Not One More Thing
There is nothing more frightening than being faced with the very real possibility that something could be seriously wrong with your child. After spending the entire week out of school, Big I actually seemed to be perking up today; and then she showed me an odd rash that was forming on her arms.
A couple years ago, we rushed Big I to the doctor with another weird rash. We were reassured by the doctor on that visit because he told us it was a common rash and not a serious petichial rash. He explained the difference to us and told us that petichial rashes don’t blanche when you push on them. Petichial rashes are very serious business and represent bleeding beneath the skin.
The rash that Big I brought to my attention today was none other than a petichial rash. I started inspecting her everywhere and found a splotch on her forehead, more rash on the backs of her arms and shoulders, up and down her arms to her wrists and even on her back. I immediately told her to go show her daddy who was working in the basement, not knowing that our world was about to be turned upside down.
Within minutes, we were on the phone with the doctor and within another 20 minutes, Mr. BBM and Big I were at their office (Still sick, I was stuck at home with Lil C.) A finger stick revealed a very low platelet count and a white count that wasn’t even showing up. Mr. BBM was told to take Big I to the hospital for a complete blood work-up. The doctors mentioned lupus, mono, a blood disorder called ITP, leukemia and about ten other awful possibilities.
We were sick with worry. You know things are bad when you’re actually hoping that your child has ITP instead of any of the other auto-immune diseases that would have rocked our world in unimaginable ways.
Five vials full of blood and three hours later, we got the call that everything, minus her platelet count, is completely normal. Platelets are supposed to be around 150,000. Big I’s came in at only 53,000. They think it’s directly related to how sick she has been this week. She is under strict orders to take it very easy this weekend. No rough playing, no doing anything that might cause her to fall or get hurt. Monday morning she’ll have to have another finger stick to make sure her platelets are coming back up.
I got off the phone with the doctor and just broke down crying. There is absolutely nothing more terrifying than imagining all the potential things that could be wrong with your child. I was just so relieved I could turn that part of my mind off.
Today, we found out that our offer for building our new home has been accepted. It’s amazing how something as exciting as building a new home can completely pale in comparison to finding out your child is going to be o.k.
It has been a sick, horrible, and scary week for us; but we are hoping that these bits of good news begin a brand new trend, a healthy new trend.
Crawling Out of the Cave Called Flu
I’m coming out of my antihistamine-induced haze just long enough to say "hello," and that we are all alive. . . o.k. barely before crawling back into my bed. Ahh, my sweet, sweet bed. . . where was I? Oh yes. For the first time in three days, I finally managed to get out of said bed and get a shower today. Actual blow-drying of the hair did not happen though. That was just asking too much, holding up a hair dryer and all. When you’ve had pretty much nothing to eat in three days with the exception of pears, applesauce, and Nyquil, there’s not much energy to be had. I don’t know what exactly Big I brought home from school, but it is one nasty germ.
Big I was home from school for the third day in a row today. She saw the doctor and was diagnosed with the flu and two raging ear infections. The diagnosis for me is a flu that turned into some serious bronchitis and after getting some heavy duty antibiotics last night (called in because I simply could not leave this house), I woke up this morning feeling slightly more human. Slightly, although still not at all well, certainly not well enough to get out of my pajamas and definitely not well enough to talk or breathe for more than two minutes without erupting in a coughing attack that makes me feel like I’ll either a.) barf, b.) pass out from lack of oxygen, or c.) all of the above.
From the violent cough I’ve been dealing with on a near constant basis, I feel like someone has been beating me with escrima sticks all over my torso. In fact, just go read Hanshi’s article and observe those pictures of weapons. I feel like I’ve been beat with them all. I hurt so badly that it was painful to even face the shower stream today. When I was getting out of the shower, I almost looked for bruises before deciding that I’d really rather just get back in bed.
To make matters worse, Lil C woke up with a fever today. She’s spent the entire day sprawled on the sofa or in bed, much like Big I and I did for the past three days. I feel so horrible for her, because I truly can’t recall ever feeling more awful. Big I complained that her arms hurt and my head was pounding so horribly that I had moments where I thought there must be a demon in there eating my brain or something. We won’t even discuss the cough and its "by-products". It’s been a horrible couple of days.
I don’t know if it’s from the medication I’m on or from the actual illness, but I also have the absolute worst taste in my mouth, as if I’ve been chewing up aspirin all day or something. It’s disgusting and nothing makes it go away. Nothing.
If I had to look for a silver lining in all of this, I would have to say that I am going to have killer abs like no other. Sure, they hurt like hell and if anyone pokes me in the ribs, I’ll probably pass out instantly from the pain, but swimsuit season is nearing. . .
. . . and now it’s time for bed for the fourth time today. Be nice to my blog while I’m out sick or I will totally cough on you.
An Overview of Okinawan Kobudo
Filed under: Admired Martial Artists Month, Guest Post, Tales from the dojo
BY: C. BRUCE HEILMAN
Today most people involved in the martial arts and even many of the general public have become aware of some of the martial arts weapons. Probably, the most widely known of the Okinawan weapons is the Nunchaku, which received its notoriety in numerous martial arts movies during the 1970’s and 80’s. Others may to a lesser extent be aware of the Bo, Tunfa and Sai. However, there exist a number of other significant weapons to traditional Okinawan Kobudo that the knowledge of which is limited to the most serious Karate/Kobudo practitioners.
HISTORICAL DEVELOPMENT
The study of ancient martial arts weapons, and their related techniques, has over the centuries resulted in the development of a variety of schools and systems. These systems can be divided into two basic groups purely for combative purposes: 1) Bugei – martial arts, and 2) Budo – martial arts. The Budo form was developed from the Bugei and Jitsu forms. The Okinawans call these forms "KOBUDO", or ancient weapons arts.
Around 400 years ago, Japan began to assert control over the Island of Okinawa. One of the edicts forced the Okinawan people to turn over their weapons to the Japanese. The move was made by Imperial Japanese leaders with almost no realistic political foresight and very little insight or perception into the Okinawan way of thinking. The ruling classes assumed that to gain political and financial control over this tenacious island race, all that was necessary was to disarm the people. The edict specifically ordered that "all weapons" be turned over to the authorities. Little did the authorities realize that the Okinawan people were such a nationalistic race and so strongly devoted to freedom that they would go to any lengths to deceive and/or hide the weapons they needed to fight their oppressors. Thus, weapons were called "farm implements", but underground the fighting population was training in the use and proficiency of these tools. Soon the weapons masters became a most feared force in the battle for political freedom, feared by the Japanese and idolized by the Okinawan people whose protectorate they were.
Today, much of the Island of Okinawa has undergone its own industrial revolution, and most of these crude farm implements have been replaced by mechanical and power tools. Yet, the history of these weapons is still part of the rich traditional background of Okinawan Martial Arts, and as important physical aspect of the arts.
Kobudo practitioners today, as did their ancient predecessors, perfect weapons techniques by training with kata specifically designed to teach and perfect directional movements, transitional movements, body alignment, balance, grace and coordination between body and weapon.
The practice of Okinawan Kobudo, although not formally part of Karate, is almost inseparable from an historical viewpoint. Okinawan Karate practitioners are generally involved to some extent in the practice of Kobudo. While most are at least proficient with a few weapons, few if any can use a wide range of weapons with a high level of proficiency.
The major difference between Karate and Kobudo practice has been that historically, Kobudo practice has not been as systematized as with Karate. Kobudo practice has tended to be focused upon separate "Kobudo Associations". The very existence of these Kobudo associations has however, over time started a trend towards systematization of the Kobudo training, techniques and katas. Examples of such Kobudo Associations include: Shinpo Matayoshi’s Zen Okinawa Kobudo Renmei ; the late Eicho Akamine’s Ryukyu Kobudo Hozon Shinko Kai ; Seikichi Uehara’s Motobu-ryu Kobujitsu Kyokai ; and Motokatsu Inque’s Ryukyu Kobudo Hozon Shinko Kai.
Also, the within the last twenty years we have seen the emergence of combined Karate-Kobudo organizations which have furthered the trend toward systematization of the Kobudo training. One of the earliest was Seikichi Odo’s Okinawa Kenpo Karate-Kobudo Renmei. Other such combined organizations include: Kenko Nakaima’s Ryuei-ryu Karatedo Kobudo Hozon Kai ; Seitoku Higa’s Zen Okinawa Karate Kobudo Rengo Kai ; Choboku Takamine’s Kokusai Karate Kobudo Tenmei ; Ryusho Sakagami’s Itosu Kai, Nihon Karatedo Kanto – Hanbuncho of Hozon Shinko Kai ; Tsueneyosho Ogura’s International Karate and Kobudo Propagation ; and Masafumi Suzuki’s All Japan Budo Federation.
WEAPONS OF OKINAWAN KOBUDO
The major traditional weapons of Okinawan Kobudo include the following:
- Bo
- Sai
- Tunfa
- Kusarigama
- Kama
- Nunchaku
- Eiku
- Jo
- Nunte Sai
- Nunte Bo
- Yari Bo
- Tanbo
- Tekkos
- Tinbe
- Rochin
- Kuwa
A brief introduction to each of these weapons of Okinawan Kobudo is presented in the following discussion.
Bo:
The Bo is one of the most popular weapons of Okinawan Kobudo. In the hands of Masters such as Seikichi Uehara, Shinpo Matayoshi and Seikichi Odo, it was almost an unbeatable weapon due to its reach and striking power. Formally called the "Rokushakubo", where "roko" means six, "shaku" is a unit of measurement of about a foot in length, and "bo" means staff.
As an art form, Kobudo is closely tied to Karate, adopting from the Chinese the basic principles but developing its own Okinawan characteristics. The first of these is the matter of the design of the weapon. The Okinawan Bo is tapered at both ends to provide a more centralized focus for striking the opponent’s body.
The use of the Bo relies heavily upon a good knowledge of karate basics. The Bo operates best from outside the opponent’s weapons swing zone, and it gives its user a strong advantage over an opponent’s shorter weapon. When used at a close range, within the opponents swing zone, the Bo provides a variety of blocking and parrying techniques, but loses some of its distance advantage.
Bo training requires the student to make a lengthy study of the fundamental grips, stances, movements and techniques of striking, blocking, poking, thrusting and disarming. It must be noted that to effectively be able to utilize the Bo to its maximum, the student must be able to use the full range of the weapon.
Sai:
The Sai is a uniquely designed short metal weapon with a long history. Found in India, China, Indo-China, Malaya and Indonesia, its presence in Okinawa probably derives from migration from one or more of these sources. Prototype designs may be seen in the Trident-shaped weapons of ancient times. The ancient Indonesian civilizations on Sumatra and Java, which had contact with Okinawa used the weapons in their fighting arts.
The Sai is primarily a defensive weapon and is effective against an enemy armed with blade, staff or stick. The length of the Sai varies with the most popular lengths between 15-20 inches. It was generally made from iron or steel and weighed between one to three pounds. The Sai is generally used as a truncheon, although its earlier forms derived from a bladed weapon. The Sai may be used to deflect, block, or parry a cutting or thrusting attack of a bladed or staff weapon.
The Sai were usually carried, one in each hand and one thrust through the belt of the user. The third Sai in the belt was a replacement for one either thrown or lost in combat. The prongs of the Sai were so designed to provide the skilled user with the capability of catching and locking the enemy’s weapon. Further, the skilled practitioner would generally utilize the weapons quick striking capabilities to attack an armed opponents hands, thus disabling and/or disarming him prior to moving in for the finishing techniques.
Tunfa:
Early Okinawans, at work gathering grain by the millstone, were nonetheless determined to continue their clandestine practice of the arts. The wooden handle normally wedged into a hole in the side of the millstone served their purpose well. This handle, known as the "tunfa or tonfa" was made of a tapered shaft of hardwood attached to a cylindrical grip projecting at a right angle from the shaft.
The handle could easily be dismantled from the millstone and brought into action. It was held by grasping the short grip loosely but firmly so that the weapon could not drop out of the users hand when manipulated. Most commonly, two tunfa were used, one in each hand. All use of the tunfa depends upon karate movements. The practitioner can punch or strike with great force, since the hardwood projection acts like an extension of the knuckles. By a quick flick of the wrist and arm, the user can reverse the Tunfa so that the longer end of the shaft will swing forward and strike the opponent with great force.
Good Tunfa techniques make judicious use of blocking and parrying actions. These actions and many of those involving the use of the Tunfa can be likened to those of the Sai. Today, Tunfa masters are rare in Okinawa, and there may be some chance of this art passing from the modern scene.
Kama:
The agricultural sickle has been used as long as man has grown rice. Seen in a number of different forms all over southeastern Asia, it has from earliest times served as an effective weapon in emergencies. On Okinawa, the sickle is called "kama", and was probably brought there during the numbered migrations from the Asian continent.
Kama tactics are primarily Okinawan, using the principles of Karate stancing and movement. some modifications had to be instituted in order that the user would not wound himself during manipulations of the weapon. The weapon has a hardwood handle and a blade that is crescent shaped and single-edged. This razor sharp blade can be pointed and hooked for hacking rather that for jabbing or skewering. The Kama is very effective in trained hands, but must be employed close into the opponent. Kama attacks incorporate chopping, hooking, hacking, striking, blocking, deflecting or covering actions against an enemy’s weapons or tactics. Kama are generally used in pairs, with a swinging pattern similar to propeller-like cover motions.
Kama techniques are difficult to master and for this reason it soon may become a dying art, remaining in the hands of senior students of a few highly experienced masters such as the late Seike Toma , Seikichi Odo and Shinpo Matayoshi.
Nunchaku:
The Nunchaku, a harmless-looking object appearing more like a toy than a weapon, is believed to have been first used as a horse bridle. The Nunchaku user can subdue an enemy by making use of ensnaring actions, crushing and holding techniques, poking or jabbing attacks, as well as defensive parrying, blocking and deflection actions.
The Nunchaku is a double-pieced hardwood weapon. The separate pieces of wood are connected by a cord or chain. Each piece is identical in shape being about one foot to fifteen inches in length and of square, hexagonal or octagonal cross section. The Nunchaku is used from Karate stances and attacks are delivered during close in fighting with the enemy. The Nunchaku is especially effective against weak points on the body. Painful ensnaring actions can be applied by catching the opponents fingers, hand or wrist in a "nutcracker grip" and closing the opened ends of the weapon with force. The most potent offensive technique are the powerful full range swings which can generate tremendous striking power at impact.
Eiku:
The Eiku or Eku Bo (oar) is a long shaft with a broad blade at one end used for rowing or steering a boat. The Okinawan Oar is made of wood. The Oar can be attached to oar hooks or oar locks,although it is more commonly held in the hands.
The Oar in the hands of a skilled practitioner becomes an excellent weapon employed somewhat like the Bo staff with the advantage of the broad flat end used for blocking, parrying, cutting and thrusting. Traditional Eiku bo katas employ repetitive "rowing movements" symbolic of their use in a fight while in a boat. Correct use of the Eiku bo is limited to only a handful of the older traditional masters in Okinawa. Old line masters such as the late Seikichi Odo noted that only one or two orthodox Eiku Bo forms exist, with most of the current katas being modern adaptations of the weapon to regular bo katas. In these modern versions much of the finesse moves with the weapon have been lost, with the emphasis placed on bo-like power strikes.
Nunte and Nunte Bo:
The Nunte is a weapon similar in size and design to the Sai, except that one of the prongs is reversed. The weapon is also sometimes called the Manji-sai. The Nunte can be utilized by a skilled operator in many of the same ways as the Sai, with the additional advantage of by-directional hooking capabilities, resulting from the reversed prong. The basic design for this weapon is similar to that of the Sai with the prongs off center, providing for one long and one short blade section.
The Nunte Bo is basically a regular bo with a Nunte tied to one end, serving as a fisherman’s gaff. It should be noted that the fighting techniques with the Nunte Bo differ significantly from those of the Bo alone. With the Nunte Bo, the skilled practitioner uses a lot more circular motion and rotation of the weapon in both attack and defensive techniques. The Nunte bo also adds the additional capability to deflect, parry, catch and lock the opponents weapon and to entwine the opponents clothing. The emphasis with the Nunte Bo techniques is with finesse rather than power.
Yari Bo:
The Yari Bo is a spear like weapon. It is used in many ways similar to the use of the bo. The additional advantage of this weapon it in its bladed or pointed end section which permits effective thrusting or slicing techniques. One significant difference between the regular Bo and the Yari Bo is in its length. Generally the Yari Bo length are longer, ranging from seven to ten feet in length.
Tekkos:
The Tekkos or Teko (claw) is a weapon originally devised by the Asian countries. The Tekkos are generally used in pairs. Tekkos can be made of wood or metal and may have small protruding points or blades. Use of the Tekkos employs slashing and clawing movements in addition to the normal punching techniques. the points/claws of the Tekkos would always be pointed toward the opponent. The Tekkos is primarily a close-in range weapon.
Tinbe and Rochin:
The Tinbe or Timbei is a shield and the Rochin is a short spear. The concept of the use of a shield and short or long spear is common to almost all fighting cultures around the world. The unique aspect associated with the Okinawan version is that the Tinbe (shield) made use of the shell of a turtle (large sea turtle) with a handle or straps fastened to the back to provide a hand grip on the shell. Other versions made use of a shield constructed of cane. Modern Tinbe are generally made of metal or fiberglass.
The Rochin was a short wooden shaft with a spear point or blade attached. Two renowned masters of the Tinbe and Rochin include the late Shinpo Matayoshi in Okinawa and Motokatsu Inoue in Japan. This art is not very widespread even in Okinawa today with its practice limited primarily to the major Kobudo organizations.
Kusarigama
The Kusarigama is basically an agricultural sickle, called Kama in Okinawa, with a cord attached to the end of the handle. There are a number of versions of the Kusarigama, with the biggest variation in the length of the handle and the size of the blade. Also in the larger versions, a weighted object is secured at the other end of the cord which permits the weighted end to be thrown at the opponent in an attempt to entangle him and then be able to move in for the finish. In Japan, the larger versions of the Kusarigama is the most popular, while in Okinawa the smaller versions are preferred. A noted practitioner of the "flying kama" techniques was the late Seike Toma in Okinawa.
Jo
The Jo or Hanbo (half-bo) were 4′ and 3′ variations of the Bo staff. They were often carried by the Okinawan royal court guards as it gave them an excellent weapon to use within cramped confines. A very practical weapon with a lot of modern day potential. Only a handful of kata exist which primarily come from the Taira or royal court guard traditions.
Tanbo
The Tanbo or Nitanbo were short wooden sticks most often used in pairs, measuring anywhere from 24" to almost 3 feet. The highly effective techniques, reminiscent of the Philippine arts, but simpler, see limited practice even in traditional Kobudo circles.
Kuwa
The Kuwa or wooden hoe is another minor weapon which is not often seen even in the most traditional of the kobudo schools. Probably the most noted practitioner of this weapon keeping the tradition alive was the late Shinpo Matayoshi of Okinawa.
LINEAGES OF OKINAWAN KOBUDO
As discussed earlier in this article, for most of the history of Okinawa Kobudo, its focus was to separate Kobudo Organizations apart from the Karate organizations. One of the first individuals to formally combine a traditional weapons lineage with a traditional karate style was the last Master Seikichi Odo. Master Odo taught the weapons program at Shigeru Nakamura’s dojo (his karate teachers school). Master Odo had received his kobudo training from some of the top current and past kobudo practitioners including: Kakazu, Matayoshi, Toma, Meazato, Kinjo, Kyan, Kuniyoshi and Sakiyama. Prior to the passing of Master Nakamura (the founder of the Okinawa Kenpo style) he asked Master Odo to continue to teach the kobudo program and to formally incorporate it into the karate program – thus the birth of Master Odo’s Okinawa Kenpo Karate Kobudo system in the early 1970’s. In recent years most of the major traditional karate systems now have also incorporated a program of formal weapons training.
Major lineages of traditional Okinawan Kobudo include the following:
TAIRA LINEAGE – This lineage traces its roots to Shinken Taira. Weapons taught include the bo, sai, manji sai, tunfa, kama, nunchacku, tekkos and tinbe. The majority of the Shorin-ryu, Isshi-ryu, Uechi-ryu and Japanese Kobudo trace their roots to this lineage.
MATAYOSHI LINEAGE – This lineage traces its roots to the teachings of Shinko Matayoshi. Weapons include a full range of the traditional Okinawan weapons with the addition of a number of Chinese basic weapons as well. A significant number of the Okinawan Kobudo practitioners trace all or part of their roots to this lineage.
UHUCHIKU LINEAGE – These teachings come from the famous Sai master Sanda Kanagusuku. This lineage teaches the sai, kai, tunfa, nunchaku, kama, tekkos and bo.
ODO LINEAGE – This is a more modern lineage coming from the teachings of Seikichi Odo and his Okinawa Kenop Karate Kobudo system. The weapons taught include the bo, sai, tunfa, nunchaku, kama, tekkos, eiku, nunte bo, yari bo, tinbe and rochin. This is also the lineage of the author of this article who was a senior student of the late Master Odo.
MOTOBU LINEAGE – These teachings come from the late Seikichi Uehara also was also noted for his teaching of the Okinawan Folk dances. The weapons taught include: katana, naginata, yari, tanto, bo, jo, tunfa, eiku and sai.
CHINEN LINEAGE – This lineage also referred to as “Yamani-ryu” traces their roots back to Sanda Chinen. The system was primarily a bo system, and the katas worked are worked by many of the Shorin-ryu and Goju-ryu practioners today.
KUNIYOSHI LINEAGE – This lineage also referred to as “Honshin-ryu” traces its roots back to Shinkichi Kuniyoshi, a famous weapons master. Weapons taught include the bo, sai, tunfa, and kama.
OVERVIEW OF TECHNICAL PRINCIPLES
One of the most important technical principles involved in the practice of Okinawan Kobudo is the "removal of target". By this we mean that the defender uses body positioning to cut an angle either defensively or offensively to the opponent, thus minimizing their vulnerability and maxamizing their offensive capability. In order to accomplish this, the defender must be able to adjust his stancing and movements to reflect and enhance the technical capabilities unique to each weapon.
A second important principle deals with the "control of centerline". Just as with the open hand arts, the individual who effectively controls the centerline has the greatest chance for success. Here again, stance adjustment is critical for the defender to maintain his/her control of the centerline – which lead one noted Kobudo Master (the late Seikichi Odo) to state that …"there are no stances in kobudo". Thus, while many martial artists commonly refer to Kobudo as …"being an extension of your Karate technique", it must be recognized that the "extension" is not one of basic Karate technique, but according to the author …"rather the enhancement of the underlying principles".
The difference in stancing between karate and kobudo is a very important distinction which is not readily recognized my most martial arts practitioners. One can not just take their standard karate (open hand) stances and techniques, add a weapon(s) and have “functioning kobudo”. Stancing is only a foundation for the weapons being used by the martial artist whether they are their open hands or their weapons. No one has ever won a fight solely based upon their stances, but many have lost a fight due to poor stancing resulting in lack of balance, power, etc. With the practice of Kobudo the stancing adjusts to the length of the weapon. With the long weapons such as the bo, nunte bo, yari, etc. the stancing is long and narrow permitting the end of the particular weapon to be able to control the centerline in a relaxed natural manner. With the intermediate range weapons such as the nunchaku, sai, tunfa and kama the stancing is still not as wide as ones normal karate stance (shoulder width). It is only with the short range weapons such as the tekkos, that the stancing approaches that used for ones open hand techniques.
The practice of traditional Okinawan Kobudo involves more than just performing a series of kata (forms). Like standard Karate practice, Kobudo practice also involves basic drills, bunkai (applications), disarms, throws, joint locking techniques and weapons sparring (fighting). In order to provide a level of safety for the practitioners, weapons fighting is performed with full body protective equipment in order to minimize the risk of injury. In addition, there are modifications made to the weapons to further promote safety such as taping over sharp weapons such as the blades of the kamas, or padding metal weapons such as the sai. The last and just as important part of Kobudo practice is learning how to defend against an opponent who has a weapon when you are unarmed. In order to use a weapons to its fullest as well as to be able to defend against a weapon, the student needs to understand the strengths and weaknesses of the weapon.
* * *
Hanshi Heilman, through his Heilman Karate Academy and International Karate Kobudo Federation (IKKF) is dedicated to the propagation of traditional Karate and Kobudo in order that the old ways will not be lost to the future generations of students. This article is just another step in the process of getting the history, techniques and principles of the "old ways" out to the serious martial arts public.
Thanks to Hanshi Heilman for participating in this exciting month of Admired Martial Artists. For more information on the schedule for the month, go here.
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Tell Me Something Good
At 7:41 a.m., Big I stumbled into our bedroom breathing heavily and looking terrible. She then announced that she was going to throw up. As Mr. BBM quickly led her into our bathroom, I silently thanked God that she is now older and did not crawl into our bed to do her barfing business. That has happened one too many times.
Right now, she is fast asleep on the sofa, with her cheek propped up against the back of the cushion. I know she is really sick because usually I need to remind her that she is sick and needs to stop running around the living room. She has no appetite. She is as white as the few remnants of snow remaining in our front yard, and her forehead is warm. When are we going to catch a break?
Lil C just finished a round of antibiotics for an ear infection. I’m still coughing from whatever Big I brought home from school a few weeks ago. Even our Realtor has been infected from spending too much time with us. I’m thinking it might be wise to put Big I in a sectioned off room like E.T., and also that we might want to install a decontamination shower at our front door.
Yesterday we had two showings. One was a second showing and the Realtor once again, had all kinds of questions for us. Our neighbor told us that the couple was here FOREVER and that they were checking everything out. We thought we might have an offer in hand yesterday, but there’s been no news yet. We also sent our list of options to our Realtor so he can help us negotiate a good price on our new house.
Today everything is up in the air. Will we all be barfing by nightfall? Will we be well enough to leave the house on Tuesday for the Broker Open House our Realtor has planned? Will these people make an offer on our house? Will it be a good offer or one that makes us hang our heads in despair? Will the builder give us the options we want for the price we’re willing to pay? I absolutely hate not knowing.
Please, someone, just tell me something good.
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