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eg/Segment/S02  view on Meta::CPAN

Of course she could say it was for the children, as people always did...
It was true, up to a point.  How terrible it was to have those easy
phrases, trotted out so often in the course of gossip, or heart-to-hearts,
or in magazine articles, or even court cases, become so real.   It was
never the sort of thing you thought about when you were young, when you
were - or thought you were - in love, and all the future shone with
promise.
<p no=1>
Problems belonged to other people.   You might imagine supporting them,
talking with them when they needed to talk, trying to help, but you did
n't imagine that you would be the one desperate to talk (or the one too
embarrassed to talk, too ashamed or too proud to talk); you did n't
imagine you would be the one who needed help, not even when you told
friends that of course there might be problems, or agreed with your
beloved that you would always talk about things...
<p no=2>
Staying together for the children.
<p no=3>
And for the adults, she thought.   For the sake of appearances.   God, she
had thought she was above that sort of thing, once.   She had been bright
and free and determined and she had decided she was going to make her own
way in the world, just as well as any of her brothers might.   She'd been
a sort of feminist before it became fashionable; never had much time for
all that sisterly stuff, but she was positive she was as good as any man
and she'd prove it...   And marrying Ferg had seemed like an extra boost
to her life-plan.   London had been exciting, but she had not shone out
there, she felt, the way she had here.   She had never felt any affection
for the place and had made no friends there she would miss; and anyway,
she would find fields to conquer up here, coming home triumphant to wed
the lord of the manor.
<p no=4 segment_break>
Having decided upon the type of atmosphere you want to create with colour,
texture and patterns, and having considered proportions, you are now ready to
choose a style for your window.  Remember that your window is quite likely to
be unique.
<p no=5>
First consider the alternatives open to you.  Conventional curtains are just
one option.  These can be short or long and with one of several headings.
Floor-length curtains, generally, will add sophistication and, with a crisp,
hand pinch pleated heading, will suit a formal background.  Pencil pleats or a
frilled, gathered heading on short-length curtains blend well with an
informal, more relaxed atmosphere.  Decorative trimmings can be added to
emphasize a particular feeling.  Braids following the outline of curtains give
a formal, traditional appearance.  Contrasting binding on the leading edges of
curtains (those that come to the centre) will give a sharp definition and a
smart finish.
<p no=6>
Frills suggest informality and would complement curtains with a channelled,
gathered or pencil pleat heading and look most appropriate in a pretty,
feminine bedroom or a cottagey kitchen/breakfast room.  A frill with the edges
bound in a contrasting or toning colour adds a further individual touch,
making the curtains a little more special.  Cafe curtains, which traditionally
only cover the lower half of the window, offer a very simple solution to
privacy and are ideal in kitchens which face onto a busy road.  They can be
teamed up with an additional pair of short curtains hanging above them which
would be drawn at night, thus giving a tiered effect.  They can be made even
more attractive by the addition of frills or a scalloped heading.
<p no=7>
Your choice of curtain track or pole should also complement your style, from
an elegant brass pole for a traditional setting to a more modern, unobtrusive
track.  Pelmets and valances can further emphasize a particular style, as well
as hiding any unsightly tracks.  The defined outline of a hard pelmet suits
formal surroundings whereas a frilled valance will soften the overall
appearance of windows, particularly when teamed with curtains that have
frilled leading edges.  A hard pelmet can be softened, if necessary, by adding
a flowing shape such as a scallop to its lower edge.
<p no=8>
For a touch of real extravagance, a swag and tail would give a rich and
sumptuous finish to curtains in an elegant, formal setting.
<p no=9 segment_break>
Good morning er Sam here is Carol there please?
<p no=10>
Can you hold on a minute?
<p no=11>
Thank you very much
<p no=12>
Okay
<p no=13>
Good morning
<p no=14>
Good morning Carol, how are you this morning?
<p no=15>
Well a bit wet and windy
<p no=16>
Oh, well it's dry and very cold and er and bright periods
<p no=17>
Is it?
<p no=18>
er but no doubt we'll have a few showers I'm sure
<p no=19>
Yeah, we've had really heavy rain this end and it's beginning to dry up,
but it's still very strong winds
<p no=20>
Yeah, we've been told to prepare for frost tonight
<p no=21>
Yeah, it would n't surprise me because it's quite, quite cold here
<p no=22>
Well I believe it's snowing in Coventry
<p no=23>
That would n't surprise me one bit
<p no=24 segment_break>
But I want to get there for nine.  I said to John yesterday I said I  I've
done the er  chair.  I said I wan na get on with these, those dining
chairs next  in the sale.
<p no=25>
When's the sale?  Summer time is n't it?  About June?
<p no=26>
Erm  May  some time in May.
<p no=27>
Well where are you going to get the fabric for those?  Trip to
<p no=28>
Yes Margaret, what do you think?
<p no=29>
brilliant ideas

eg/Segment/S02  view on Meta::CPAN

lot of noise.   Before Conway built the new town, Kee's village was a
quiet place.   There were only a few small cars.   Now big lorries went
past every five minutes, carrying things for the new buildings.   Kee was
a very unhappy old man.   He was sitting in his small house, looking out
into the garden.
<p no=77>
Another big lorry went past the window.
<p no=78>
He heard the sound of a car coming down the road.   The car stopped near
the house, and a woman got out.   She was young and well dressed.   She
walked up to the gate at the end of Kee's garden and waited.   Kee saw her
and went out of the house, down the wooden steps and into the garden.
<p no=79>
"Hello," she said, looking at the old man.   "Can I come in?"
<p no=80>
"Yes, of course," answered Kee.   "What can I do for you?"
<p no=81>
The woman opened the gate and came up to Kee.   "My name is Karen
Jackson," she said, " Dr Jackson.   I'm an American.   I'm working at the
big hospital in Port au Prince, and I'm doing some work for my book."
<p no=82>
"I see," said Kee.   "But why do you want to talk to me?"
<p no=83 segment_break>
The air hostess smiled.   "Welcome aboard, sir.   Would you like a
newspaper?"
<p no=84>
"Yes, please." Carl took the newspaper and looked at his ticket.   "I'm in
seat 5F.   Where's that?"
<p no=85>
"It's near the front of the plane, sir.   On the left, there.   By the
window."
<p no=86>
"I see.   Thank you very much." Carl smiled back at the air hostess.   She
was young and pretty.   Just like my daughter, he thought.
<p no=87>
He put his bag under his seat and sat down.   His friend Harald sat beside
him.   They watched the other passengers coming onto the plane.   Harald
looked at his watch.
<p no=88>
"9.30 p.m.," he said.   "Good.   We're on time."
<p no=89>
Carl agreed.   "And in three hours we'll be home," he said.   "That's
good.   We've been away for a long time.   You'll be pleased to see your
family, wo n't you, Harald?"
<p no=90>
Harald smiled.   "Yes, I will.   Have you seen this, sir?" He opened his
bag and took out two small planes.   "These are for my sons.   I always
bring something back for them."
<p no=91>
"How old are your sons?" Carl asked.
<p no=92 segment_break>
But Kee sat quietly on his chair and smiled.   "I can see that you do not
believe me," he said.   "You think I'm just an old man who does n't want
to see new shops and houses.   Just wait for a few days, and you will see.
I'll give you everything that you want.   But you must not build shops and
hotels in the graveyard.   Do you understand?"
<p no=93>
"Yes, yes, yes, of course I understand," said Conway.   He was beginning
to get angry.   "I wo n't build shops and hotels there, and you will give
me everything I want.   Thank you very much for your help.   Now, please,
get out.   I'm a busy man."
<p no=94>
"Goodbye," said Kee.   "Thank you for talking to me.   But do n't forget,
Mr Conway, you must not do these things.   If you do, you'll be sorry."
<p no=95>
"Yes, yes, yes, I understand.   Now go!" said Conway.
<p no=96>
Kee turned and went to the door.   For a moment, as the old man was
walking out of the door, Conway remembered the face in the book on the
plane.   Suddenly he felt cold and afraid.
<p no=97>
When Kee left the room Conway picked up the  telephone.   He talked to
Marie.   He was very, very angry.
<p no=98>
"Marie!" he shouted.   "Why did you send that man to my office?   He's
mad.   Coming in here talking about voodoo!   Telling me he's going to
give me a lot of money!   I do n't want to see him again.  Do you
understand?  If you make a mistake like that again, you'll lose your job."
<p no=99>
"I'm very sorry," said Marie.
<p no=100>
"Good.   Now, I want to talk to Pierre and Henri.   Get them on the
telephone for me." He put down the telephone and sat back in his chair.
"That man Kee is  mad," he thought.   Then he started to laugh.   "He
thinks he can give me everything I want!" he thought.   "An old man from a
village!   Ha, ha, ha!"
<p no=101 segment_break>
 Multiple windows are marvellous for creating a bright and airy room but the
effect could become over-fussy if the windows are treated individually,
particularly if they are of different sizes.  The windows can be unified by
placing just one track above all the windows on one wall, giving the illusion
of one large window when the curtains are closed.  During daylight hours the
curtains could be arranged either drawn back to either side of the track, or
covering the walls between the windows.
<p no=102>
In a room where there are windows on different walls, aim to fix the curtain
fitments at the same height to create a unified appearance.
<p no=103>
 A single corner window presents the problem of where to allow the curtain to
hang during daylight.  The obvious answer is to draw it back to the side away
from the corner, but this can create an unbalanced appearance.  An attractive
arrangement where light permits is to have one curtain with a heading fixed in
a closed position and tie the curtain fairly tightly in the centre of the
window with bows.  Another alternative would be to fit a blind within the
window reveal.
<p no=104>
Where there is a window on either side of a corner, again the aim is to unify
them.  The choice would be whether to draw one pair of curtains to stack back
on the walls beside the windows, thus exposing the corner, or to have two
separate pairs of curtains that draw from the centre of each window and
thereby cover the corner area with fabric.  This may cut out a certain amount
of light, but as there are two windows in one corner, the room has light
coming in from two directions and is probably lighter than average anyway.
<p no=105 segment_break>
Here we are, madam." The big black car stopped and a police officer opened
the back door.
<p no=106>
"Thank you." Helen Sandberg smiled at him as she got out.   Another police
officer opened the front door of her house.
<p no=107>
Inside the house it was quiet.   Her daughter was reading.   She put the
book down.
<p no=108>
"Hello, Mummy.   You're late.   You said you'd be home by ten o'clock.   I
wanted to talk to you about my homework, remember?"
<p no=109>
Helen sat down.   "I'm sorry, Sarah.   I did remember, really.   But I had
a very busy day.   Anyway, I'm home now.   What's the problem?"
<p no=110>
"It's this book," said Sarah.   "I have to write about it at school on
Friday, and I do n't understand it."
<p no=111 segment_break>
But it had not been as she had imagined.   She had expected to be the
centre of things in Gallanach, but the McHoans as a family had so many
other things happening to them; she had felt peripheral.   The Urvills'
own history, too, made her feel like something unimportant on the family
tree, for all that Fergus talked of responsibility and duty and one's debt
o the next generation.
<p no=112>
She was a leaf, expendable.   A twig - maybe - at best.
<p no=113>
Somehow all her dreams had disappeared.   It seemed to her now that all
she had ever had had been the dream of having dreams; the goal of having
goals one day, once she had made her mind up what it was she wanted.
<p no=114>
But that had never happened.   First Fergus, then the twins, then her own
small part in the society of the town and the people there, and in the
wider, still circumferential concerns of this wee country's
middle-to-ruling classes, and in the more dissipated commonwealth of
mildly powerful people who were their peers beyond that - in England, on
the continent, from the States and elsewhere - took up her time, sapped
her will and replaced her own concerns with theirs.