Cut From The Earth

Chapter 4

I have many people to thank over the years of writing this novel. At the research stage, Portuguese tile expert, PhD Art Historian Luísa D"Orey Capucho Arruda at the Faculty of Fine Arts of the University of Lisbon fielded my questions over a number of years related to tile making in the eighteenth century. I am forever grateful for her expertise which clarified ambiguities and confirmed subtleties of this artistic era. Thank you to Alberto Brum at the Fabrica Sant’Anna, the oldest still producing tile factory in Lisbon since 1741, who kindly showed me around this historic place of creativity and commerce, inspiring the story’s Fabrica Santa Maria. The Museu Nacional do Azulejo and accompanying museum library were instrumental for understanding the production processes of tile making, and provided rich inspiration for many aspects of the novel. A key one, the figura de convite.

figura de convite.Thank you to local Lisbon guides Mary H. Goudie and Rui de Castro Guimarães Cardoso for connecting me with proprietress Maria Mendonca, and gratitude to you for the personal tour, to view the national monument the Palácio Belmonte in the Alfama district. Home to some of the most well-preserved tile works from the eighteenth century in a public space.

These are the core reference texts I worked from to write this book: A Herança Africana em Portugal by Isabel de Castro Henriques (Lisboa CTT, 2009); O Terramoto de 1755 Lisboa e a Europa by Ana Cristina Araujo (Lisboa CTT. 2005); Livro Azulejaria Barroca Portuguesa – Figuras de convite by Luísa D"Orey Capucho Arruda (Edições Inapa, 1993); A Herança das Américas em Portugal by Isabel Drumond Braga (Lisboa CTT, 2007); Lisbon before the 1755 Earthquake: Panoramic view of the city introduction by Paulo Henriques and translation Marcia de Brito (Gotica – Chandeigne, 2004); Azulejaria do Século XVIII, Museu National Do Azulejo Guide by Paulo Henriques, Ana Almedia, Alexandre Pais, Fátima Loureio, João Pedro Monteiro (Instituto Português de Museus, 2006); The Lisbon Earthquake by T.D. Kendrick (Forgotten Books, 2012); Wrath of God Edward Paice (Quercus, 2008); Blacks of the Rosary by Elizabeth W. Kiddy (Pennsylvania State University Press, 2005); Sabores da Lusofonia by David Lopes Ramos (Lisboa CTT, 2009); The Madness of Queen Maria by Jenifer Roberts (Templeton Press, 2009).

A Herança Africana em PortuO Terramoto de 1755 Lisboa e a Europ Livro Azulejaria Barroca Portuguesa – Figuras de convite ; A Herança das Américas em Portugal Lisbon before the 1755 Earthquake: Panoramic view of the city Azulejaria do Século XVIII, Museu National Do Azulejo Guide The Lisbon Earthquake Wrath of God Blacks of the Rosary Lusofonia The Madness of Queen Maria .A profound thanks to my first beta readers Christine Meier Smith, Richard Edward Smith (tenfold to you two!), Alexandra Sands, Dianne Englesen and Sue Noble whose comments were indispensable from the outset. To Valmire dos Santos a long extended thank you for keeping me in the supply of Omega-3s throughout the years of writing this novel. Thank you to early advice givers whose comments helped propel the story forward: Barbra Kyle, Stephanie Cowell, Alana White, Mary F. Burns, Heather Webb, Kris Waldherr, Patrica Hudson, Patricia O"Reilly, Shelley Schanfield, Dee Gillies, Sophie Six, Martin Lake, Jessica Stefani, David Cook, Nicky Moxey, and Lindsay Bennett.

I’d like to extend a special thank you in remembrance to the late author Susan Vreeland, a mentor who continually encouraged me and believed in this story. And to former Penguin Random House editor, now literary agent, Jane Von Merhan whose developmental editorial expertise helped advance the story’s form.

My weekly writer’s group was essential to getting the manuscript to completion, deep gratefulness to Fiona Claire (extra big to you!), Lisa Gibson Dutcher, and Sandra Clarke. With additional thanks to late readers, Michelle Cameron and Sarah Partipilo for your suggestions to polish the story. Robert Wright your encouragement kept me going; and thank you Catherine Mathis for your final manuscript advice. A word of gratitude to M.J. Rose, Richard Zimmler, Nancy Bilyeau, and Jeannine Johnson Maia for your query support; it buoyed me.

Thanks to Max Epstein, Mary Sharratt, and Jana Oliver for your expertise at crucial moments toward publication. A final thank you to author and acquisition editor Donna Russo Morin for championing these unheard voices and untold story; and to the publishing team of Next Chapter and Miika Hannila and for getting behind the whole venture. A shout out to anyone I may have forgotten who extended a helping hand in multiple ways for this book to make it into the hands and hearts of readers. I thank you.

A final bow to Shakti Kundalini whose creative force is responsible for this novel and forthcoming book two of this series, along with the upcoming anthology When She Wakes: Women’s Accounts of Kundalini Awakening. Where I share how evolutionary energy is the crux of creativity and more.

When She Wakes: Women’s Accounts of Kundalini Awakening.