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It stands inches tall, loves our climate, and spreads steadily into glorious sweeps. In August and September, spikes of flowers standing anywhere from inches tall appear seemingly overnight without leaves. Both are easy to grow, spread into drifts, and last for generations. We usually grow tulips as annuals down here [southwest of Houston] by putting them in the fridge for a few weeks before we plant them. But these beautiful plants do not need to be babied here. They bloomed for a second time this spring, so I am officially calling them a success, especially since each bulb had doubled.

Their cheerful blooms were simply joyous. I originally planted the standard that flowered well for only one season. Old House Gardens has Southern grape hyacinth that will repeat for years.

These, not from the sky but the ground, look like little pure white bells. Each year these beautiful flowers produce more stems. They were planted about 20 years ago, require no care and, unusual for bulbs, tolerate wet conditions. Published in Charleston in , it lists plants, including these 25 ornamental bulbous ones along with garlic and leeks. Arum, esculent; Indian kale, Arum esculentum [probably Colocasia esculenta ].

Corn-flag, common, Gladiolus communis [most likely G. Daffodil, Narcissus poeticus [see also Jonquil and Polyanthes]. Jonquil, Narcissus jonquilla [see also Daffodil and Polyanthes].

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Polyanthes, Narcissus tazetta [see also Daffodil and Jonquil]. Our Canna indica was at the top of his list when we talked last month. Gainey know the next time he calls. But Linda loves a challenge, and this past June she wrote us happily:. I rushed home and ordered both the pink and white ones from you. You warned me that they might not grow in my South Carolina garden. But persist I did, and planted, watered, and waited. They came up and bloomed! But in the meantime, I am so happy I was able to grow them in my own little English garden in South Carolina. So last year I put them on my back deck in whiskey barrel tubs, and they were beautiful!

It bloomed for ages, tons of flowers, and, let me tell you, my back deck faces south and is absolutely incinerated from sun-up till sundown. What an impressive little flower in every way! They limped through the hot summer but took off in fall and are still blooming [Nov. They have done fantastic! Mine that I got from you have been my most reliable and productive spring bulbs, reliably blooming in late February regardless of the weather.

Hooray for GG!

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Well, I contacted that guy and bought some. This is their second spring here in my [zone 7b-8a] Alcorn County garden. I think they love it. My neighbor and I say they look like a raspberry parfait. These cluster-flowered narcissus include paperwhites which are often forced on pebbles for winter bloom. Someone I know was doing a study of the chemical components of fragrance in various flowers, and he found that paperwhites had a lot more indole in them than other tazettas.

Then he told me that indole is the same chemical given off by E. Not everybody thinks it smells like manure. We had a whole row of those in our yard. Lawrence grew these tiny flowers and wrote about them in her classic A Southern Garden. In the right spot, they multiply happily into a permanent, ever more beautiful display. To learn more or help, visit www. As is the case throughout the South, the blooming of the Campernelles is a signal that spring has just begun. Our good customer Tamara Bastone of Chesapeake, Virginia, writes:. The color is a deep magenta and it is taller and sturdier.

I figured maybe my wife would get a brief kick out of them. And they really have had a trial by fire here: much warmer than normal winters, hot springs, and until this year wetter than normal summers. Bi-color dahlias normally vary a bit from bloom to bloom, but when the temperature goes up the varying can get extreme.

Whenever they pop up in my yard now, I think of the first day of school. We used to pick them for our teachers. My daughter, who is a Master Gardener there, has had it return for three years now. She just leaves it in the ground over the winter and in the spring it pops back up. I was there last July, sweat box city, and it was gorgeous.

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I think that drainage is one of the keys for success there. It is planted in a raised bed. No fertilizer, no mulch, no nothing. They bloomed all season. Many of us who love historic gardens were broken-hearted when we learned of the death on March 17 of Flora Ann Bynum. One of the warmest, most genuine people you could ever hope to meet, Flora Ann was devoted to her family and a wide circle of friends in historic Old Salem, NC, as well as in the Southern Garden History Society and all across the country.

The garden history community has lost one of its brightest lights, the world has lost an amazing human being, and we have lost a good friend who we will miss forever. So for years we warned gardeners in the Deep South and other hot areas to avoid them. But our customers are constantly teaching us thanks! For tips from five of our customers, including expert John Kreiner of the Dahlia Society of Georgia, click here. Mar Please note that we recommend it for zones only. The parrot gladiolus was the first African glad to reach American gardens way back in the early s, and though it has long disappeared from commerce it can still be found in old Southern cottage gardens.

Our friend Felder Rushing www. The Gulf Coast of Mississippi was eerily brown. But because of the wind-induced hormone stress, all the spring flowering trees Asian magnolias, flowering pears, etc. And then there were all the red lycoris popping up through the debris. The Gulf Coast is rich in history, and hundreds of historic buildings and gardens were devastated by Hurricanes Rita and Katrina. To learn more, click here. When the American Daffodil Society met in Dallas a couple of years ago, our friend Phil Huey gave a talk on daffodils for public plantings. John was a great friend of ours and of historic daffodils.

He tested hundreds of varieties in zone 8b Tallahassee to discover those that did best in what he called the Spanish Moss Belt where modern, mainstream cultivars often fail. Here are ones John recommended to us before he died in , with a few additions from the book itself. Most should thrive throughout the South. Keverne , and Van Sion. Another challenging area for bulbs is the arid Southwest.

June Our long-time customer Mae Hoag of Orinda, California, writes of a new favorite and two old friends that just keep going and going:. I think it is my favorite of all. The deep orange on the outer edge of the cup softening to yellow closer to the perianth is truly stunning.

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The Campernelles and Early Louisiana jonquils I bought from you many years ago are still blooming profusely, too. April Too bad if it is; I want to order at least more of them for next year! I smelled it every time I went to the back of the yard and again when I returned. Thanks, thanks, thanks!

I am old enough not to get very excited about plants but this one really surprised me and fulfilled its description. Scott has a pot of pink Roman hyacinths blooming on his desk right now. Go sits atop the crest of a number of popular waves, one of these is a movement towards static type checking which other languages are now retrofitting. Retrofitting, not for performance, mind you — type inference has pretty much solved that problem, but instead for the productivity of their programmers. But, I think it is unlikely that Go will be the poster child of this movement, it is merely a participant, and few medals are given out for simply being present.

Interfaces represent pure behaviour. I believe interfaces are the iconic feature of Go. They represent a refinement of many previous attempts but are themselves unique among mainstream languages. In his essay The last programming language , Robert C. Martin asks:. Are languages successful because they offer programmers more choice, or are they successful for the opposite reason, they remove choice? In hindsight, the programming languages which have been successful, which have been remembered, and which have established a legacy, are the languages which have successfully removed a commonly accepted tenet of the programming establishment.

I think a strong contender could be a lack of inheritance; Go took away subtypes. Everyone knows composition is more powerful than inheritance, Go just makes this non optional. In the cacophony of hand wringing over a lack of templated types, nobody seems to be complaining that a lack of inheritance is hurting their ability to write programs in Go.

It seems that nobody missed inheritance much after all. However it also seems to me that people are not going to remember Go for taking away something that they never missed in the first place. Go is a curly braced, block structured language, but with a cute trick of the lexer. The semicolons are still there, we just hide them from the author. But, this is also not a new trick.

Javascript made semicolons optional, and sometimes it works. In my mind, of all the possible candidates that Go has removed, it is the removal of threads that will be its most profound contribution. This is not to say that Go programs do not use threads, any more than you can say structured programs are not compiled into branch and jump instructions.

But Go programmers no longer have to concern themselves with thread management, or as Uncle Bob would say, Go programmers are restricted from directly controlling the thread their code runs on. Goroutines are cheap, so cheap that we can structure our programs in a straightforward imperative fashion without having to worry about the overhead of one operating system thread per goroutine.

Go is still young, with a long productive life ahead of it, and that means that almost all of the Go code that will be written, has yet to be written. Similarly, while the community of Go users is growing, compared to the number of people who will use Go during its lifetime, we are but a tiny fraction. Therefore we should optimise for this larger group of people who have yet to write any Go code. This means more user groups, more conferences, and more diversity — there is so much more to be done here, and we should look to established language communities, like Python for example, for guidance.

And this is the part where you come in. This is the time for you to lean in. This is the time for you to get involved. This is a post inspired by a thread that Nate Finch started on the Go Forum. This post focuses on Go, but if you can see your way past that, I think the ideas presented here are widely applicable. Looking at another library, loggo , which we developed for Juju, provides the following levels:.

Bulbs for the South

So here are two examples, clearly influenced by other logging libraries in other languages. In fact their linage can be traced back to syslog 3 , maybe even earlier. And I think they are wrong. I want to take a contradictory position. Nobody reads warnings, because by definition nothing went wrong. Fatal level is effectively logging the message, then calling os. Exit 1.

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In principal this means:. In effect, log. Fatal is a less verbose than, but semantically equivalent to, panic. It is commonly accepted that libraries should not use panic 1 , but if calling log. Fatal 2 has the same effect, surely this should also be outlawed. Suggestions that this cleanup problem can be solved by registering shutdown handlers with the logging system introduces tight coupling between your logging system and every place where cleanup operations happen; its also violates the separation of concerns.

If the error bubbles all the way up to main. Error handling and logging are closely related, so on the face of it, logging at error level should be easily justifiable. I disagree. The act of logging an error handles the error, hence it is no longer appropriate to log it as an error. You should never be logging anything at error level because you should either handle the error, or pass it back to the caller. Instead the question is, what is the smallest possible logging API?

And when it comes to errors, I believe that an overwhelming proportion of items logged at error level are simple done that way because they are related to an error. They are in fact, just informational, hence we can remove logging at error level from our API. Fatal behaviour. Info should simply write that line to the log output. The minor inconvenience of having to insert the FATAL prefix in front of the final log message, or writing directly to os. Stderr with fmt. Fatal method. Debug , is an entirely different matter. It is for the developer or support engineer to control. During development, debugging statements should be plentiful, without resorting to trace or debug2 you know who you are level.

The log package should support fine grained control to enable or disable debug, and only debug, statements at the package or possibly even finer scope. But the fact is, logging is both. Pick an issue you know how to solve. The best way to get started with a project is to fix a bug. Many bugs lack enough detail to be addressed, so promoting the reporter for more information is in itself a useful service.

You may discover that the bug is a duplicate of another, in which case it can be closed. If you can distil the bug report into a reproduction or a test case that is a valuable contribution in itself. Discuss your change first. When you have chosen a bug, discuss your change before starting to code. You can experiment privately, but do not send a change without discussing it first.

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Your can probably skip this with very trivial changes, like typos or adding a small test case to an existing package, but for anything larger the rule is: discuss, then code. Always include a test. One of the first things a reviewer will do is patch in your test and verify that it fails before even looking at your fix. You should therefore write the failing test case first, then write the fix.

It may be that you need to refactor the code to be able to write a failing test, which is fine, but brings me back to point 3; discuss your change first. If the project does not have a strong testing regime then you should describe how you went about verifying the fix so someone reviewing your change can do the same. Change as little as possible. All things being equal, smaller changes are easier to review and are merged faster than large ones.

You should aim to change as little as possible to keep the size of the change as small as possible. Avoid the temptation to include a bunch of unrelated changes. Follow the existing style. My rule of thumb is: always follow the predominant style of the file in question; if they use long identifiers, use long identifiers, if they use short ones, do so too, and so on. Above all, resist the temptation to include a large stylistic change along with your bug fix. Be polite, but persistent.

It may be that your proposal was overlooked, or that the project is currently in a feature freeze. Assuming you have followed the advice above, you should expect to get actionable advice on how to improve your change so it can be reviewed. How would you write the signature for TouchFile? FileMode error This looked pretty reasonable, and was a nice generalisation over the previous function. The second clue that I was heading in the wrong direction was the implementation of TouchFile itself: func TouchFile path string, mode os.

The acme of foolishness

OpenFile path, os. Slower build times When you import "C" in your Go package, go build has to do a lot more work to build your code. Your system C compiler has to be invoked for every C file in the package. The individual compilation units are combined together into a single. The resulting. Oh, and you have to debug C compilation failures on the various platforms your package supports.

Performance will always be an issue C code and Go code live in two different universes, cgo traverses the boundary between them. When Davidson confronts her amid the sterile gentility of her sitting room she flings herself desperately about it like a trapped bird, terrified less at what he might do to her than at the idea of her husband or schoolboy son finding out. As so often for Hamer, domesticity is a snare. In the event, Davidson refrains from taking physical vengeance on Fay. You plan it and plan it, and then when it starts it makes you feel as filthy as the other person.

Boyd, a suave, menacing figure, sports a fancy waistcoat, a flower in his button hole and a cockney-genteel accent. His boyfriend doubles as chauffeur and receptionist, a punk-ish youth slouched in a booth leafing through male-physique magazines. The negative attraction between Davidson and Boyd skews the film, being far more intense than the nominal love interest.

But even this scene is redeemed by its sheer physical immediacy. The landscape, a brooding presence throughout, now sides with the villain, threatening literally to engulf the hero. Fleeing the armed Boyd, Davidson falls off a derelict barge into the mud — which holds him fast as he squirms like a beached fish. The soundtrack pitilessly captures the glutinous, squelchy noises of his struggle, and his rescue comes as reprieve from a nightmare. The plot of The Long Memory fades fast from the mind, but its texture stays vividly with you. Hamer and his co-writer, Thelma Schnee, dumped the detective, reduced the cross to a McGuffin and turned the film into an extended intellectual and moral duel between priest and criminal — the central Spider and the Fly relationship replayed as comedy.

But it is comedy of the most sombre kind. What the film latches on to — what may well have attracted Hamer to the project in the first place — is the dark side of Chester-ton, the horror squirming around under the compulsive jokiness. Though not religious, Hamer felt a grudging envy for the certainties of faith — as does his surrogate in the film, played by Peter Finch with saturnine charm.

A renegade aristocrat like Ledocq in The Spider and the Fly , Flambeau steals not out of greed or viciousness, but to requite a world that has no place for him. Both men, Brown in particular, seem wretchedly lonely, clutching at each other to escape a sense of futility. This Hound of Heaven pursuit reflected reality; Guinness, himself poised to convert, was urging the solace of Catholicism on Hamer. Once more an attraction between mirror-image opposites dominates the film.

Flambeau likes to disguise himself as a priest; Brown has some skill as a pickpocket. The only significant female character — Joan Greenwood, sadly wasted — is even sketchier than her counterpart in The Long Memory. When Brown consults a librarian Ernest Thesiger as yet another lonely obsessive , the two men are made to teeter on high ladders and lose their spectacles. The effect is irritating and embarrassing, as though two pensive, dignified birds — a pair of storks, say — had been press-ganged into a circus and induced to juggle.

A father Guinness and son visit Paris, where each meets a Frenchwoman his own age but falls for the other one. The Brits are inhibited but susceptible; the French gesticulate and address each other in comic-accented English. It makes poignant reading. Into it he poured everything of himself — his melancholia, his wit, his wistful francophilia and his conviction that life had dealt him a rotten hand.

It may be that the script is better than any film of it could have been at the time. Since then each half yearns to reunite with its fellow, and roams the earth embracing countless others in the hope of finding the one true match. The three main characters are Marceline, a beautiful and intelligent Frenchwoman, obscurely discontented; her husband Philip, an English country gentleman, kindly and comfortable though not stupid; and Anthony, handsome and raffish, who offhandedly runs a London bookshop and drifts from one half-hearted liaison to another.

Marceline and Anthony are destined soulmates. Their paths, in England and France, repeatedly cross but never quite meet until, at a hunt, they instinctively recognise each other. Both are killed. Charming, cultured and dissipated, Anthony is an unmistakable self-portrait, revealing a chilling degree of self-awareness. But the overwritten dialogue — which Hamer would no doubt have toned down before shooting — never detracts from the agonised intensity behind the words.

Hamer was too sophisticated to believe in the ideal Other, but his script throbs with a desperate wish that he could. Guessing that Rank, producers of the inane To Paris with Love , would hardly appreciate his latest offering, Hamer turned once again to Michael Balcon. In theory the unit was autonomous; in practice any project had to be sold to the Metro hierarchy.

When Ealing finally folded in , For Each the Other was still in limbo. To keep himself occupied, and to pay off his loan, Hamer took on another film for Balcon, The Scapegoat , adapted from a novel by Daphne du Maurier. The troubled project had already run through multiple scripts and several possible directors, including Laslo Benedek, David Lean and George Cukor.

So improbable a trio hints eloquently at desperation. Though Balcon was producing, Ealing had no financial interest in the film. Production control was split between MGM and an ad hoc partnership of Alec Guinness and du Maurier herself — the only terms on which the novelist would make the rights available. On the face of it, The Scapegoat looks like an ideal Hamer subject. Barrett is Superfluous Man par excellence. Early scenes capture the nightmare mood: a man tracked by his double through the darkened streets of an old town, like a scene from The Student of Prague.

Even when the two are seated together in a cafe the other-worldly dread lingers. He could, almost. But from here on the fabric of the film wears steadily thinner: mood and tension drain away, vital plot elements are fudged and the film crumbles down to a botched and perfunctory ending. With its theme of the principled commoner taking on and finally supplanting the decadent aristocrat, The Scapegoat could even have stood as a serious counterpart to Kind Hearts and Coronets. All we have, though, is what was left after MGM had taken a blunt axe to it. Balcon, aging and weary, fought the cuts for a time but at last gave in.

Viewing the final result, Hamer vainly tried to have his name taken off the credits. He had promised Balcon to stay off the booze throughout the shoot, and he kept his promise. The cinematographer, Paul Beeson, remembers him on location in France recommending a local wine. He was on some white tablets, God knows what they were. You could see him suffering. He had to be poured back on to the ferry, and tried to pick a fight with the Customs at Dover.

Much of it was directed by Cyril Frankel, asked to take over after Hamer showed up drunk on set one morning. It was terribly sad. So I finished the film, did the basic editing, then Robert came in to do the final edit.