Nicole

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Diane C. McPhail
“Constance leaned over the parchment and ostensibly studied in detail all the complex symbols worked into the design: the compass with four needles, each needle a scepter; the red poppies worked into the gold-embellished borders; the mythical figures, each veiled face a woman’s.”
Diane C. McPhail, The Seamstress of New Orleans

Diane C. McPhail
“Two glistening fish appeared on each side of the beaded rectangle, symbolic of the Gothic arched tower of the Brooklyn Bridge, just as they had mutually planned the design. But above that rectangle there was now a third shimmering, pointed oval, shaped the same as the fish but minus the tail. This pointed oval glimmered with delicate iridescence as the fabric moved. Visually, the shape was a subtle repetition of the Gothic arch and finished off the rectangular shape so that the impression became that of a lighted flame at the center of the design, a light reminiscent of Liberty’s torch. At a deeper, hidden level in Alice’s mind, the shape completed an allusion to Constance’s three children. This she had done for both of them, for their dead sons, regardless of whether Constance ever fathomed that aspect of Alice’s addition to the design. Every stitch in that simple shape had given Alice comfort.”
Diane C. McPhail, The Seamstress of New Orleans

Diane C. McPhail
“On past Jackson Square, the car rolled over the rough cobblestones until they reached the farmers market. The melee of sounds now combined with an assault of smells on the senses: the enticing aroma of fresh baguettes and croissants, followed instantly by the terrible reek of the fish market, then the bloody odor of the butcher’s market, and finally, at the end, the soothing, enticing chocolaty scent of ground chicory. And a hint of pralines, all sugary, with a waft of pecans.”
Diane C. McPhail, The Seamstress of New Orleans

Diane C. McPhail
“Her amazement was compounded as she approached the primary entrance, two stories high. At its apex were the extraordinary sculptures of the goddesses of industry and agriculture, who stood amid the draped folds of their gowns, each flanked by the symbols of her domain. Alice, unlike her uneducated brothers, had grown up with the luxury of reading with her mother. She recognized Ceres instantly, sheaves of grain on her left, her right hand atop an abundant cornucopia. This was the mother who had sacrificed all else to bring her missing daughter home. She thought about how her own mother had sacrificed to send Alice out into what she had envisioned as a better life.”
Diane C. McPhail, The Seamstress of New Orleans

Diane C. McPhail
“Isn’t that momentous? Women! A krewe of women. Turning the tide on men! We are making history here. Yes, this moment! Making history.” The woman had barely taken a breath. She tapped Constance on the arm and picked up her fork to begin her hors d’oeuvre of boudin-stuffed mushrooms.
Constance leaned toward the woman as if wishing to speak more directly. In truth, she wanted to see the name on the place card. She had time to make out only the first name: Marianne. “Ah, yes, Marianne,” she said. “It is history, isn’t it? You are so very right.”
“It is time that women spoke up for themselves, did for themselves, and we are part of that wave that will surely come to shore when we get the vote. But for now, having our own ball will have to suffice.”
The woman turned to her neighbor on the other side.
“Indeed.” Constance finished the last bit of mushroom, speaking to the air. Her fork clanged on the plate as the uniformed server whisked it away. It was replaced immediately with a sumptuous, but unpretentious luncheon plate of shrimp and asparagus, with a decorative sprig of green grapes.”
Diane C. McPhail, The Seamstress of New Orleans

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