Ingredients To Include Into Breakfast That Will Cure Rheumatoid Arthritis

itibSome experts say that there is no diet that can heal the rheumatoid arthritis, but the truth is that certain ingredients may reduce the RA symptoms. Maybe you will not be completely cured, but if you manage to help your body to stop the disease from further progress, that will also mean something. If you notice that certain food is making you feel better, you may include them into your diet for rheumatoid arthritis. There is one thing you can start from today. Try to pay more attention to your breakfast. Some people don’t eat at all in the morning, but that is a mistake. Breakfast is the most important meal in a day, so if you skip it, your body will not work well as when you eat well in a morning. But in spite eating chocolate cakes or similar, try eating whole grain bread with soy pate or fresh fruit with quinoa. Include as many nuts as possible into your breakfast. For instance, take a bit of walnuts, a bit of peanuts and a bit of sunflower seeds. Nuts are especially good for you because many of them contain calcium. Did you know that sesame contains even more calcium than cow milk?

Fish And Olive Oil Helping Bones That Hurt At Rheumatoid Arthritis

When having serious disease, people always try to find a solution. Sometimes drugs are not enough, or they can even cause more problems if they have severe side effects. Patients who suffer from rheumatoid arthritis often think about changing the diet in order to reduce the symptoms and even cure a disease. Fish and olive oil should be included rheumatoid arthritis diet plan, says one of the studies done in United States few years ago.

Fish and fish oil are sources of omega-3 fatty acids that help the whole organism. If you are vegetarian, you probably do not want oils of animal origin, but in that case, you should consume olive oil and all kinds of other plant oils that will do good to your body. Olive oil is one of the best plant oils in the whole world. It has to be extra virgin, which is the healthiest one. If you do eat fish, then the studies recommend consuming salmon, for instance, which is rich in omega-3 fatty acids. Since the patients who suffer from RA are often having problems with heart, omega-3 is a must fatty acid to be taken daily. You may take the supplements if that suits you better.

Anti Aging Products Will Make You Forever Young!

aapWhat is the best anti aging product for you? Have you even tried one? If you haven’t, it’s not too late to try it and look younger! Erase those wrinkles and worry lines with the best anti aging product. How will you find what product is good for you, though? There are many ways how you can find the anti aging cream that will keep you young forever. Aside from the process of trying it yourself, you can find out more about the product by reading the personal testimonials.

Aside from testimonials, there are feedbacks about some products that are self-proclaimed best anti aging products. These feedbacks contain the early stages of the effects of the product and how normal skin would react to the product. Also, most herbal products that are in the market are really famous because they said the effects on various skin types won’t rash or give you skin conditions. What makes people try herbal products is they don’t give you harsh side effects especially for those with sensitive skin type. Herbal ingredients are said to adapt to the skin type of every person. Since it’s made from natural ingredients, the worst side effect you can get is nothing compared to chemicals.

What To Avoid In Anti-Aging Cream?

When looking for a way to take care of those boring wrinkles, people usually ask “how do anti-aging creams work”, and not “what to look for in a cream”. It is very important to understand that even when the cream is efficient that does not mean all ingredients are safe to use. It is not just that the wrong cream can be bad for a skin type, by it can cause some serious health problems. In order to stay cautious, here are some harmful ingredients to avoid when hunting for a cream.

Parabens can easily be found in many moisturizing and anti-aging creams, and they are used to make the product last longer, so it has no benefits for the buyer, only for the seller. On the other hand, it can cause serious diseases, and it has allergenic characteristics. Fragrances may be very tempting, and make a person use the cream more and more, but when used regularly, they can affect overall health. Every second anti-aging cream contains the SLS or Sodium Lauryl Sulphate, but it can actually have a harmful effect on skin, and make it age faster than ever. In order to find out how do anti-aging creams work naturally, another ingredient to avoid is Phenol, which causes skin irritation and respiratory problems.

Description Remains A Key Art For Good Writers

When college students discuss their interpretations of a work of literature, their way of looking at it tells us more about them than the work; the work is a mirror, a blank slate onto which readers project their own ideas. This is what keeps the best literature endlessly fascinating. Twenty students can walk away from a seemingly straightforward event with twenty different conclusions. Even more interesting, these same readers may have a different take on the same piece of literature one year later. In that year, they will have read many other things, have been exposed to many new life experiences and have changed as people. Even more so after five years. It can be an entirely different book for them after twenty years away from it. Imagine 50. Moby Dick will have two different meanings if read at 20 and then again at 70. What all this shows is that books are as much about what readers bring to them; no matter how factual, there is no absolute reality–books are ultimately subjective. Great books, in order to remain exciting time and again, leave open this room for interpretation. One way writers can be sure their books remain exciting is to avoid the staid world of facts and instead to embrace the more expressive, more artistic world of showing.

The other problem with telling is that it makes a book read more like a synopsis than a work of art. With this type of writing, readers often walk away feeling as if they’ve read an outline of a story, a description of what’s supposed to happen, of what characters are supposed to be like; they don’t feel as if they’ve experienced any of it, walked in the characters’ shoes, cried or dodged bullets with them. True creative writing is an art form, like any other art form. Many would argue the main purpose of art is to dramatize, to give people an escape, a forum in which they can project, play out and satisfy their feelings. In order to do this, the reader must enter a world–he cannot have it described to him. Other art forms, like music and painting, force the artist to jump right in and create; but writing, perhaps more than other art forms, has a sly ability to allow its practitioners to dodge the artistic side. This may be because writing has so many inartistic (or less artistic) manifestations, from legal writing to business writing to official memos to textbooks, where the main priority is not artistic expression but the conveyance of facts. Of course, everything has its place: If it were your responsibility to write down the minutes to your weekly business meetings and you chose to dramatize these minutes, filling them with emotion, you’d probably get fired.

When you show instead of tell, where you used to have description, you will now have a scene. At first glance, this may seem to slow down the pace; after all, you had previously conveyed several major plot events in less than a page, and now it’s taken ten pages to “show” just the first of these events. Yes, on the one hand it does slow things down, especially in number of pages, but on the other hand, it speeds things up, because the pages that are read will be more enjoyable. Would you rather read ten fun pages or one tedious one?

You’ll learn quickly that your book would become weighed down with scenes if you were to “show” everything, and you’ll probably become more selective in deciding which facts to convey. You’ll have dramatization where before you had none, and a chief advantage is that, in the process–if done truly–you will learn new things about your characters and the turn of events. From your “showing” will emerge facts that can be useful in future telling.

But a book too heavy on showing can also be a danger–telling has its place. It can be particularly useful in establishing narrators and viewpoint characters, and extremely useful in the hands of a skilled writer who is aware of the fact that he is telling, but uses it to his advantage. For instance, if a narrator tells us something about another character, what he is really doing is giving us his perspective. This can be used with contrast and contradiction: If the narrator tells us character A is a really nice guy and character A enters the scene and his actions show he is a real jerk, what does this tell us about the narrator’s judgment? Or, if the narrator tells us he killed character A ten years ago and character A then enters the scene, we might infer the narrator’s a liar. Our mistrust of the narrator then becomes part of the game.


* The first step is to spot the areas in your manuscript where you tell when you should show. Likely areas are places where you use excessive description; where you introduce characters or places for the first time; where there is a flurry of events, a jump in time, or a bridge between major events; where you fill the reader in on backstory; and where you (or an editor) generally feel the manuscript to be too slow.

Looked at one way, nearly the whole manuscript can be filled with “problem areas.” You can take almost any piece of information and dramatize it. Deciding what you do and don’t want to dramatize is as much an art form as the dramatization. For now, don’t go overboard. Attack only blatant problem areas.

* Once you’ve chosen the section you’d like to dramatize, decide how you might go about doing so, and which angle you want to take. When it comes to dramatization, there are decisions within decisions. What is the most inherently, dramatic event? Which would make for the best scene? Which would fit best within the scope of the book?

* Replace information with action or events that serve the same purpose. For instance, instead of saying, “his wife was abusive,” show her hit him. Focus on cutting the dry, synopsis-like feel and replacing it with prose that will engage the reader.

* While you are convening your telling to showing, see if there is a way you can insert an element of ambiguity, mystery that wasn’t there before; leave a door open, if possible, for readers to come to their own conclusions. Take a simple event and consider all the different things it could mean to readers–maybe even to yourself. Things happen on many levels in a story, as they do in real life. Some people claim the subconscious mind does not differentiate from the conscious mind and subsequently they suggest that you can interpret baffling real-life events the same way you interpret events in a dream. What would they symbolize? Yes, there is the actuality of what really happened, but maybe there is also an underlying symbolism.

How Writers Tackle Adult And Young Adult Audiences

But, although the area of common enjoyment is, I think, growing larger, there are still no-go areas on both sides. Few adults, for instance, would read Louisa Alcott these days; she is too sanctimonious, too quick to point a moral, though her plots and characters are still full of life, and young readers, girls especially, are still held by them. Few readers under twenty undertake Marcel Proust or Henry James with much enjoyment, because the action is too slow, the emphasis lies in character analysis.

wsloiThere is one rule that still holds firm: In a story for young readers, the action must be swift, continuous, and immediately gripping. I was proud to find myself recently included in the new Oxford Dictionary of Quotations for my remark that Sir Walter Scott’s leisurely opening of Ivanhoe (“In that pleasant district of merry England … etc.”) would, these days, be accompanied by the sound of books slapping shut all over the library.(*)

And there are plenty of universal themes that still and always will engage the emotions and sympathies of both young and adult readers.

Injustice, for example. Injustice is the unbearable pain throughout the story that made Jane Eyre an instant bestseller and has kept it in print from 1847 to 1999. Why should poor little Jane, who has done nothing wrong, be treated so harshly by the odious Reed family? Once the reader’s sympathies are engaged on Jane’s behalf, the trick is done, there is no chance of closing the book until her wrongs have been righted. Arthur Ransome is an English writer whose children’s adventure stories have somewhat gone out of fashion now, perhaps because several of them are written to formula. The children set themselves, or are set, a project, to make a map of the locality, or whatever, and by hard work, it is just completed as the story ends. But one, The Big Six, is very different from the others because in it the group of children who are the main characters are unjustly accused of theft and vandalism and the whole neighborhood turns against them. They become pariahs and have to clear themselves and nail their accusers by a series of heroic efforts. The fact that there are actual villains to contend with, instead of just the forces of nature, makes this book outstanding among the others.

Shakespeare has an elegant and skillful touch in mingling an injustice theme with a comedy motif, as in The Merchant of Venice, where the very grim Shylock-Antonio legal case focused on the horrifying pound-of-flesh penalty is contrasted with the light-hearted nonsense over rings and caskets. The injustice is done, first to Antonio, then to Shylock, giving a deeper resonance to the whole. Similarly in Much Ado About Nothing, the absurd BeatriceBenedick story would hardly hold water on its own, if it were not counterpointed by Claudio’s totally unjust accusations against poor Hero and the (highly improbable) unmasking of his scheme by Dogberry & Co. (It really takes Shakespeare to get away with this plot.)

injusticeInjustice is of course the theme of many classic folktales, starting from Cinderella. My favorite is a Croation story, “Stribor’s Forest,” in which a poor old mother is abominably treated by her daughter-in-law, who is really a snake turned into a girl, and has a snake’s nature. She sets her mother-in-law impossible tasks, such as going to the forest for strawberries on a snowy winter’s day. The good old mother is helped with her tasks by a tribe of benevolent forest elves, who finally offer to rescue her from her plight by restoring her to her girlhood in a magically created village in the enchanted forest. But realizing that, if this happens, her son would no longer exist, she chooses to go back to her life of hardship. This unprecedented choice undoes all the magic, and the son’s wife becomes a snake again. This story, as well as having the classic folk-tale ingredients, is genuinely touching. Injustice has also formed the basis of many thriller and mystery stories, and can make the difference between a flat whodunit and an engrossing page-turner. Dorothy Sayers’s Strong Poison, for instance, has terrific tension because Harriet Vane, the central character, is standing trial for her lover’s murder. The jury can’t agree, and there is only one month before the retrial in which to find proof that Harriet didn’t commit the murder. The time element, and the fact that the reader is sure from the start that Harriet is innocent, make this one of Sayers’s best. Dick Francis, in his thriller Enquiry, uses a similar situation: His hero/narrator and the trainer he works for are barred from racing after being falsely accused of cheating in a race; owners are taking their horses away from the trainer (time element again), so there is only a limited period in which to prove that the accusation is false. Having the narrator as hero is an advantage here because he is able to tell the reader from the start that the charge is an unjust one.

I used the injustice theme myself in my Felix Brooke trilogy. Crossed wires seem to happen more in historical fiction than in contemporary work; perhaps because it is so much easier now to pick up the telephone and sort matters out. (As Stephen Leacock said, if only, when Othello had demanded, “Where is that handkerchief?,” Desdemona had the presence of mind to answer, “I sent it to the laundry, darling,” much trouble would have been saved.)

In my Felix Brooke stories I have the goodhearted but wild and impetuous hero run away from his uptight, strait-laced Spanish family because they are harsh with him, believing him to be illegitimate. When that situation is straightened out, he goes off to rescue the children of a man who is accused of being mad, and a traitor to his country. Felix very soon begins to realize that these are false accusations being circulated by the man’s malevolent wife. In fact, the situation is the exact reverse of what he has been told, but by the time Felix is aware of this, he is on top of a cliff in the Pyrenees with three children, one seriously ill and one killed by poison.

Reconciliation is another universal theme that operates equally well in juvenile and adult fiction–the slow (or it may be sudden) coming together of two characters who have been opposed, if not actual enemies, throughout the story.

Dumas uses it in The Three Musketeers. All through the story, a character called Rochefort has been opposing and hindering D’Artagnan at every turn. They are mostly prevented by circumstances from actually fighting; but on the very last page, the epilogue, when all has been tidied up and a great many people have died, Dumas nonchalantly mentions to the reader. “D’Artagnan fought three duels with Rochefort and wounded him three times.” D’Artagnan tells Rochefort, “If we have another fight, I shall probably kill you.” Rochefort replies, “In that case it would be better for us both to forgive and forget … upon which they shook hands, this time in friendship.”

In Our Mutual Friend, Dickens has a terrific cat-and-dog relationship between one of the heroines, spoiled little Bella Wilfer, and the hero, Rokesmith, whose real name is Harmon. He has been left a fortune on condition that he marry Bella, at that time unknow to him. Objecting to this arbitrary arrangement, Harmon contrives the pretense that he has been drowned, and presents himself to Bella merely as her family’s lodger, somebody’s unimportant secretary. Dickens has a lot of fun over this situation, as Bella first slights, teases, and spurns the humble Rokesmith, and then can’t help falling in love with him (as he has with her already) and finally agrees to marry him, still without knowing that he is the real heir. The final revelation is enough to make the modern reader squirm with embarrassment, but Victorian readers lapped it up.

Georgette Heyer used the theme in half a dozen of her novels: A hates B adapts well to a Regency setting. And so did Jane Austen in Pride & Prejudice. Of course the fact that the antipathy is on sexual attraction pushes the story up toward the adult market. Similarly, in E.M. Forster’s A Room with a View, until the last chapter Lucy thinks she can’t stand George; and the very same situation turns up in Anne of Green Gables, with Anne detesting the uppish, teasing Gilbert Blythe who puts her down at school. Hostilities crackle on briskly throughout the plot until Gilbert self-sacrificingly gives up a job so that Anne can have it, and the scene is set for romance to spring up between them.

It is much more entertaining for the writer–and the reader–to set the two main characters at loggerheads so they can display all their worst characteristics. In my school library, we used to have a wonderful weepie, The Flight of the Heron by D.K. Broster, about the Scottish clans rising against the English. The Scots hero mistakenly thinks that his English counterpart has betrayed him, and the misunderstanding is cleated up only at the very end when the dying Englishman, before he breathes his last, has just enough time to gasp out, “I always liked you!”

MUST adult and juvenile characters differ? Obviously, characters in adult fiction can be more complex, can be depicted at greater depth and length, while young readers want to get on with the plot; they are not in the market for deep motivation and analysis, but the type of character may be basically the same for both age groups. King Arthur and Sir Gawaine and Robin Hood, after all, began as heroes of adult fiction before they were adopted into the juvenile library. And an untidy, impatient problem-solver such as Sara Paretsky’s V.I. Warshawski is equally welcome in both.

Reviewing the theme of overlap from children’s to adult novels and vice versa, it struck me that I have a character who seems to have established himself with a foot in both camps. He is a somewhat inept, but intelligent and well-meaning British peer of the realm who wandered out of my last Jane Austen sequel, The Youngest Miss Ward, where, as Lord Camber, he goes off to found a Utopian community on the banks of the Susquehanna river. In Dangerous Games, my latest Dido Twite novel, as Lord Herondale, he is on a Pacific island searching for games to amuse the ailing King James III; and now he has turned up as the brother of Lady Catherine de Bourgh in yet another Austen spin-off. Vague, chatty, floundering, his heart in the right place and liable to cause his friends untold trouble, he is a kind of Sorceror’s Apprentice. I have no idea where he came from, he is like no one I know, but I think it highly probable that he will turn up again, no doubt where least expected, whether in a juvenile or an adult story, who can say? Writing is like that. It continually takes the writer by surprise.

Style Means Everything For Your House

Painted furnishings and brightly hued accessories fill a Vermont artist’s lovingly restored home with the spirit of warmth and whimsy

DWDLWhat’s the surest and quickest way to elevate a room’s mood? I Start by injecting a healthy dose of color. Textile artist Susan Sargent learned that lesson well during an extended stay in Sweden, where it has long been the custom to rebel against the pall of long, dark winters by dwelling amid lighthearted hues. Susan applied this rime-rested theory–and utilized her own marvelous eye for color, pattern, and texture–when decorating the refurbished 1 860s Vermont farmhouse she shares with her husband, Tom Peters, and their two sons. The playfully patterned pillows, hand-tufted rugs, applique coverlets, painted bed linens, ceramic tableware, and bright glazed tiles that Susan designs and sells under the apt rubric Handmade Art for Living are scattered about her farmhouse like jewels, providing something to please the eye, delight the imagination, and warm the spirit at every turn.


Everyone loves to linger in Susan Sargent’s eat-in kitchen.

* Snowy walls and a wooden floor painted pale green reflect light.

* The raised hearth eases fire starting; placing it in a corner allows heat to pulse where it’s needed most.

* Susan’s Bright Bird Tree rug anchors a painted table crafted by a friend and fellow artist, Dan Mosheim.

* Double-hung windows are shutterless and unadorned to capture every glimmer of sunshine winter has to offer.


Sherbet-hued pillows stand out against the living room’s slipcovered sofa. * To achieve a successful mix of pillows, stick to the same intensity of tone; patterns should relate in scale, too. * When high enough–at least 14 inches–an ottoman or bench comfortably substitutes for a traditional coffee table, a boost for folks who feel most at home where they can kick back and put their feet up.

Living with color is like inviting a rainbow indoors


A sense of artistry unifies pieces as disparate as a traditional Windsor chair and a playful, three-legged table. Call attention to outstanding pieces by giving each item sufficient breathing room.

Remember: Today’s artisan-made crafts are tomorrow’s antiques, like this David T. Smith Windsor.


Glass vases cast colorful shadows when hit by the sunlight, so they perfectly complement a window recess. Let wire whisks, beaters, and strainers fringe a kitchen window; their squiggly shapes cast filigree shadows on the wall. Play up the idiosyncrasies of specific objects; let them tell you how they should be displayed.


Any surface can serve as a pedestal for a spontaneous tableau, be it a table, a bench, a countertop–even the floor. In an echo of itself, a grouping of still lifes painted by Boston artist Peter Plomondon sets up a visual counterpoint against the window wall in Susan’s kitchen. Harmony is all in the eye, in how you assemble and view the objects you love.

Any still life has real or invisible boundaries, which are usually determined by its objects. Move them around until the grouping feels right. When your eye naturally rests upon the whole, then all is well,


The most resilient couch, especially for active families, is constructed with fairly firm down-over-foam seat cushions and all-down pillows. White slipcovered sofas are popular and available from several manufacturers, including Lee Industries (left), Broyhill, and Mitchell Gold.

mpThe most manageable pillow size for lounging is the 20-inch square. Susan’s huggable, tone-on-tone Lattice pillows are made of woven silk jacquard and accented with narrow piping in complementary tones. These silk organza pillow covers fold over in back, envelope style, and are ribbon-tied, making them easy to remove when it is time to clean them.


A guest room should be as cozy as your own bedchamber.

* Susan gave dingy barn siding a fresh look with soothing aqua-toned paint, “a wonderful color to display art against,”

* Dowels on brackets help solve the riddle: How can I give visitors the privacy they deserve if I detest window coverings? Thread curtains onto poles when guests come and remove them afterwards.

* A Thos. Moser Shaker-inspired chest provides storage in a room without closets.

* Susan’s hand-painted Pears bedding can be machine washed.

IDEAS Susan’s husband gave her a new bathroom as an anniversary present. “It’s my ‘solitary room,’ where I soak and dream,” says his appreciative partner. * Allusions to the period of the house include an old-fashioned faucet and the beaded board that sheathes the walls and tub platform. * Susan painted the checkerboard floor freehand. “It takes some time, but it’s easy to do in a room this small,” she says. * Barnacle-encrusted shells resting on the window sash support the room’s seaside theme.

Soothing shades of blue and green give the bathroom a seaside spirit making it a tranquil place in which to refresh and renew.


An accurate reproduction of a vintage handheld shower and faucet set adds an element of elegance to the tub and takes up less space than an overhead shower would.

Keep fixtures true to the period: Major manufacturers, including Waterworks, the maker of Susan’s faucet, and Kohier (whose faucet is shown here) offer finishes in polished chrome and nickel.


Hushed, fog-kissed shades of straw, sky, blush, sage, and gray form the basis of the palette employed in Susan’s bath–all colors equated with the Swedish country look.

Susan’s bath is a rhapsody in blue: Walls are painted in City of Lights with a border of Matisse above, both by Dulux.

Lightweight wooden pantry boxes can be picked up for a song BOXED SETS at crafts-supply shops, then decorated to suit your fancy. Some come nested for greater portability. To achieve the look of the boxes Susan stacked on the chest in her guest room, brush on a thin coat of paint. When dry, twirl on polka dots.

Pantry boxes need not be relegated to the kitchen. Use them to store all sorts of everyday items–safety pins, hair bands, crayons, paper clips, cotton balls–you name it.

Let’s Talk Savannah!

Like a Southern belle dressed for a ball, Savannah simply looks its finest in April and May. Around every corner, 100-year-old live oaks, filigreed wrought-iron balconies, horse-drawn carriages, and postage-stamp gardens flirt with the imagination. Azaleas burst into bloom, and the dogwoods and lilacs begin their showy seasonal display, transforming this historic river town into one big, beautiful garden show. And with temperatures in the mid-70s, springtime is the perfect time to breeze into town for a weekend of exploring.

Founded in 1733 as one of America’s first planned municipalities, Savannah remains a wonderful walking city. Laid out in a classic grid pattern, the city center incorporates grand thoroughfares, residential side streets, and 21 oasis-like public squares endowed with live oaks, magnolias, and azaleas as well as brick walkways, park benches, and bronze statues dedicated to Revolutionary War heroes and citizens of note, such as General James Oglethorpe, Georgia’s founder.

easSavannah’s historic architecture owes much to the city’s forefathers, who in 1864 intercepted Union General William Tecumseh Sherman on the outskirts of town and persuaded him to spare their fair city the ravages that had befallen other Southern cities like Atlanta and Charleston. Instead of incinerating Savannah’s regal Regency mansions and Federal townhouses on his March to the Sea, Sherman took up residence in what is today the Saint John Parish House, on Madison Square, and presented Savannah–along with 25,000 bales of cotton–to President Lincoln as a Christmas present.

Today, architecture and history buffs benefit from the general’s “gift.” More than 1,200 restored structures–ranging in style from Federal and Regency to Greek Revival and Italianare–stand within the two-and-a-half-square-mile historic district, one of the largest registered urban landmark districts in the country. A good way to begin a weekend visit is with the Old Town Trolley’s 90-minute narrated tour, which offers an interesting overview of the historic area.

Meandering about gives visitors a good feel for this house-proud city, but do try to schedule a visit to one or two of the town’s impressive house museums. A logical place to start would be the Isaiah-Davenport House, the red-brick Federal whose slated demolition in the 1950s first galvanized Savannah’s preservation-minded citizens. The Owens-Thomas House, considered the finest example of Regency architecture in America, is worth visiting for its period furnishings, formal garden, and original slave quarters. Former Girl Scouts can step back into the Victorian era at the beautifully restored Juliette Gordon Low Birthplace, once home to the organization’s founder. The Telfair Museum of Art, housed in a Regency mansion, wins attention for ins antiques and decorative objects as well as for ins grand round ballroom.

If your interest in Savannah was fueled by reading Midnight in the Garden of Good and Evil–John Berendt’s 1994 bestselling chronicle of antiques dealer Jim Williams’s murder trial and the inner workings of

Savannah society–a half dozen companies offer “Midnight” walking tours through the historic district. The tours always include picturesque Monterey Square, the site of Mercer House, the red-brick Iralianate villa where Williams purportedly shot his 22-year-old companion.

If ghost stories intrigue you, learn about Savannah’s otherworldy pirates, Confederate soldiers, and grieving widows on one of Savannah Walks’ evening ghost tours through the lamp-lit sidestreets of the historic district. For those inclined to peer over garden walls to catch a glimpse of a wisteria vine or flowering dogwood, sneak a peek at eight private gardens on the 25th annual Hidden Gardens of Savannah tour on April 14 and 15.

When night falls and much of the city shuts down, take a stroll along River Street, a bustling though somewhat touristy riverfront esplanade crowded with seafood restaurants, pubs, cafes, and boutiques tucked away in 19th-century cotton warehouses. Another option is City Market, a lively pedestrian mall where locals as well as visitors go to hang out. For dinner, try Bistro Savannah for inventive seafood dishes, the Lady & Sons for classic Southern cuisine, or Vinnie Van Go Go for a slice of the city’s best pizza.

For a sense of Savannah’s music scene, head to the Planters Tavern in the Olde Pink House, on Abercorn Street. You can relax on a velvet sofa with a cocktail while vocalist Gail Thurmond belts out standards on a Steinway baby grand. At Hannah’s East, the bar at the Pirate’s House restaurant, local chanteuse Emma Kelly–who legendary songwriter Johnny Mercer nicknamed “Lady of 6,000 Songs”–still attracts a crowd most weekends. Live jazz can also be heard on weekends at the Marshall Hotel, on Broughton.

So on Saturday night in Savannah, kick back and relax. As lifelong resident Joe Odom advises in Midnight in the Garden of Good and Evil, ‘Always stick around for one more drink. That’s when things happen. That’s when you find out everything you want to know.”


antRoughly 50 antiques shops are tucked away in and around the historic district. Some not to miss: Alex Raskin, where mammoth case pieces, primitive antiques, painted furniture, and architectural elements fill the street and parlor levels of an enormous center -hall mansion on Bull Street. Quirky Once Possessed specializes in “camp kitsch” (think busts of Elvis and Partridge Family lunch boxes), ’50s and ’60s barware, and an eclectic array of furnishings. Next door, J.D. Weed & Co. sells top-drawer American antiques dating from the 1730s to the 1830s. More than 70 dealers exhibit their wares at Alexandra’s Antique Gallery, a rambling four-floor storefront where you’ll find everything from Civil War-era swords to vintage textiles and estate jewelry. Abercorn Antique Village offers collectibles, antiques, and estate items from some 50 dealers. V & J Duncan carries a large selection of antique prints, maps, and old and new bo oks. One Fish Two Fish, below, deals in vintage iron garden furniture, botanical prints, linens, and decorative objects. Explore E. Shaver Bookseller’s for antique maps, local cookbooks, and volumes on Southern architecture and history. Yearning for a little something sweet? Don” miss the divinity and buttery pecan pralines at the Savannah Candy Kitchen, on River Street.