At the collège for a parent-teacher interview, I met my daughteroutside in the courtyard and she showed me up to herclassroom. Her teacher was busy chatting, so we waitedpatiently in the corridor. When he did come out, he indicatedthat the meeting would take place downstairs and headed offwith us in tow. Before sitting down, I introduced myself using my first name,and put out my hand to be shaken. He mumbled back his fullname as he took my hand, although I suspect he would havebeen shocked if I had actually dared use it. By this stage, I hadalready understood that teachers did not expect to bequestioned about their practices. Of course, I did--questionhim, that is; politely and almost deferentially. There was aslight pause, as he dipped his head to better digest what he hadheard. Then, with the assurance of a perfect, unarguableanswer, he replied, "But you are in France, Madame". Some months before, my husband, three children and I hadcasually unzipped and discarded our comfortable Australianlifestyle and slipped on life in the country of haute couture. Onarrival, there was no celebrity designer waiting for us, ready topin and fit our new life to us; so we threw it on and wore itloosely, tightly, uncomfortably, any old how--until we learnedfor ourselves how to trim, hem and stitch à la française. Thisbook is testament to the joyous, but not always easy, journeythat we took along the way.

'Weaving a French Life: An Australian story' is a sequel to Catherine's memoir But you are in France, Madame. Seven years have passed since Catherine returned to Australia with her family after their French adventure. Has she been able to close that emotional chapter or has turning the page led her straight back to France? Has Catherine's affection for France grown or has her new beginning in Australia shaken her beliefs and allegiances-where does she belong? As Catherine grapples with questions and doubts about her future and struggles with self-confidence, she delves into the origins of her French connection and, in so doing, is reminded of where she has come from and who she is. 'Weaving a French Life' is not a template for French living. Rather, it demonstrates that a life adorned with French threads can be passionate and problematic, sensual and scarring, positive and perplexing ? but at its heart, textured and colourful.

Spanning the backs of choir stalls above the heads of the canons and their officials, large-scale tapestries of saints' lives functioned as both architectural elements and pictorial narratives in the late Middle Ages. In an extensively illustrated book that features sixteen color plates, Laura Weigert examines the role of these tapestries in ritual performances. She situates individual tapestries within their architectural and ceremonial settings, arguing that the tapestries contributed to a process of storytelling in which the clerical elite of late medieval cities legitimated and defended their position in the social sphere.Weigert focuses on three of the most spectacular and little-studied tapestry series preserved from the fifteenth and early sixteenth centuries: Lives of Saints Piat and Eleutherius (Notre-Dame, Tournai), Life of Saint Steven (Saint-Steven, Auxerre [now Musée du Moyen Age, Paris]), and Life of Saints Gervasius and Protasius (Saint-Julien, Le Mans). Each of these tapestries, measuring over forty meters in length, included elements that have traditionally been defined as either lay or clerical. On the prescribed days when the tapestries were displayed, the liturgical performance for which they were the setting sought to merge the history and patron saint of the local community with the universal history of the Christian church. Weigert combines a detailed analysis of the narrative structure of individual images with a discussion of the particular social circumstances in which they were produced and perceived. Weaving Sacred Stories is thereby significant not only to the history of medieval art but also to art history and cultural studies in general.

In this debut memoir, a James Beard Award–winning writer, whose childhood idea of fine dining was Howard Johnson’s, tells how he became one of Paris’s most influential food critics Until Alec Lobrano landed a job in the glamorous Paris office of Women’s Wear Daily, his main experience of French cuisine was the occasional supermarket éclair. An interview with the owner of a renowned cheese shop for his first article nearly proves a disaster because he speaks no French. As he goes on to cover celebrities and couturiers and improves his mastery of the language, he gradually learns what it means to be truly French. He attends a cocktail party with Yves St. Laurent and has dinner with Giorgio Armani. Over a superb lunch, it’s his landlady who ultimately provides him with a lasting touchstone for how to judge food: “you must understand the intentions of the cook.” At the city’s brasseries and bistros, he discovers real French cooking. Through a series of vivid encounters with culinary figures from Paul Bocuse to Julia Child to Ruth Reichl, Lobrano hones his palate and finds his voice. Soon the timid boy from Connecticut is at the epicenter of the Parisian dining revolution and the restaurant critic of one of the largest newspapers in the France. A mouthwatering testament to the healing power of food, My Place at the Table is a moving coming-of-age story of how a gay man emerges from a wounding childhood, discovers himself, and finds love. Published here for the first time is Lobrano’s “little black book,” an insider’s guide to his thirty all-time-favorite Paris restaurants.

"Johnson is clearly striding in the footsteps of authors like Geraldine Brooks and Diana Gabaldon in her juxtaposition of the modern and historical."—New York Journal of Books Three men are trapped in time. One woman could save them all. Historian Lia Carrer has finally returned to southern France, determined to rebuild her life after the death of her husband. If nothing else, her trip could grant her perspective on the region's traditional reincarnation beliefs and resurrect her dying thesis. But instead of finding solace and insight in the region's quiet hills and medieval ruins, Lia falls in love. Raoul's very existence challenges everything she knows about life, history, and her husband's death. As Raoul reveals the story of his past to Lia, she's caught up in the echoes of a historic murder, resulting in a haunting and suspenseful journey through the romantic landscape of the Languedoc region. A remarkable and richly-developed novel, in the tradition of time-travel romances by Susanna Kearsley and Diana Gabaldon, In Another Life masterfully blends historical fiction with a love that conquers time.

Weaving Hope is a narrative history of one group of Catholic women religious in the United States. From Quebec, Canada, in 1877 the Religious of Jesus and Mary arrived as missionaries to teach children of French-Canadian immigrants in textile industries of New England. Their ministry spread to New York, Maryland, the South, and the West. Primarily educators, they directed academies and parish schools. In the South and Southwest, they added pastoral outreach to their educational ministry. With few resources, the sisters overcame diverse challenges to create a network of service from coast to coast. This book presents the challenges they faced from local hierarchy and clergy, as well as ethnic prejudices, language difficulties, classism, and financial insecurity. Their faith and bold courage are displayed in this vibrant tapestry of a small but significant piece of women's history in our nation.

Jean Pierre Larochette is a renowned top-level artist, making this opportunity to learn from him a treasure for all levels of weavers.