I usually render tallow at home but you can also purchase grass-fed beef tallow US Wellness.. By getting us to imagine tasting, smelling, and touching burned human fat, he is invoking the taboo of eating human flesh. anon144171 January 19, 2011 . Such category confusion is characteristic of the Jellybys’ house, a place characterized by ‘waste and ruin’ that manifests itself in food being mixed in with commodities (p. 480). She has been burning ’em, sir! In these scenes of tallow candles, fire reverses the industrial process. The salt helps to draw the impurities out of the tallow. In other cases, an object’s nearness to the animal world is a proximity that is supposed to disappear and stay hidden. In this article, I connect Bleak House’s images of noxious burning tallow to larger narratives of unhealthy and unsustainable consumption. Drawing on this insight and on Allen MacDuffie’s analyses of energy systems in Bleak House, this article focuses on instances in which Dickens defamiliarizes the human consumption of energy by having his characters unintentionally ingest animal particles. Only at the end of the chapter do we finally discover the actual source of all these sensory traits. This is my favorite way to render tallow when I am using it for skincare and soap making. Unlike the fields of Chesney Wold, Lincoln’s Inn Fields are ‘pleasant fields, where the sheep are all made into parchment, the goats into wigs, and the pasture into chaff’ (p. 661). An anxiety about survival, not being fed, and even becoming food unites all three spaces. If you are rending your own fat, do this as you start to cook down the fat or any time that it is being melted down for use. ‘Very true, sir. One possibility is food and ‘chops at the Sol’s Arms’, but when Snagsby investigates further he notices that not only are the supposed chops burned — he ‘sniffs and tastes again and then spits and wipes his mouth’ — but they are also rancid or rotten: ‘I don’t think […] they were quite fresh when they were shown the gridiron.’ The smell of the chops suggests that too much time has elapsed between the meat’s state as a living body and its current role as food. The narrator tells us: A smell as of unwholesome sheep blending with the smell of must and dust is referable to the nightly (and often daily) consumption of mutton fat in candles and to the fretting of parchment forms and skins in greasy drawers. The first infusion of tallow occurs when Esther, Richard, and Ada visit the Jellybys: ‘You find me, my dears’, said Mrs. Jellyby, snuffing the two great office candles in tin candlesticks, which made the room taste strongly of hot tallow (the fire had gone out, and there was nothing in the grate but ashes, a bundle of wood, and a poker), ‘you find me, my dears, as usual, very busy; but that you will excuse.’1. But in Mrs Jellyby’s home and Vholes’s office the effect of fire is not to purify. Due to the strong smell associated with tallow candle production, tallow chandlers were often forced to site their business away from residential areas. This is the famous chapter in which Mr Guppy and Tony Jobling wait to meet with Krook on a ‘close’ and greasy night, and then finally discover that Krook’s body has spontaneously combusted (p. 507). Since tallow is cheap and easily available, tallow candles were the most widely used types of candles for centuries. The chapter begins at 9 p.m. in Lincoln’s Inn with a sense of claustrophobia, thick air, and pollution linked to animal products — ‘fat candles are snuffed out in offices’ and, patches of candlelight reveal where some wise draughtsman and conveyancer yet toils for the entanglement of real estate in meshes of sheep-skin, in the average ratio of about a dozen of sheep to an acre of land. MacDuffie emphasizes that ‘economic metaphors […] are crucial to the Victorian conception of energy’ (p. 19). It is Krook’s combusted body: ‘the burning smell is there — and the soot is there, and the oil is there — and he is not there!’ (p. 517). Dickens consistently describes the liquefied solid residue of Krook in bodily terms, including ‘a little thick nauseous pool’ (p. 512). It is a fine steaming night to turn the slaughter-houses, the unwholesome trades, the sewerage, bad water, and burial-grounds to account, and give the Registrar of Deaths some extra business. (p. 480). Once lit, melted, burned, and dispersed into the air by fire, the candle becomes something that penetrates boundaries and permeates air, walls, and ceilings. The Baptist preacher Charles Spurgeon included an image of mice nibbling on a candle in his Sermons in Candles (Fig. The tallow starts to harden almost instantly after it is poured into a Mason jar, even though it is incredibly hot coming out of the cook pot. 1). Phiz [Hablot K. Browne], ‘The Appointed Time’, in Bleak House (London: Chapman & Hall, 1901), facing p. 519. That’s it! You can place strips of tape over the mouth of the jar to hold the wick in place. Tulkinghorn is described as a ‘dingy London bird’ ‘smoke-dried and faded’, who ‘in the oven made by the hot pavements and hot buildings, […] has baked himself dryer than usual’ (p. 661). Tips for Homemade Tallow Candles. The ‘consumption’ of mutton fat in this instance means the literal burning of candles, but Dickens’s mention of mutton calls up the alternate meaning: eating, ingesting, taking into the body. The scented candle was born when candles were made from beef tallow which smelled like burning grease when it burned. Homemade Tallow Candles won’t give you cancer and they can provide you with the aromatherapy of your choice! doi: https://doi.org/10.16995/ntn.794. I would be inclined to turn it into a candle, onion smell and all. In another instance — such as accidentally melting a bunch of candles — fire represents the dangers of carelessness. You can make candles from tallow but there is a reason that tallow candles were classed "second best"; they smell when you burn them. Fire’s combustive process ignites latent particles of meaty matter and circulates them throughout the neighbourhood. Dickens does the opposite: in the places where we most want there to be boundaries (in acts of eating, seeing, or staying clean and warm), he breaks down distinctions and raises our alarms. doi: 10.16995/ntn.794, Show: Harvard Citation Style | APA Citation Style, Henchman, With regard to Bleak House in particular, Eliot argues convincingly that ‘Krook’s spontaneous combustion is […] described in terms of the burning of a giant tallow candle […] that distributes the constituents of Krook’s body in a proper thermodynamic way: that is, widely and randomly’ (p. 29), a point I return to below. Nemo’s body is envisioned as a candle that is wasting away. Leave your candle alone for a while to harden. He then notes ‘a general tendency towards beer and supper’, bringing up the consumption of food directly after mentioning candles (p. 504). Add your essential oil, a few drops at a time stirring after each addition until it smells good to you. Unlike animal-based tallow, beeswax burned pure and cleanly, without producing a smoky flame. (p. 621). The idea of candles turning into food triggers a feeling of unstable boundaries between object and being. By representing animal fat in its liquid and gaseous states, Dickens creates an eerie sense that inhabiting the modern urban world means ingesting undesirable matter. Making a scented candle is not that easy. Sermons in Candles uses candles as illustrations in a series of moral lessons; in Spurgeon’s sermons, fire can signify salvation, a life force that gutters or blows out, and even the dangerous distractions of the secular world, as when a household fire melts a pound of tallow candles into ‘a mass of fat on the floor’.8 In the case of the mice nibbling at the candle, Spurgeon uses the fate of the unlighted candle as a metaphor for the ills of idleness: ‘For every evil brought upon us by excessive labour, ten will come to us by laziness’ (p. 80). Citation Style, | 1755-1560 | Published by Open Library of Humanities |, Issue 25 • 2017 • Technologies of Fire in Nineteenth-Century British Culture, Tallow candles and their more expensive and less smelly counterparts, beeswax candles, were markers of both class and aesthetic taste. Unlike Krook’s bags of hair or the dust of dead bodies that have not been burned, Krook’s residue has not yet dried into dust; it is the residue of combustion and more resembles cooked meat. Dickens invokes repulsion and disgust in order to register a cognitive discomfort akin to industrial anxiety. Michael Carpenter has been writing blogs since 2007. He speaks about the ‘candles of commerce’ and emphasizes that through an elaborate process of purification a candle becomes a stable thing: ‘A candle you know is not a greasy thing like an ordinary tallow candle — but a clean thing, and you may almost scrape off and pulverize the drops which fall from it without soiling anything.’14 Faraday’s rhetoric reassuringly asserts technological control over candlelight. Tooltip code copied to clipboard. 25 Anna Henchman Wash your body with regular salt, lemon juice and water if you have gotten the tallow smell onto your skin. The unpleasant smell of tallow candles is due to the glycerine they contain. Method. Candles and parchment — the scraped and specially prepared sheep or calfskin used for legal documents — are part animal, part object. Once Guppy and Jobling are inside the Rag and Bottle Shop, signs of a human-sized tallow candle and its waste products are everywhere, in the ‘smouldering, suffocating vapour’, and the ‘dark, greasy coating on the walls and ceiling’ (p. 517). Dickens combines bodily imagery with acts of taking things into the mouth throughout this chapter. Tallow candles were made from sheep, pig, cow, or ox fat — fat that remained solid at room temperature but melted when heated by a flame. This article focuses on Dickens’s treatment of tallow candles and their meaty residue in Bleak House. You can use any animal fat with this, from beef tallow to deer tallow. Beeswax is pretty expensive, so combining it with lard also gives me the ability to stretch the beeswax into more candles. These scenes create anxiety about using too much energy, a confusion about what is man-made and what is organic, what is body and what is thing. How To Remove Onion Scent From (Unexpected) Tallow . You can prop the wick in place with a couple of pencils. But while some systems (like agriculture) are cyclical and renewable, others can be characterized as predatory, wasteful, or irreversible, in the sense that they use up a finite store of resources. In the Middle Ages, tallow candles were common for everyday household use, but beeswax candles were reserved for use in churches and ceremonies because … Later, Vholes ‘takes off his close black gloves as if he were skinning his hands’, and Vholes and his daughters are described as ‘minor cannibal chiefs’ who subsist on ‘man-eating’ (pp. (2017) “Tallow Candles and Meaty Air in Bleak House”, Henchman, This chapter’s disturbing use of tastes and smells hinges on Dickens’s slow release of information to the reader, his refusal to identify what is cooking until the very end of the chapter. This is why candles made … Once we realize that the apparent smell of chops and candles is in fact Krook’s body, taking the air means inhaling particles of burning flesh. Gold refers to as a ‘heat sink’.13 When Nemo is dying in the Rag and Bottle Shop, he is described by the narrator as an inefficiently burning tallow candle: ‘He has a yellow look in the spectral darkness of a candle that has guttered down until the whole length of its wick (still burning) has doubled over and left a tower of winding-sheet above it’ (p. 165). It also cuts down on the odor, which is helpful since the main objection most people have to tallow is its smell. The narrator turns to the air and all the particulates of matter that city air contains, summoning up images of bodily waste and dead bodies, whether animal or human.15 His syntax links the physical waste, the ‘plenty’ that ‘is in the air’ with the uneasy feeling inside Jobling: It is a close night […]. Air is likewise doing a new kind of narrative work here, containing traces of an industrial ecosystem gone wrong. But, in Dickens’s meaty settings, those animal origins become hauntingly perceptible. Tallow is going to smell like tallow, but it won’t reek like it does when it is first made. Here, resources are being wastefully consumed, and heat inefficiently dissipates into the air. Rather than reassuringly remaining in the category of inanimate things, Dickens’s tallow candles are unnervingly close to being alive. 2 By specifying how the room tastes rather than smells, Dickens subliminally reminds readers that the candles are made of animal fat, or tallow, a substance that, when burned, produces an effect unnervingly similar to meat, bacon, and other cooked food. A capitalist model that validates work and production of goods would suggest, as Spurgeon does, that producing and consuming as many goods as possible signals a flourishing economy.9 Yet, using up fossil fuels too quickly — making use of what had been stored up over millions of years — had already become a concern by the 1860s (MacDuffie, p. 27). Instead, fire activates the air, overwhelming the senses with the dirty residue of modern life. Quincy Prxnce. The word ‘greasy’ connotes oily bodies rather than objects. Dickens uses tallow to explore continuities across four modes of Victorian consumption: eating food, spending money, using up human energy, and burning fuel (whether fat, oil, wax, wood, or coal). Far less expensive than candles made from beeswax, tallow candles were also much messier. Turn on a large fan to circulate the air in your home. He claims that Dickens is particularly adept at controlling the narratives he employs, suggesting in, Jesse Oak Taylor dates a concern with the dirtiness of London’s smoky air back to Queen Elizabeth I’s reign, in, Compare John Carey’s account of the overlaps between corpses and waxwork in Dickens’s imagination in, See MacDuffie’s discussion of waste, pp. You may use vinegar in place of the lemon juice. This is part of his extraordinary use of metaphor and metonymy, in which imagery often confuses readers about what is and is not alive. Ingredients-1 lb tallow, from grass-fed beef-2 ounces raw beeswax-0.5-1.5 ounces essential oil blend of citronella, eucalyptus, lemongrass, lemon, and cedarwood. You can use a Sticky Dot or some other type of glue. In this image, it is not fire but the absence of a lighted match that makes the candle revert back from an inert household object to a form of edible animal matter. Beef fat emits a foul smell. It narrates a process that absorbs individual beings but sustains the system of life as a whole. Traditionally, tallows were also used for a sort f waterproofing. The repulsive effects in this extended scene depend on confusion ‘in the air’ between pork chops, tallow, and spontaneously combusted human (p. 506). 2). A. Tallow can be used to make candles, hand soap and dishwasher detergents. Keep the tallow in solid form in the freezer. Over which bee-like industry these benefactors of their species linger. Do most candle makers buy the tallow already rendered, or do they have to do this themselves? Fire is the catalyst that drives that transformation — it is when the candle is lit or snuffed that it starts to act and taste like food. The job was an unpleasant one, with the smell of animal fat which had to be added to lye, oils and ash to make soap, a by-product of tallow candle production. 622–23). The first candle mould comes from 15th century Paris. Esther remarks: ‘That the money Ada brought [Richard] was melting away with the candles I used to see burning after dark in Mr. Vholes’s office I knew very well’ (p. 921). Cleaned of the honey and other debris, then melted down, beeswax burns much brighter and without the foul smell associated with tallow candles. Michael holds licenses in both real estate and life and health insurance. [, Leah Price notes the way that books do and do not ‘remind handlers of the book’s animal origins’ in, John Carey provides an encyclopedic account of the way Dickens plays with animate and inanimate bodies in his chapter on ‘Corpses and Effigies’ (pp. Many people will use the fat from animals that they kill so they are not wasting any part of the animal. This is a classic example of a slippage between candle as light source and candle as food. Esther notices that snuffing ‘two great office candles in tin candlesticks’ at Mrs Jellyby’s ‘made the room taste strongly of hot tallow’, the mutton or beef fat out of which inexpensive candles were made. Rather than retaining its own chemical integrity, air becomes a container for social ills. While his focus is primarily on industrial rather than domestic pollution, he evocatively describes the ‘embodied revulsion’ that the ‘Krook-besmeared climate’ of this chapter creates (p. 42). 19: Interdisciplinary Studies in the Long Nineteenth Century To begin with, we’ll go over the rendering process so you can make tallow candles entirely from scratch, using fat saved from animals you’ve hunted or r aised for fo od . They remain too embodied.7 Another way to think about this is that tallow candles are manufactured objects or commodities that reflect too closely the bodies from which they originate. Charles Spurgeon, Sermons in Candles (London: Passmore and Alabaster, 1891), p. 106. The suffocating disgust Dickens elicits in these scenes uncovers anxieties about modern modes of production and the waste that they create. 202 Pumpkin + Spice Fall Collection Similar to the quintessential pumpkin spice fall scent this fragrance has notes of spice and fresh-cooked pumpkin but also includes a mix of walnut, pecan, espresso, caramel, ginger, and cinnamon. Candles and parchment are part animal, part object, and they constantly threaten to revert back into their animal forms. Chops, eh?’ Mr. Snagsby sniffs and tastes again. 506–07). In this scene, Dickens takes his reader through a form of imaginative cannibalism. Janice Carlisle cites Felix Holt, who claims that he is ‘not a mouse to have a nose that takes note of wax or tallow’ (Carlisle, p. 8), suggesting that mice would disdain the cleaner wax but be attracted to the meatiness of tallow. Spontaneous combustion becomes especially frightening when it resembles burning a tallow candle, and leaves a residue that is too fleshy, too embodied, and too alive. While burning – and even after blowing out – my DIY tallow candle with a rush wick smelled less than store-bought stearin or paraffin candles. It's one of those smells that once you smell it you always know it, but it's not offensive (IMO). We see Mr Guppy repeatedly ‘biting his unsteady thumb’ — and then getting his hand covered with oil. Mr Krook is a hoarder; Miss Flite barely eats; Mrs Jellyby produces paper and uses up her family; Mr Vholes is repeatedly compared to a predator or cannibal who feeds on human flesh. While clean air has the effect of signalling healthy, efficient processes of consumption, Dickens’s dirty and meaty air serves as a warning about the waste, starvation, and pollution involved in modern industrial life.6 At Vholes’s office, candles retain their sheepy aromas and release them into the surrounding air when consumed. Wash your body with regular salt, lemon juice and water if you have gotten the tallow smell onto your skin. Simon Eliot notes that desperately hungry lighthouse keepers did ingest tallow candles ‘to bulk out their inadequate food rations’ since ‘being made of animal fat, they could, in extremis, be eaten’ (p. 26). Perfume was put in the melt pool to try to mask the smell. Dickens specifies that Snagbsy not only ‘sniffs’ but ‘tastes’ the air, actually ingesting it. anon68756 March 4, 2010 . A. For bar soaps, keep them in air tight plastic bags until you want to use them. First, it signifies the organic origins of this mess. In Sir Leicester’s terms, this is one way that Dickens draws ‘a parallel […] between Chesney Wold […] and a factory’ (p. 454), bringing broad questions of industrial energy down to a human scale and into domestic or semi-domestic spaces such as Mr Krook’s and Mr Vholes’s. Posts: 1. Guttering candles are a sign of neglect; to work well, candles needed to be cared for, constantly trimmed and snuffed. His ‘candle of commerce’ exemplifies a world in which things work well, processes can be understood, and burning fuel does not produce dirty residue. Parchment, wigs, and chaff are each manufactured commodities made from parts of larger organic bodies (a whole sheep, a whole goat, a wheat plant). Like the other palpably embodied tallow candles in the novel, the burning smell that Nemo gives off signals his inner deterioration. Leaving the tallow out and possibly exposing it to melting will increase the smell. Dickens explicitly links spending with burning candles after Richard and Ada are married. Fire creates more smoke and obscurity than light and clarity. Beeswax candles were widely used for church ceremonies, but because they were expensive, few individuals other than the wealthy could affor… In fact, Jobling and Guppy’s experience of tasting burning particles of Krook is part of a pattern of cannibalism throughout Bleak House. It should smell like tallow, a distinct cow smell. Ideally, the stages of production ensure that once they have been removed from that body, they achieve the status of thing, and no longer call attention to their organic origins. Dickens gives us a sense of air that is packed full of ‘something’, but we do not know yet what. It will also dry out your skin. 19: Interdisciplinary Studies in the Long Nineteenth Century 0(25). In the second part of this article, I turn to how Dickens plays on the touch, smell, and taste of burning tallow candles in Chapter 32, ‘The Appointed Time’. The homes and offices of Mrs Jellyby and Vholes are two places in which Dickens suggests that the process of turning organic animal bodies into urban commodities (candles, parchment, wigs) has not quite been completed. He is a mortgage specialist with over 12 years of experience as well as an expert in financing, credit, budgeting and real estate. Tallow candles are part of a cluster of animal products in Bleak House — including sheepskin, parchment, and wigs — that repeatedly threaten to revert to their original animal forms. In Bleak House, candles retain their sheepy atmospheres and release them into the surrounding air when consumed. Tallow candles become particularly vivid objects through which to link these forms of consumption because they can function as firelight, as food, as a visible source of fuel that can be wasted, and, like money, as a discernibly finite resource that can be used up and can melt away. 9, 15). [, See Andreas Malm’s useful discussion of a ‘fossil economy’ in, See Taylor’s connection between ‘particulates’ and Guppy’s ‘London particular’ (p. 22). Don’t you observe’, says Mr. Snagsby, pausing to sniff and taste the air a little, ‘don’t you observe, Mr. Weevle, that you’re — not to put too fine a point upon it — that you’re rather greasy here, sir?’, ‘Why, I have noticed myself that there is a queer kind of flavour in the place to-night’, Mr. Weevle rejoins. The commodification of animal bodies occurs primarily in the city, where parts of formerly living bodies are manufactured into things. In these scenes, Dickens makes visible a perverse food chain — not a chain of being but a sequence of using things up wrongly and irreparably. While Guppy’s face wears an expectant look of curiosity, Jobling’s and the cat’s faces register fear, anxiety, or disgust. This is the hard pale fat from cows or sheep, and it was available in different qualities according to how much it had been processed by the tallow boiler. Additionally, candles made from tallow would often be very soft, and hard to store in warm conditions. Is not using a manufactured object designed to be used consuming too much or not consuming enough? My larger argument is that Dickens is actively using taboos about food, greasy smells, and meaty tastes to trigger readerly disgust in scenes from the Jellybys’ house, the Rag and Bottle Shop, and Vholes’s office. Be careful when pouring the tallow into the jar because any drips will harden and create a candle wax like film on the glass. C ombing beeswax and lard (or tallow) gives me a wax that's not too hard for containers and smells sweet like honey so there is no need for fragrance oils. By choosing to show Krook’s body after it has combusted, Dickens evokes a peculiar type of embodiment: the greasy residue of a body already turned into fuel (and already consumed and turned into waste). To better understand how Dickens invokes disgust, we might contrast his scenes of greasy candles with other progressive narratives of candles as industrial innovation. Animal grease painstakingly layered around twisted wicks burned poorly and smelled even worse thumb ’ — Then..., onion smell and may be best suited for burning outdoors or in well ventilated areas better than commercial! Very soft, and bees in the novel, the smell painstakingly layered around twisted wicks burned and. Human flesh for bar soaps, keep them in air tight plastic bags until you want use! 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