulings throughout the rest of the British Columbian wilderness, there has never been a serious bear mauling on Haida Gwaii. There is no documentation, memories among those who grew up there, or even in Haida Gwaii storytelling and folklore – that describes a bear attack on Haida Gwaii. The main “bears becoming an issue” is about a resident (many years ago) who was feeding, attracting and habituating bears to be his friends and companions. He lived with his mother who was frail and elderly. In addition, they lived right on main street where children had to pass by on their way to school, so it was a problem. The imbalanced resident and bear lover, when under pressure to stop it – ended up shooting the bears and then himself.
The climate on Haida Gwaii is similar to Vancouver, with most winter storms being more wind and rain, as opposed to snow and ice. The poem called The Thaw of Spirit Lake was written during a period of time in the winter when the lake was frozen.
Later in the spring on another walk, I stopped and snapped a picture of the face in the trail, without even fully realizing it, until I saw what looked sort of like a porcelain dolls head in the thumbnails of the photos. The camera I was carrying at the time, was just a small, very old 4 mega pixel point and shoot. When I saw the picture of the face, I was surprised to see I got the whole face in the picture. The face in Spirit Lake Trail goes with the poem. I felt awed and delighted to be out there enough to capture them both!
The Thaw of Spirit Lake
The lake is like milk – To nourish the tenseness
Like the soft rush of silk – Slides over the senses
And threatens to thaw our daily defenses.
While frozen reflections
Skim past expressions.
For what lies beneath, no one can see ~
Cannot be dredged or warmed a degree…
Until winter releases & shows the first cracks,
On a face that it teases ~
Until spring makes it laugh.
Valerie J. Hayes
The Face in Spirit Lake Trail In Skidegate on Haida Gwaii
Copyright Valerie J. Hayes and Quiet West Vintage (2016). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2015). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
This Inside Passage Legendary Map poem was written as a “rhyming riddle” to enhance the lyric voice on the map. It is placed in two line segments in the cameos around the border of the Inside Passage Legendary Map. One of the extra detailed features of the map – is to be able to figure out the order of the verse in the border of the map.
Poet-Pourri
Words like petals – Form a poem; Flower blooms – Then bows her head.
Sheds thoughts upon the ground ~ Moss – Prepared – Has made a bed
Poetic petals flutter down. Depart from proud, stately stems
‘Til Nature has them land Bathed in dew – Just humble gems.
Nature inspires deep respect, Sweet pot-pourri recants…
Woods are made fresher yet ~ For the poet-pourri – Enchants.
Valerie J. Hayes
Copyright Valerie J. Hayes and Quiet West Vintage (2015). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2014). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2014). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Inside Passage Legendary Map By Quiet West Publishing
Ladies Wear Many Hats
Ladies wear many hats ~
We put the lady on the map,
To illuminate despair –
To journey where we dare;
To follow rivers to wilderness,
To fly and then return to nest.
To soften contours of the stone –
And pave the road with poems.
Valerie J. Hayes
Early 1900’s with Real Bird. This Practice was Banned in 1909
1960’s Velvet Rose Hat
1940’s White on Black
1950’s Scarlet Glamour
Carved Mother Of Pearl In Natural Sun Lit Colours
Copyright Valerie J. Hayes and Quiet West Vintage (2014). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2017). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
