American Heart Association--It's Time to Get Moving!
OK, so you have to pick up prescriptions from the pharmacy... swing by the grocery store... stop at the bank... and go to the mall. You're in luck. You can do all this and exercise, too.
At all your stops, park as far away as you can. Instant perk: It's easy to find a parking space! Depending on the number of stops you make, you could accumulate 10 to 20 minutes of walking by the end of your errands!
Take a look at these ideas and think of your own ways to fit in fitness:
Banking. Get out of your car and go inside. Doing so can pay added dividends because you'll get to know your banking staff personally. And vice versa. This relationship may prove helpful when you want to take out a loan or use other banking services.
Car Pooling. What can you do with a carload of kids? Not much while you're driving. Park the car a few blocks from school and walk the rest of the way with them. After they go inside, take a couple of turns around the block, the school grounds or the track.
Cleaners. Carry your laundry to and from the cleaners from across the parking lot. You'll burn more calories!
Book of the Month: The Love Song of Miss Queenie Hennessy
Rachel Joyce offers something rare in “The Love Song of Miss Queenie Hennessy.” The book is neither a prequel nor a sequel but a companion book to her moving 2012 debut, “The Unlikely Pilgrimage of Harold Fry.” In that first novel, Harold Fry, a retired Englishman, received a letter from a former colleague, Queenie Hennessy, who told him she was dying of cancer. Harold set out to send a bland reply but walked past one mailbox after another, finally deciding instead to trek on foot the full 600 miles to her hospice. Along the way, he alerted Queenie of his plans, sending a note that read: “I am very sorry. . . . Wait for me.”
“The Love Song of Miss Queenie Hennessy” is told from Queenie’s perspective as she awaits Harold’s arrival. Like Harold’s book, Queenie’s can stand on its own as a warm, thoughtful tale about love, regret and redemption. But each novel adds depth and dimension to the other.
At 101, the artist Carmen Herrera is finally getting the show the art world should have given her 40 or 50 years ago: a solo exhibition at a major museum in New York, where she has been living and working since 1954. The show, “Carmen Herrera: Lines of Sight,” caps off several years of festivities, many of which have focused on the artist’s centenarian status, including a documentary film, “The 100 Years Show, Starring Carmen Herrera”; a spring exhibition of recent paintings at the Lisson Gallery in Chelsea; and numerous profiles hailing Ms. Herrera as a living treasure and praising her acerbic wit.
There’s more to marvel at in the Whitney Museum of American Art’s compact but ravishing exhibition of about 50 works, which focuses on the pivotal period of 1948-78 — years in which Ms. Herrera developed her signature geometric abstractions, pared-down paintings of just two colors but seemingly infinite spatial complications. Installed with appropriate precision on the Whitney’s eighth floor, the show presents her as an artist of formidable discipline, consistency and clarity of purpose, and a key player in any history of postwar art.
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