SKU: 85651727796

Tierra Nectar Co-Ferment

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Description

Tierra Nectar Co-FermentWe adore this coffee! A Pink Bourbon co fermented with fresh coconut, results in an unexpected balanced cup full of sweetness, juiciness and sparkling acidity. Behind this amazing coffee there is an amzing story of six farmer families coming together to create exceptional coffeess in an ecological way: Ncleo de gestin Las Palmas In the south of Huila, in the municipality of Palestina, the Central and Eastern Andes meet in a dramatic landscape of

We adore this coffee! A Pink Bourbon co-fermented with fresh coconut, results in an unexpected balanced cup full of sweetness, juiciness and sparkling acidity. 

Behind this amazing coffee there is an amzing story of six farmer families coming together to create exceptional coffeess in an ecological way:

 Núcleo de gestión Las Palmas

In the south of Huila, in the municipality of Palestina, the Central and Eastern Andes meet in a dramatic landscape of forests, rivers, and coffee fields. On this agricultural frontier, right next to the Cueva de los Guácharos National Park, six farming families formed the Núcleo de gestión Las Palmas. Their farms do more than produce coffee — they also act as a natural buffer, protecting one of Colombia’s most important ecosystems.

Co-Fermentation process:

This nano lot stands out for its careful cherry selection and a complex natural anaerobic fermentation with fruits.

Only fully ripe cherries were harvested by selective picking and further sorted by floating in water to ensure the highest density fruit.

Ten days prior to harvest, a mosto solution was prepared by macerating Isabelina grapes, vanilla flower, and coconut pulp. In coffee processing, mosto refers to the fermenting liquid in which the coffee is submerged. It is naturally rich in sugars, yeasts, and bacteria, and when enhanced with fruits it provides additional sucrose for the yeasts to consume, accelerates the fermentation, enhance complexity and contributes aromatic precursors that can carry through into the cup.

All fruits came from the farms in this area, ensuring that the microbial environment and character of the terroir were preserved. The name of this lot, Tierra Néctar, underlines this idea — everything used comes directly from the surrounding land, literally from the soil and nature of the farm itself.

For this nano lot, the cherries underwent 48 hours of aerobic fermentation in open tanks, before being sealed in anaerobic barrels together with the prepared mosto, where they fermented without oxygen for 120–150 hours. Once fermentation was complete, the coffee was dried in a greenhouse structure for about

18–22 days.

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SKU: 85651727796

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David R. Papke
Lowell, US
★★★★★ 5
Recommended for All Lawyers
Format: Paperback
Meyer proves his initial point that much of what lawyers do is storytelling, and he achieves his goal of providing a primer on narrative theory for lawyer-storytellers. The book is sophisticated but written in an engaging way using non-technical language. Examples from legal and literary works abound, and they range from courtroom arguments and appellate briefs on the one hand to an essay by Joan Didion and Vonnegut's "Slaughterhouse Five" on the other. Meyer's favorite stories are found in Hollywood movies, and although he seems unaware of the accomplishment,Meyer provides fresh interpretations of such movies as "HIgh Noon" and"Jaws." I strongly recommend "Storytelling for Lawyers" for all law students, lawyers, and judges.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 7, 2014
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DoubtfulReader
Alexandria, US
★★★★★ 3
Notes on Legal Style by a Law Professor and Experienced Lawyer.
Format: Kindle
BOOK REVIEW: MEYER, Philip N., Storytelling for Lawyers ISBN: 978-0-19-5396638 Read June, 13th-27th, 2017. This book discusses storytelling tools by presenting a series of examples of good storytelling, both in legal settings and in literary works and movies. If theoretical explanations are sometimes a bit dry, the frequent quoting of practical examples conveys fluidity and speed to the book. After an introduction presenting lawyers as storytellers, it deals with the roles played in storytelling by Plots (chapters 2 and 3); Character (4 and 5); Voice, Perspective, Details and Images, and Rhytm and Speed (which relate to Scene and Summary) (chapter 6); Place or Story Environment (chapter 7) and Narrative Time. Focusing maybe too narrowly on legal storytelling before American juries, plot is almost equated with melodrama. Films like Jaws and High Noon are extensively discussed, as Gerry Spence’s Closing Argument on Behalf of Karen Silkwood. The chapters on character offer interesting insights on character classification (“round” characters, with psychological depth, prone to suffer transformation as the story evolves, vs. “flat” ones), while discussing the tools for telling how a character is, as opposed to simply showing the psychological nature of each character’s character through dialogue or the actions the character performs. Examples include Tobias Wolff’s This Boy’s Life and Jeremiah Donovan’s Closing Arguments on Behalf of Louis Failla, in a 13-week trial the Author could scrupulously attend in person. Discussions on Voice, Perspective, Details and Images, Scene and Summary, criticize the basic assumptions of the neutrality of lawyers’ voices, exemplifies how to manage details to suggest ideas and emotions, draw on the distinction between showing and telling, and offers interesting insights into the narrative theory’s concept of stretch (the slowing of the narrative rhythm in relation to the narrated story’s). Environment depiction storytelling tools deals with Joan Didion’s The White Album and the Judicial Opinion in a Rape Case, quoting also from W. G. Sebald’s The Emigrants and the Petition Briefs in Reck v. Ragen and Miranda v. Arizona. Further examples are Kathryn Harrison’s While They Slept and the Petitioner’s Brief in Eddings v. Oklahoma. Finally, the chapter on Narrative Time draws on Kurt Vonnegut’s Slaughterhouse Five and explores time, rhythm or speed, discussing more deeply stretch and the relation of time of the narrative itself with the time of the facts dealt with in the narrative. Chronology is discussed and criticized; Analepsis or Flashback is didactically explained and exemplified, both in general storytelling theory and in its legal use; the same holds for Prolepsis (Flash-forward) and Ellipsis (the intentional omission of a part of the narrative, often with the purpose of emphasizing the omitted event. Pacing and Rhythm are discussed in more lenght, with the caveat - repeated somewhat throughout the book - that legal stories are often left unfinished by the lawyer, in order to allow the jurors or judges fill the end with their decision. The Author remarks his purpose was to suggest possible tools and ways of dealing with problems which arise in legal storytelling, and he delivers what he promises.
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Reviewed in the United States on June 27, 2017
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Matt M.
Los Angeles, US
★★★★★ 5
Great book and great professor
Format: Paperback
Professor Meyer is a great writer. I had took his death penalty case at Vermont Law School. He writes for numerous magazines including the ABA. I would highly recommend this book and all of his writings.
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Reviewed in the United States on January 19, 2021
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J. Christian
Louisville, US
★★★★★ 4
Interesting book
Format: Paperback
I am not a lawyer, nor a writer, but rather a reader. I found the correlation of legal storytelling with sceenplay, literary narrative quite interesting. Legal trials are theater.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 20, 2014
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Classics professor
Waukegan, US
★★★★★ 5
Highly recommended -- not just for lawyers!
Format: Paperback
I'm not a lawyer but a Classics professor looking for modern parallels to (and contrasts with) Cicero's persuasive strategies in Roman courts. This book was just what I was looking for: lucid, informative, smart, and as a bonus, well versed in narrative theory, which Meyer handles as an experienced teacher -- avoiding jargon and needless complication, illustrating the key ideas with well-known cinematic examples.
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Reviewed in the United States on April 20, 2017

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