I have been stuck in a little too deep on peasant furniture and have forgotten to announce this: I am presenting at Colonial Williamsburg’s 26th annual “Working Wood in the 18th Century” conference Jan. 25-28.
This year’s theme is “By the Book,” and it will focus on the relationship between the printed word and woodworking. I was asked to give a presentation on the history of woodworking books (one of my favorite topics), and I’ll also do a demonstration on using M. Hulot’s workbench for chairmaking operations.
Hulot’s bench is so ubiquitous among chairmakers that even Chester Cornett in Eastern Kentucky worked on one. And it is still used today.
Also Lost Art Press-related, Whitney B. Miller, author of “Henry Boyd’s Freedom Bed” will present a talk on Henry Boyd and the development of his life story into a children’s book.
Of course, the conference schedule is packed with demonstrations by top-notch woodworkers and carpenters, and I am excited to be able to sit in on many of the presentations. Check out the list here. I’m particularly excited to see Harold Caldwell, Mary Herbert and Shelby Christensen’s presentation on Joseph Moxon’s techniques in his section on carpentry.
In-person registration for the event closes tomorrow at midnight. So make a decision in the clutch and make the trip if you can. Register here.
If you register or already registered, please leave a comment below. If there are enough Lost Art Press readers going, perhaps we can organize a happy hour or a meet-up during the conference.
I hope to see you there. This is my first visit to Colonial Williamsburg (really!), so be gentle.
If this were corporate America, I would have been fired either today or on the Tuesday after Christmas (let him have a nice holiday with his family before we can him).
Lost Art Press shrank about 6 percent in 2023 across the board – that’s sales, revenue, numbers of orders and visitors to our website. So far this year, we’ve shipped out 43,341 books, tools, posters and T-shirts directly to woodworkers (I don’t yet have the numbers for what we shipped to our wholesale customers). That’s about 6 percent down from last year.
In corporate media, shrinking is unacceptable. You have to grow top-line revenue every year and maintain your profit margin – or increase it. Sometimes the goal that was handed down was to grow by 5 or 10 percent during a year, without additional expenses.
Why did we shrink? Because we grew in other ways. We bought a building so we could bring our fulfillment operations back in-house – where they belong. Megan, John and I stuffed a lot of boxes this year and attended a lot of construction-site meetings when we could have been making books or videos.
We also grew as an organization. We added two employees – Mark and Gabe – who run the fulfillment side of our operation. All our employees have company-sponsored health insurance (even though we aren’t required to offer it because of our company’s small size). And everyone started the job with vacation days in the bank.
How we judge success is – thankfully – different than in corporate media. Here’s how I evaluate our year:
Are we eating, paying our bills on time and enjoying what we do?
Do we have enough money in the bank so we can make good books, tools and the like?
What are customers complaining about? Are we getting more or fewer complaints than last year?
Are our authors happy with the royalties on their book(s)?
Do we have enough challenging projects ahead to keep life interesting?
Would I rather push a broom at Costco?
By these measures, Lost Art Press had a good year. To be sure, we had some flubs along the way. Both Megan and I failed to get our primary book projects to press. Both “The American Peasant” and “Dutch Tool Chests” were supposed to be out this year. Not to mention Vol. 2 of “The Stick Chair Journal.”
All three projects are entering the third trimester. We should begin pushing any time now.
So what’s ahead for next year?
We hope the Anthe building will be stabilized and fully operational by the end of January.
Matt Cianci’s book “Set & File” will be out in February.
“The American Peasant” will be out in March.
Other projects will follow: “Dutch Tool Chests,” “Stick Chair Journal,” a new book from Jim Tolpin and Geo. Walker, and full-length videos on building the Anarchist’s Workbench and my Hobbit-inspired stick chair.
I’ll start working on my next book (it’s a pocket book on finishing à la “Sharpen This”).
We also hope to release our claw hammer, plus a couple canvas accessories for your tool chest.
Will we be able to do all that? I hope so. But if we don’t, no one’s getting fired.
This gorgeous book (we can say that without being braggadocious because we replicated the design from the Swedish original) teaches you techniques for cutting triangle chips, fingernail cuts, lines and letters — plus you’ll learn what kind of wood, knives and tools you need to get started, and techniques for painting your finished work. You’ll find 15 projects, from simple decorations on knife handles and signs to more demanding objects such as boxes and combs.
In addition to providing practical knowledge, “Karvsnitt” opens a window into older slöjd and folk art, and provides fascinating in-depth descriptions of the traditional meanings of different patterns and symbols.
“Blåudd” (Blue chip) has two ridge borders with single-sided triangle chips and a X-shaped border with fire-eyes in between. “Rödkryss” (Red cross) has an X-shaped border with lines running through each cross, which are cut before the three-sided triangle chips. Spoon carvers: Top left Jarrod Dahl; top right Derek Sanderson, with a kolrosed braid pattern. The rest are made by the author.
The spoons you carve will be too beautiful to stash away in some box. They deserve to be displayed on the wall! This spoon rack has many names. In Sweden, it comes in local variations, such as the spoon chair, spoon bar, spoon tree, spoon shelf, spoon rack and spoon hedge. It might be fun to check the archives of your local museum to see what it was called and how both the shape and pattern have been designed where you live.
Level of difficulty: intermediate Tools: Froe, maul, axe, drawknife, sheath knife, fine-toothed Japanese saw, chisel 18mm (11/16″), small wooden mallet, chip carving knife. Material: Straight-grained birch.
Method Split out a piece of straight-grained birch, ~40 x 4 x 2 cm (15-3/4″ x 1-9/16″ x 13/16″). Carve it smooth and evenly thick in the shaving horse or plane it with a smooth plane on a workbench. Cut a wide bevel on the front side, on both top and bottom. Space the spoon holes evenly on the side facing the wall. They should be 25mm (1″) wide. The wall between each hole should be 10–12mm (~3/8″). Saw cuts 12mm (1/2″) deep. Hollow out the gaps with a chisel. Place the blank against a flat board that can take marks from the chisel. To avoid unexpected tear-out, remove half the material with the first cut before turning the blank and clean-cutting in line with the depth mark from the other side. Carve the sides of the spoon holes and drill holes for screws or nails about 20mm (13/16″) from the end grain. Clean-carve all the sawn surfaces.
Sketch the pattern. Divide the front into rectangular sections and mark them with crosses. Draw single-sided triangle chips a short distance from the centerline of each cross to create a flat surface of about 2mm (1/16″) in the shape of a cross or X-shaped cross. If you feel confident, you can also cut them directly, without sketching. Leave about 1mm (1/32″) of flat surface toward the sides.
The long V-shaped grooves can also be cut with a small V-tool, but the chip carving knife creates a deeper blackness in the bottom of the cut.
Where the crosses meet, a ridge is formed between them, creating a fire-eye. It’s most practical to make all the cuts with the same angle along the entire border at once. Start with all the 90° angles and finish with the 30° angles. More detailed descriptions can be found in the chapter on cutting techniques. Paint and wax, then hang your spoon rack in the kitchen. Warning! Daily use of wooden spoons with carved patterns can lead to a lifelong addiction.
Detail on a mangle board from Nord-Trøndelag, Norway. The white cowrie shell is a small porcelain-like shell from the Indian Ocean that has been used to decorate harnesses for draft animals. Its shape was an exotic feature in folk culture and was often painted or incorporated into patterns. Here, the border consists of elliptical grooves, known as vesicae piscis, and three-sided triangle chips combined with V-shaped grooves.
Editor’s Note: One of these days, I’d like to try making the hanging tool rack for the ATC or DTC a la this project from Jögge – can’t see why it wouldn’t work!
Hickory bast seating. This chair was 22 years old when these photos were taken. The upper surface is polished from sitting; no finish was applied. The underside looks like it did in 1997.
In 1978, Drew Langsner released his book “Country Woodcraft” to the world, and it sparked a movement – still expanding today – of hand-tool woodworkers who make things with mostly green wood.
The 304 pages of “Country Woodcraft” showed you how to split wood from the forest and shape into anything you might need, from a spoon to a bowl, from a hay rake fork to a milking stool, a pine whisk to a dining table.
After more than 40 years, Drew revisited this long-out-of-print and important book to revise and expand it to encompass what he has learned since “Country Woodcraft” was first released.
The result is “Country Woodcraft: Then & Now,” which has been expanded by nearly 100 pages and has been updated throughout to reflect what Drew has learned since 1978. Among many other additions, it includes greatly expanded sections on building shavehorses, carving spoons and making green-wood bowls.
The original book’s text is intact, and the old photos are in black and white. Throughout the book, Drew has added text, which we set in a slightly different font, to explain what he does differently now after 40 years of daily work on the North Carolina farm he shares with his wife, Louise.
In many ways, the book is a delightful conversation between the younger Drew, who is happy to chop down trees with a felling axe, and the older Drew, who now uses an electric chainsaw and band saw to break down stock to conserve energy (and likely aspirin). New illustrations and color photos throughout show how Drew works now.
Below is an excerpt from the Appendices.
A Few Usually Useless Woods – Then Trees are generally defined as single-stemmed woody plants that attain a height of at least 20′. The smaller shrubs are often a nuisance to commercial woodsmen. Unsurprisingly, certain shrubs contain excellent-quality wood. Like roots and branches, the irregular sections can be used to advantage in specific situations.
In rural Finland, lilac is considered to be the best material for rake tines. Rhododendron makes fine spoons, shelf brackets and clothes hooks. Holly, generally planted as an ornamental, will grow into a fair-sized tree with excellent-quality hardwood.
Roots are generally not considered wood. They are often gritty (dulling sharp tools), difficult to work and hard to adapt to profitable production. They are a stringy fibrous material, with shrinkage and other characteristics shared with the wood above ground. As might be anticipated, peasant and nomadic craftsmen found special uses for these tough, twisted subterranean forms. The natural curvatures of roots are used for hooks, handles, and other special uses. Knotty roots are also tough and can be used for maul heads – hickory and dogwood – or even bearings for slow-turning machinery. The Swiss Alpine butter-churn stand is traditionally made of dry pine roots.(1) Large spruce roots, cut with the lower trunk, are used in boatbuilding.(2) Finer spruce roots can be split into lacing thongs or basketry material. During a recent project removing roots in our driveway, I learned that roots have reaction wood, just like tree trunks and limbs.
Country Workshops 2017 summer intern Will Burney is using a drawknife to remove the outer bark from a tulip poplar sapling. The tree is about 5″ in diameter.
Bark, another waste material of industrial technology, has many uses for the woodland crafts worker. Birch bark has surprisingly fine, lasting qualities when wet. It can be peeled in early summer, then used for the hull of a canoe or the underlayment of a sod roof. Birch bark baskets are made throughout Scandinavia and northern Europe. Tulip poplar bark can be scored and folded into containers such as berry-picking boxes. Basswood bark was used for making shingles in Russia and other places. The inner bark – called bast – of hickory, bass and tulip poplar can be cut into strips for post-and-rung chair seating and to make a tough, durable lacing material, and even rope. Leather tanners used bark from oak, birch and alder as their source for tannin. In nearby Greeneville, Tenn., Cecil Self and his brother were tanning cow hides for horse harnesses with oak bark until about 1970.
Even twigs and small limbs can be useful. Fences can be woven from many pliable species; willow and hazel are often considered best. First-year willow growth is the standard basketry material in many areas. Young pine limbs may be shaved down and used for bucket hoops. Birch twigs and many kinds of brush are used to make broom sweeps.
Before the takeover of industrial economics, trees, shrubs and even roots were valued for many uses that have since been superseded by synthetics and manufactured products. The following list provides a few examples from traditional handcrafts of Europe and North America.
Bark – Entire, or Outer · Alder. Tanning leather · Birch (white, paper). Canoes, basketry, roofing (Scandinavia, under sod), clothing (Pacific Northwest native Americans) · Linden (also known as bass, and lime in the U.K.). Shingles · Oak (various species). Tanning leather · Tulip poplar. Primitive shelters, folded boxes · Willow. Aspirin
Bark Bast (Bast refers to inner bark.) · Elm. Rope · Hickory. Chair seating, basketry, thongs and lacing · Linden (Also known as bass, and lime in the U.K.). Basketry, rope · Tulip poplar. Chair seating, cordage
Limbs · Apple, pear and other fruit woods. Spoons, ladles, hooks for hanging just about anything · Birch (any kind). Spoons and ladles, wall hooks for clothing, harness · Dogwood, holly and other slow-growing hardwoods. Spoons and ladles · Pine limbs. Bucket hooping (Swiss Alps)
Roots · Dogwood. Mauls and clubs (Integral with the lower trunk of saplings) · Sassafras. Root beer · Spruce. Thongs and lacing
Saplings · Hickory and other tough hardwoods. Clubs and mauls, splitting gluts · Birch. Fencing (Scandinavia) · Conifers (various). Fencing (Scandinavia) · Hazel, sourwood and other small saplings. Walking sticks
Shrubs and Scrub Trees · Lilac. Rake tines · Rhododendron. Spoons and ladles, wall hooks
Twigs and Rods · Birch. Besom brooms, rope, fencing · Hawthorne. Living shrub fencing · Hazel. Baskets, walking sticks, fencing · Willow. Basketry · Any species. Fire starter, fuel for cooking/baking
A Few Usually Useless Woods – Now Tulip poplar bast chair seating. During the early years of Country Workshops’ ladderback chairmaking classes, we learned that the inner bark from tulip poplar can be used for woven chair seating. The idea was quickly dismissed. It was assumed that poplar bast is an inferior material that would tear or deteriorate quickly. Also, we were in love with hickory bast, which is an exceptional material – for appearance and strength.
Peeling the first strip shows how deep to drawknife the succeeding strips. This piece is looking a little thick.
The problem with hickory bast is getting it. Hickory grows in many parts of the eastern U.S., but it’s relatively scarce in our area, compared with tulip poplar, which seems to sprout almost everywhere. More than 30 years had passed when I received a phone call from Jack Ruttle, back then the editor of Organic Gardening magazine, and also a participant in one of Country Workshops’ early chairmaking courses. Jack told me that when he returned from the CW course he prepped and wove a seat for his chair using tulip poplar bast.
DL – “Great! How has it held up?” JR – “That’s what I want to tell you. We use the chair every day.” DL – “And?…” JR – “It’s still looking fine. No tears or other problems.” DL – “OK! That’s fantastic. I’ll give poplar a try, ASAP.”
That summer, Will Burney and I cut a nice-looking tulip poplar sapling. The diameter was about 5″ at breast height; it was straight, with just a few small knots. The pole we hauled to the shop was about 15′ long.
The shaving and peeling technique is the same as for getting hickory bast, only somewhat easier. Like hickory, poplar bark can be peeled from mid spring to about mid summer, during the early year growth when cambium cells are dividing, forming new layers of wood and inner bark. Sometime around mid summer, growth slows, and it becomes difficult – or impossible – to peel the inner bark.
Once in the shop, our poplar pole was set on two sawhorses. Will and I took turns holding the pole and shaving off the outer bark. We used a straight drawknife, held bevel down. We quickly learned that this needs to be done carefully; it’s easy to cut into – and destroy – the bast. Depth of cut is determined by trial and error along a narrow test strip, maybe 2″ wide. We used a chalk line to define strips about 5/8″ wide.
A box cutter – a carpenter’s zip knife – works well for cutting through the inner bark to make the strips. If you do this between spring and summer, the bast will peel loose from the cambium with little effort. If it seems to be too stiff – more than 2mm in thickness – lay the bast back on the pole and do some more shaving. This fine-tuning can be done with a spokeshave. Remove the first strip.
With a strip removed you can see the thickness of the two adjacent sections that will become the next strips. This greatly helps in determining how deep to shave. Use a spokeshave for the final passes. Because a tree isn’t a true cylinder you’ll need to cheat here and there, letting the strips wander or die out.
Where a strip intercepts a knot there are several options. If the knot is to the side of the strip, you can continue as if it doesn’t exist. There’s about a 45-percent chance that this section will end up on the bottom of the seat, or become overlapped with the weave on the top of the seat. In tension, narrow sections of bast are almost as strong as full-width sections. Sometimes a very small knot will be almost centered within the width of a strip. I leave these; they become a visual feature. You can also just come to a stop, making a shorter strip. Long strips are nice, but you can use various lengths when it comes to doing the seat weaving.
As you proceed, slime from the fibrous bast will attach to the drawknife and spokeshave blades. Wipe this off with a wet rag. Continue working with wet tools. Water seems to minimize slime accumulation. (Dry and oil the tools when you’re finished.)
Let the strips dry before weaving the seat. The fresh strips are somewhat fragile. Also, they will shrink in width. Seats made with green bast will result in gaps in the woven seat. Roll and tie the strips in coils for drying. This might take a week. Coiled bast can be stored indefinitely.
As with hickory bast, the best weaving pattern for poplar seating is a herringbone. A one-over/one-under checkerboard weave becomes too tight to finish the weaving process. A double checker board (two-over/two-under) is OK, but it’s not as attractive as the herringbone.
On weaving day, plop the coiled bast into a bucket of warm water. It becomes pliable in about 15 minutes. Don’t soak all the bast at once; you want it to be workable, but you don’t want it to soak up so much water that it expands in width. Directions for the herringbone weave, including how to tie strips together with a weaver’s knot, are in my book, “The Chairmaker’s Workshop.”(3)
Both hickory and tulip poplar bast hold up well. With use, hickory bark takes on a nice sheen on the upper surface. (A true butt rub!) Poplar smooths out some, but never looks polished. On my poplar bast ladderback, the material crumpled slightly where it wraps around the rungs. This doesn’t weaken it, but it would be nice to eliminate. Perhaps pre-limbering in both directions will do the trick. As it dries on the seat, poplar bast shrinks in width a little more than hickory. But the shrinkage might also tighten the weave. We’ve been using the chair in the photo with poplar bast seating for three years; we’re happy with it. Still, hickory bast is king.
This tulip poplar bast seat had been used for three years. I’m not aware of any degradation.
A later note on poplar bast seating. Recently I found myself looking at the chair with poplar bast under low level and low angle light. I discovered that the crumples correspond to the arrises of the small spokeshaved flats of the rungs. I’m now quite sure that crumpling would not have happened, or be less prominent, if the upper seating rungs had been made rounder and smoother. This could be done with a hollow sole spokeshave, scraper or just sandpaper.
Wood scraps from a green wood chairmaking workshop. When I visit city-based woodworkers I’m often surprised to see that wood scraps are tossed into the trash, along with package wrappings, the newspaper and even food waste. This is a shameful situation that was even worse before recycling. During 39 years of Country Workshops’ ladderback chairmaking courses, vast quantities of wet, green wood waste were produced, along with the many chairs. We produced drawknife shavings, followed by spokeshave shavings, plus waste cutoffs from over-long chair parts and wood that didn’t meet standards of quality. There was very little saw and sanding dust. Here’s how this stuff was utilized – and almost everything was utilized, even some of the wood dust.
Dry drawknife shavings from any kind of wood are among Planet Earth’s best fire-starters. Because we and our neighbors mostly heat with wood, we can always use wood shavings. We store drawknife shaving until needed in plastic trash cans – like the ones sold for curbside pickup. (Which we don’t have out here.) I use a 2″ hole saw to bore 50 or so air vents in the plastic side walls. This is for ventilation so that the shavings will dry, which is what’s needed for fire-starters. The trash can lids are nice to use if the shavings are stored outdoors.
One tip that would drive some CW students nuts is that the drawknife shavings are roughly sorted before going into the trash cans. 1. Sweep the shavings into a pile. 2. Grab a bunch of shavings and shake them, so that small, frassy stuff falls away. Don’t shake on top of the shavings pile! 3. The remaining shavings go into the trash can. The reason for this is that the rejected small dusty stuff tends to fall on the house floor and be messy. You’ll appreciate this when you do it.
Spokeshave shavings can go into the same fire-starter. But there’s a much better use if you’re doing woven chair seats… Once upon a time this woodworker/teacher/author rejected the tradition that woven chair seats should have a stuffing between the layers. But as I got older, and learned that even hickory bast chair seats stretch and sag, I came to agree with conventional wisdom. But what to use? Several layers of cardboard is common, and also plastic foam sheeting (various kinds.) One day Brian Boggs was visiting when our class was finishing their ladderbacks. Brian told us that he had been testing “just about everything” for the stuffing and that he had concluded that the very best is spokeshave shavings. By far the best are from green wood when you’re finishing rungs with a spokeshave. Green wood shavings are springy, whereas dry wood shavings tend to crumple and weaken as they pass over the spokeshave chipbreaker.
Sweep the shop floor when switching from drawknife to spokeshave. When spokeshaving is finished, put the shavings into a box to dry. They will keep indefinitely. The shavings are also premium packing material for anything shipped in a cardboard box. Or just put them in with the fire starter.
Green cut-off wood scraps are dried – in other hole-y trash cans – then burned in the shop woodstove. Any other leftovers are tossed in the forest to decompose, which might be what all of this stuff should really be doing. Amen!
1. Drew and Louise Langsner. “Handmade.” New York: Harmony Books, 1974. 2. Herbert L. Edlin. “Woodland Crafts in Britain.” Newton Abbot, UK: David & Charles, 1949. 3. Drew Langsner. “The Chairmaker’s Workshop.” Original edition published in Asheville, NC: Lark Books, 1997. Author’s reprint edition Marshall, NC, 2008.
From left: Christopher Schwarz, Thomas Lie-Nielsen and John Hoffman (the author) at Lie-Nielsen Toolworks’ 25th-anniversary celebration in Warren, Maine, 2006.
The picture above of three young friends was taken in 2006 at Lie-Nielsen’s 25th anniversary celebration in Warren, Maine. I was in awe of meeting Thomas Lie-Nielsen, and listened to everything he said about business and life. Also at the event was Christian Becksvoort who was a wealth of information. He is one of the few woodworkers who created and runs a successful woodworking business. As he said, “failure was not an option.” One thing he expressed that resonated deeply with me was he would never write another book because the publishing companies don’t play fair. As a kid in the 1970s who loved rock music, I saw documentaries about bands such as Grand Funk Railroad that had been taken advantage of by greedy management; right before a tour was supposed to start, management took all the equipment preventing the band’s tour from happening. I was hearing a similar story from Chris Becksvoort, a successful author.
On the long drive home from Maine I talked to Chris Schwarz about starting our own publishing company that would treat authors right. I thought that with current technology (this was 2006, mind you) we could enter the text into a system and hit the print button. I once heard Tom Lie-Nielsen say during a class, “I now know why tools cost so much to make.” I now understand there is a bit more to publishing than hitting a print button.
We started Lost Art Press in 2007 with “The Art of Joinery” by Joseph Moxon. Chris was still at Popular Woodworking magazine, and I had my full-time job. I had to get written permission to create a business that was not in conflict with my job and Chris had to get the OK from his employer to print the book. We published the book by offering pre-sales so that we had enough money to cover the print run. Tom let us come to his shows and sell it, and he remains a huge supporter of LAP. We are ever-grateful to him.
As business continued, I remember hitting $50K in sales and was over-the-moon happy. We created T-shirts and Chris created a thing called a “blog.” Now we use a lot of technology, and our blog continues to be the most important way to reach customers. Chris is a natural writer who actually wears out keyboards.
Our business is split between content and everything else. Guess which side I am on? I have only had two creative ideas in my life. The first was a block plane made from a concrete that would be covered in a slick poly material. Chris just looked at me. The second idea was steak-flavored soda. (Feel free to steal those ideas as LAP isn’t going down those paths.)
Chris, Tom and John in Amana, Iowa, 2023.
The second picture is from Handworks 2023, just a few days ago. what I am calling the “Middle” for LAP. As the picture shows I have become a model of style. My appreciation for others and this wonderful life continues to grow. It is amazing to me to see people wearing our T-shirts and buying our creations. As Chris said, “What a country where two drunks with laptops can create a business that works!”
On the drive home from Handworks 2023 I reflected on my life and how we got to where we are. I first and foremost thank you, our customers for your support. You are the best, and I think the other woodworking companies would agree; creators and makers have a wonderful quality that is sometimes lacking in “normal” society.
Special mention goes to Lucy May, Chris’s beloved wife who has held Chris up and helped me and helped LAP succeed. Thank you Madam President.
Thank you to our LAP staff: Megan Fitzpatrick, our first employee without whom we could not publish as many books; Meghan Bates my dear friend who takes care of our customers and provides a voice of reason when work and life have me needing advice; Kara Uhl for keeping contracts and other important items in line so I don’t go insane. Thanks to our newest employees, Mark Gilsdorf and Gabe Gavre, who have signed on to run the new warehouse. And thanks to Chris for being Chris, and bringing me along on this wonderful ride. He has become my other brother.
Thank you also to:
Tom Lie-Nielsen, a kindred soul, and his wife Karyn for their wonderful friendship and support when we were nothing.
Robin Lee, who is one of the kindest, visionary leaders I have met.
Chris Becksvoort for sparking us to create LAP.
All of our authors and our LAP family: Narayan Nayar, Dr. Timmy Henriksen, Dr. Sean Thomas, Justin Leib, Deneb Puchalski, FJ and Jameel Abraham and Raney Nelson.
Stay tuned. I promise to post every 10 years or so!
