Moomor PUBLISHING-Ian & Gayle Moore-Morrans

Moomor PUBLISHING-Ian & Gayle Moore-Morrans Ian, a Scottish-Canadian and Gayle, an American-Canadian, formed Moomor Publishing to handle the boo He was widowed in 2002. Ian died in February 2019.

Ian and Gayle Moore-Morrans were a married couple, seniors and writers living in Winnipeg, Manitoba, Canada. A Scottish-Canadian, former Royal Air Force bandsman/aircraft engine mechanic and retired machinist, Ian Moore-Morrans hailed from Campbeltown on the Kintyre peninsula, Argyll, Scotland. He lived in various places all over Canada since emigrating from Scotland in 1965 with his wife, Mary,

and two daughters. Taking up writing at age 63, Ian first wrote a children's story originally called "My Friend Jimmy." That book went through many changes before final publication almost 20 years later. He first published a "how-to" e-book entitled "Metal Machining Made Easy" under his former name, Ian Morrans. Ian also began writing his memoirs at the same time and later added several novels and children's stories, plus a tale of revenge to his repertoire. Gayle Moore-Morrans is a retired magazine and program editor who, as 8-year-old Gayle Moore, wrote and illustrated her first “book.” This story told of a new puppy whose surprise birth to their dog, Lady, had delighted her and her two younger sisters when they were growing up in New Rockford, North Dakota. (She still has the original and only copy of that handmade “book.”) She has continued to write throughout life, both in her work capacity (as a Lutheran parish worker, a secretary, a social services director and finally as a program director and editor) and in documenting personal and family happenings. Best of all, though, she likes to edit and enhance the writings of others. Gayle and her late husband, Gus Johannesson, both Americans, had lived in Germany for 18 years where they adopted their two children, Gwynne and Garen. In 1983 they returned to the States and then, nine months later, immigrated to Winnipeg, Manitoba. Gus went onto disability retirement in 1992 as Gayle began working for Evangelical Lutheran Women of the Evangelical Lutheran Church in Canada as a program and magazine editor. Gayle was widowed in 1996 and, six years later, met newly-widowed Ian. At their initial meeting, they started a conversation about the eclectic assortment of stories Ian had begun writing after retirement. When Ian learned that Gayle was working as Editor of Esprit magazine, he began to envision a future of their living and working together. They were married three months later and combined their birth surnames to form the new family name, Moore-Morrans. After Gayle took an early retirement in July 2004, they sold their house, bought a motor home and left Winnipeg to become snowbirds and explore retirement in Mexico. While basking in the lovely weather along Mexico's Pacific coast, Gayle started editing Ian's stories while he sat at the laptop on their RV's patio and did re-writes and touch-ups. Tiring of RV living and the hot, humid Pacific coast, they moved inland to the mountainous north shore of Lake Chapala, Mexico's largest lake. There they bought a house and became residents of the world's largest community of English-speaking expatriates who live in a string of small towns referred to as "Lakeside." They joined the Lake Chapala Society Writer's Group and met some wonderful writers from Canada, the USA, Mexico and Europe. Soon Ian's short story, "The Moonlit Meeting," was published in a local magazine, El Ojo el Lago, and Gayle's account, "Roca Azul RVers Celebrate Scotland's Robert Burns" was published in a local e-zine, Mexico Insights. During this time they also jointly wrote an account of their Mexican adventures and misadventures which they hope to eventually publish (or at least blog) under the title, Mexican Follies. Gayle chose the name as a play on words. The word "folly” can be used to refer to a foolish action or a foolish but expensive undertaking. The more obscure use of the term could even have meant an action that had the danger of ending in disaster. In contrast, the plural form "follies" is often used in a lighter, more enjoyable and entertaining way as part of the title for a r***e, a type of musical show parodying topical matters by using songs, skits and dances. They view their time in Mexico as both a folly and a follies. Though the pair returned to Manitoba annually, they maintained a home in Mexico for another two years. Returning to Canada full-time (but to British Columbia instead of Manitoba) in 2007, they spent a year in Penticton and then moved to Vernon. They loved living in the beautiful Okanagan Valley and found it perfectly suited their life-style. In 2010 they published Ian's first novel, Beyond the Phantom Battle: Mystery at Loch Ashie and in 2012, the first volume of Ian's memoirs, From Poverty to Poverty: A Scotsman Encounters Canada. In January 2015, Ian’s children's chapter book, Jake, Little Jimmy & Big Louie, was published under their newly formed Moomor Publishing, with Gayle listed as co-author. Despite Ian's serious health challenges since 2008, they hoped to continue to publish more of Ian's stories including sequels to the novel and to the autobiography, as well as a story of revenge called "Legal Hit Man" and a number of other children's stories. (Yes, it is an eclectic assortment!) Sometime in 2013 Gayle began to collaborate on Ian's writings as he became more and more disabled. Since then she has served as co-author and initially Ian's handle included her by-line, I.e., "Ian Moore-Morrans with Gayle Moore-Morrans." They are listed as co-authors on their children's chapter book and on their third memoir. Gayle also began to reprint some of her stories, articles, editorials and spiritual programs on their website blog. Besides writing and editing, Ian and Gayle have enjoyed singing Scottish songs together. They enjoyed performing as "Okanagan's Mr. Scotland and His Bonnie Lassie", although health concerns limited their performances after 2009. In summer 2015 they left British Columbia to return to their "roots" in Winnipeg, Manitoba. Gayle published Ian's second memoir, Came To Canada, Eh? Adventures of a Scottish Nomad in September 2020 and their third memoir (also a travelogue), Mexican Follies, in October 2024.

11/11/2025

Richard Rohr

11/11/2025
11/11/2025

So true! I’m often misplacing my cell phone and using my landline to call it and discover where it is ringing! Is that the purpose of my landline now?

11/11/2025

Emma Thompson walked into a Hollywood meeting not long after winning an Oscar — the room buzzing, producers smiling, contracts waiting — and calmly said no. The role was worth millions, but the script’s only woman existed, as she put it, “to make a man feel clever.” Her refusal landed harder than any acceptance speech. It wasn’t rebellion for rebellion’s sake — it was principle. That moment defined her: a woman who would rather walk away from power than compromise her truth.
From the start, Emma Thompson was never built for decoration. Long before the gowns and gold statues, she was a Cambridge comedian with messy hair and razor wit, performing sketch comedy that sliced through hypocrisy and pomposity. “Comedy taught me survival,” she once said. “If you can make them laugh, you can make them listen.” That sharp intelligence became her armor — and her weapon — in an industry that preferred its actresses ornamental, not opinionated.
Hollywood tried to mold her into quiet gratitude. She resisted. Studios wanted charm; she offered challenge. When one executive complained that her female characters were “too angry,” Thompson replied, “They’re not angry. They’re speaking.” And she meant it.
When she adapted Sense and Sensibility, no one believed she could write. She spent six years crafting the screenplay by hand, through exhaustion and doubt, sometimes crying over ink-stained pages. “It was agony,” she said later. “But I wanted to write women who felt real — who made choices, not tea.” Her agony became art. The film won her another Oscar, making her the only person in history to win Academy Awards for both acting and writing. Yet the victory wasn’t about trophies — it was about ownership. She had written her way into a system that had no space for her voice, and in doing so, she widened the door for others.
Thompson’s defiance didn’t stop on the page. She led protests against human trafficking, called out Hollywood’s ageism with biting honesty, and once walked off a film set after producers demanded a teenage co-star lose weight. “I’m not standing next to that,” she said. In a world where silence keeps the machine running, she chose disruption.
Her strength, though, isn’t loudness — it’s precision. She doesn’t shout; she chooses her words like scalpel strokes. Every “no” she’s ever said has been an act of creation — cutting away what diminishes women, carving space for authenticity. “There’s power in refusal,” she once said. “It’s how you build something worth standing in.”
Emma Thompson didn’t conquer Hollywood by playing its game. She rewrote the rules, one sentence, one character, one boundary at a time. Her legacy isn’t just in the films she made — it’s in the ones she refused to make.
Because sometimes the bravest act in a room full of power is not to accept the script they hand you — but to pick up the pen and start writing your own.

11/10/2025

BREAKING: Gavin Newsom declares he will be replacing President Trump on the world stage by attending the United Nations climate summit in Brazil.

Newsom says he understands that climate change is an ‘existential crisis for the survival of our species’ despite Trump repeatedly dismissing it as a hoax.

11/10/2025
11/10/2025

The fight to lower costs is a righteous fight, and we must not give it up.

11/10/2025

Beautiful Manitoba Evenings..
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11/10/2025

She had eight kids. He had ten. Their first date required a calculator and a very large dining table.
In 1968, two of Hollywood's biggest stars—Lucille Ball and Henry Fonda—came together for a romantic comedy that seemed impossible on paper. She was America's favorite redheaded comedienne, fresh off her legendary run as Lucy Ricardo. He was the serious dramatic actor who had played Tom Joad in The Grapes of Wrath and the principled juror in 12 Angry Men.
Comedy and gravitas. Slapstick and Shakespeare. And somehow, it worked perfectly.
Yours, Mine and Ours told the story of Helen North, a widowed nurse with eight children, who falls in love with Frank Beardsley, a Navy officer with ten kids of his own. When they decide to marry and blend their families, chaos erupts. Eighteen children under one roof meant eighteen personalities, eighteen sets of needs, and approximately eighteen million opportunities for comedic disaster.
The grocery shopping scene alone became legendary—watching Helen try to fill shopping carts for what looked like a small army, navigating aisles with military precision while children grabbed everything in sight. The bathroom wars. The food fights. The sibling rivalries that felt like actual combat. The film didn't just show a blended family; it showed the beautiful, exhausting, hilarious reality of trying to merge two completely different worlds.
But here's what made the film special: it was based on a true story.
The real Helen Beardsley had written a book in 1965 called Who Gets the Drumstick?, chronicling her actual experience of marrying a widower and combining their massive families. Audiences loved knowing that the outrageous scenarios on screen—the things that seemed too absurd to be real—had actually happened to real people. It made the comedy sweeter and the challenges more relatable.
Lucille Ball, at 57, was at a crossroads in her career. I Love Lucy had ended over a decade earlier, and while she remained a television icon, she was determined to prove she could still command a movie screen. This role gave her that chance. Helen North wasn't Lucy Ricardo—there was less physical comedy, more maternal warmth, and a groundedness that showed Ball's range as an actress. She played a woman juggling love, responsibility, and the organized chaos of keeping a household from descending into anarchy.
Henry Fonda, meanwhile, was stepping way outside his comfort zone. Known for intense dramas and morally complex characters, he approached comedy with the same seriousness he brought to everything else—which, ironically, made him funnier. His Frank Beardsley was a by-the-book Navy man trying to impose military discipline on a situation that defied all logic. Watching Fonda's deadpan reactions to the mounting chaos was comedy gold. His understated humor perfectly balanced Ball's energy, creating a partnership that felt genuine.
Critics noted the chemistry immediately. These were two professionals who had never worked together before but understood timing, character, and how to make a scene work. Their mutual respect showed on screen—you believed they were two exhausted, overwhelmed, deeply in love people trying to make an impossible situation work.
The film was a massive hit, earning over $25 million at the box office—a remarkable success for a family comedy in the late 1960s. Audiences packed theaters to watch this unlikely romance unfold, relating to the themes of second chances, family struggles, and finding love when life gets complicated.
Film historians often credit Yours, Mine and Ours with influencing the creation of The Brady Bunch just a year later in 1969. Both centered on blended families trying to find harmony under one roof, though the Bradys had a tidy six kids compared to the Beardsley-North clan's eighteen. Still, the cultural appetite for these stories was clear: America was changing, families were changing, and people wanted to see those changes reflected on screen with humor and heart.
Behind the scenes, Lucille Ball brought her legendary work ethic and professionalism to the production. Henry Fonda, initially uncertain about comedy, came to admire her tireless energy and generosity as a scene partner. They created a film that wasn't just funny—it was warm, sincere, and hopeful.
When Yours, Mine and Ours premiered, it reminded audiences why they loved both stars. For Lucille Ball, it proved she was more than a television comedienne—she was a versatile actress who could carry a major motion picture. For Henry Fonda, it showed his range extended far beyond drama into comedy without losing an ounce of credibility.
The film's message resonated then and still does now: love is messy, families are complicated, and sometimes the most beautiful thing you can do is embrace the chaos and make it work.
Fifty-six years later, Yours, Mine and Ours remains a testament to what happens when two legends take a risk, trust each other, and create something genuine. It's a film about blending families, but it's also about blending talents—comedy and drama, energy and restraint, Lucy and Fonda—into something that still makes us laugh and feel.
Because at the end of the day, whether you have two kids or eighteen, love is love. And sometimes, that's enough.

11/10/2025

September 19, 1931: J.R.R. Tolkien stayed up all night convincing his atheist friend that Christianity was true.
Nine days later, in a motorcycle sidecar, C.S. Lewis converted.
He became the most influential Christian writer of the century.

1929. Oxford University.

C.S. Lewis was 30 years old, a brilliant English professor, and a committed atheist.
He'd been raised Christian in Northern Ireland, but abandoned faith as a teenager. By his twenties, he was intellectually convinced that God didn't exist, that Christianity was mythology, and that intelligent people shouldn't believe in supernatural nonsense.
But something was shifting.
His studies in literature and philosophy kept confronting him with the same questions: Why do humans across all cultures tell stories about sacrifice and redemption? Why do myths about dying-and-rising gods appear everywhere—Norse mythology, Greek legends, ancient Near Eastern religions?
Why did these stories move him so deeply?
In 1929, Lewis had what he later called a conversion to theism—belief in some kind of God, but not the Christian God. He described himself as "the most dejected and reluctant convert in all England," dragged kicking and screaming toward belief in something transcendent.
But Christianity? No. That was still a bridge too far.
The Christian story—Jesus dying and rising—felt to Lewis like just another myth. And unlike the pagan myths he studied and loved, the Christian version came with demands: belief, worship, moral transformation.
Lewis could appreciate Norse mythology about Balder dying and returning. He could be moved by Osiris's resurrection in Egyptian legend. These stories felt profound, meaningful, pointing to something deep about human experience.
But the Christian claim that Jesus actually died and rose? That felt like taking beautiful mythology and ruining it with historical claims that couldn't be proven.
For two years, Lewis wrestled with this contradiction.
Then came September 19, 1931.
That evening, Lewis hosted two friends at his rooms at Magdalen College, Oxford: Hugo Dyson, a fellow English professor, and J.R.R. Tolkien, a philologist and close friend who Lewis had known for years.
Tolkien was a devout Catholic. Dyson was a passionate Christian. Lewis was still resisting.
They started talking after dinner. The conversation turned to mythology, to the power of stories, to why humans need narratives about sacrifice and redemption.
And Tolkien made an argument that would change everything.
He told Lewis: You love these pagan myths because they reflect a deep truth about reality. They're echoes of something real. But what if there's one myth that isn't just echo—what if there's one that actually happened?
Lewis pushed back. If the Christian story really happened, he argued, it loses its mythological power. It becomes mere history, stripped of the transcendent meaning that makes myths compelling.
Tolkien disagreed. What if, he suggested, the Christian story has the power of myth precisely because it's true? What if God authored reality the way Tolkien authored stories—embedding meaning into actual events?
The pagan myths, Tolkien argued, were humanity groping toward a truth they sensed but couldn't articulate. The dying-and-rising god motif appears across cultures because it reflects something real about how redemption works, how death and life are intertwined, how sacrifice transforms.
And then, in Palestine 2,000 years ago, that myth entered history.
The dying-and-rising god wasn't just a story anymore. It became flesh. It walked in Galilee, died in Jerusalem, and rose on the third day.
"The story of Christ," Tolkien said, "is simply a true myth: a myth working on us in the same way as the others, but with this tremendous difference that it really happened."
They talked until 3 AM.
Lewis walked Dyson and Tolkien back to their colleges through the dark Oxford streets. The conversation continued. They discussed metaphor and reality, story and history, myth and truth.
By the time Lewis returned to his rooms as dawn approached, something had cracked open.
He wasn't converted yet. But the intellectual barrier had broken.
For nine days, Lewis thought about that conversation. He read. He prayed—tentatively, awkwardly, not sure who he was praying to.
On September 28, 1931, Lewis and his brother Warren were going to visit Whipsnade Zoo. Warren was driving his motorcycle, and Lewis rode in the sidecar—a contraption attached to the side of the bike where a passenger sat.
When they left Oxford that morning, C.S. Lewis did not believe Jesus was the Son of God.
When they arrived at the zoo, he did.
He later wrote: "When we set out I did not believe that Jesus Christ is the Son of God, and when we reached the zoo I did."
No dramatic vision. No voice from heaven. Just a quiet shift during a motorcycle ride through the English countryside.
Lewis had become a Christian.
And not just any Christian—he became Christianity's most influential modern apologist.
In 1942, during World War II, the BBC asked Lewis to give a series of radio talks about Christian faith. Britain was being bombed. People were terrified. The government wanted someone who could explain Christianity in clear, reasonable terms to a population facing death.
Lewis gave 15-minute talks that were broadcast across Britain. Millions listened—soldiers, families in bomb shelters, factory workers, ordinary people trying to make sense of suffering and evil.
Those radio talks became the book "Mere Christianity," which has sold millions of copies and is considered one of the most influential Christian books of the 20th century.
Lewis also wrote "The Screwtape Letters," "The Great Divorce," "The Problem of Pain"—books that tackled deep theological questions with wit, clarity, and literary brilliance.
And he wrote The Chronicles of Narnia—children's books that embedded Christian themes in fantasy adventure. Aslan the lion as Christ figure. The stone table as crucifixion. Resurrection and redemption woven into stories about talking animals and magical wardrobes.
Over 100 million Narnia books have been sold. Generations of children encountered Christian ideas through Lewis's storytelling—the same power of myth that Tolkien had convinced Lewis was real.
Lewis died in 1963, the same day John F. Kennedy was assassinated. His death was overshadowed by that tragedy, but his influence has only grown.
His books have been translated into dozens of languages. His ideas have shaped how millions understand Christianity. His apologetics have convinced countless skeptics to reconsider faith.
All because of one conversation on September 19, 1931.
J.R.R. Tolkien, who would later write The Lord of the Rings and become one of the most beloved fantasy authors ever, convinced his friend that myths could be true—that the story of a dying-and-rising god wasn't just a story.
Tolkien gave Lewis permission to believe intellectually while still honoring the mythological power that had always moved him.
And nine days later, in a motorcycle sidecar on the way to see the zoo, Lewis converted.
The irony is beautiful: Tolkien, the master storyteller who created Middle-earth, helped Lewis see that the greatest story ever told was also true history.
And Lewis, the reluctant convert who loved mythology too much to believe in Christianity, became the writer who showed millions that faith and reason, myth and history, imagination and truth could coexist.
That September night in 1931, two brilliant men talked about gods and sacrifice, death and resurrection, story and reality.
By dawn, the intellectual foundations of Lewis's atheism had crumbled.
Nine days later, Christianity gained its most influential modern voice.
And millions of people—reading Narnia as children, encountering "Mere Christianity" as skeptical adults, listening to those wartime BBC broadcasts in bomb shelters—found faith through the words of a man who once called himself "the most reluctant convert in all England."
All because Tolkien stayed up talking.
All because Lewis was willing to let the myths he loved point him toward a truth he'd resisted.
September 19, 1931.
A conversation that changed literature, apologetics, and countless lives.
The night the atheist professor started believing in true myths.

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Winnipeg, MB

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