Poem for my parents' wedding anniversary: Words and Silence

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My parents with me after Dad had preached his sermon

one Sunday, probably in 1959; I'm guessing

it was Mother's Day; I am the youngest of 8 kids;

my parents were 40 when I was born in 1956;

I remember this day, and being grumpy

for this shot. I needed a nap. (still do)

Yesterday was my parents' wedding anniversary; they were married in 1941. They both passed away in the 1990s. I suppose something we never stop doing is to look for them when they're gone, mostly in ourselves. I thought about them a lot yesterday, remembering how they would give each other anniversary cards at the breakfast table, with an acronym on the envelope. They could not open their cards until they figured out what the acronym stood for. (Could be something such as: T. T. M. H. M. I. T. W.) By the way, speaking of handsome (catch that?), Robert of The Solitary Walker has a wonderful new blog about the inner journey called words and silence. I guess that phrase has been on my mind lately too as a result.

Words and Silence

My mother was a talker. An enthusiast.
She’d meet us at the front door with a book
open in hand, ready to expostulate. “Oh, hello,
Mom.” “Hello. Wait till you hear this,” she’d say.

Our father was quiet (when not in the pulpit
or visiting parishioners at home or in the hospital).
Still waters and all that. Mom talking
at her end of the ten-seated dinner table,
he waiting at his end, not saying
a word, hands on his lap, not eating,
and finally someone notices that
he’s waiting. “Potatoes, Dad? Pickles?”
When he smiles his faint smile,
you’ve found it, and you pass it to him.

They are long gone, but I taste them
here in my mouth. My mother’s excitement
about life, her garrulous smorgasbord
spilling across the table. My father’s
silence—waiting, so often waiting—
for the salt or beans or something else spread
out upon the table in front of us, content
to let the empty space of his buttercup plate
just rest awhile.


March 2012

Poetry should be heard.

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For loving days: another farm wedding!

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the bouquet I carried in our daughter's wedding, dried in l'atelier;

with my stick woman

I love a wedding, with its organza and lace, armfuls of flowers, pretty white chairs, music, sacred ceremony, and dancing, though part of me would like to avoid expensive wedding balls, if they are built on prestige and poppycock. As for Valentine's Day, I have always felt that love is for every day, and a box of chocolates, though tasty, lacks a bit by way of imagination.

But ain't love grand? Mais bien sûr! Our son is just engaged to be married to a woman he is in love with, and so are we. They will be married here on our hobby farm in August, three years to the month after his sister was married to her love here on the farm. (I posted about their wedding here.) Once again we get to mix satin and straw, quilts and lace with Queen Anne's lace, golden sunflowers and golden rings. There will be games, Mason jars with lemonade and beer, blackberries and golden raspberries, family and friends, torches and bonfires, music and laughter, kisses and tears. These are our children, grown and happy. And won't James be bouncy in his seven-month baby fat watching Unkie Pete wed his bride and new auntie? Or will he be crawling after a damselfly dressed up in gorgeously iridescent tulle wings?

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Announcing: my first grandchild

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name: James Lawrence

born: January 18, 2012 (his due date)
Time: 11:17pm

labor: 22 1/2 hours

health: excellent

weight: 6 lbs. 11 oz.

length: 18 inches

energy/personality: still, gentle, graceful

parents: strong, exhausted, besotted

grammy: in love, speechless, listening

My first blog friend, M.A. Rauf

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I am one who knows how this blogging experience can change a person, for I have been profoundly changed. Later this month it will be six years since I began synch-ro-ni-zing. While it is my spiritual practice to write, and my creative play to take photographs, is it also an act of rapt listening to sit in the blog "theater" where you, my blog friends, share your own explorations. I evolve, much as a result of our engagement with one another.

Within just a couple of months of starting synch-ro-ni-zing, my outlook was transformed by one blogger. When I had just a couple of family members reading my blog, including my sister Ginnie who explained to me the ways of blogs, having published at In Soul for a year already, M.A. Rauf stopped in from India for a warm and welcoming visit. Ginnie had taught me to reciprocate blog visits as part of bloggy etiquette, and so I visited Rauf's Daylight Again after that first greeting from him. ("Rauf" — or "rauf" as he prefers — is pronounced "rah-oof.")

There isn't a way to summarize Rauf, or his blog! But I can say that he is a stunning photographer with heart, a writer with compassion and deep respect for those who are "untouchable" or otherwise downtrodden (you will see this for women in his photography), a lover of science, and a fervent lover of his India, with all her complex layers and intricate arts. He opened my eyes to atrocities; he encouraged me to think for myself. His humor, honesty, irony and sometimes outrage over what humans do to each other—including at home in India, and in the U.S.— shook me out of comfort. His love and compassion taught me to see people differently. He took over where my big brother Bennett left off when he passed away, whose worldview had shaped my own, environmentally and politically. He teaches me tips about photography, too, like Bennett.

Rauf doesn't blog much now, a real loss to me and his many followers from all four corners of the world. But he still takes photographs on his travels around India, and he still rages against agri-businesses that threaten not only all of our health, but the very lives of farmers in India who literally cannot survive financially and consequently commit suicide as families. When you watch this YouTube slideshow I made of a sampling of Rauf's images (please watch, it's just six minutes), observe the faces of his subjects, who cannot resist his charm: even Mother Earth smiles when Rauf lifts his camera.

Today is Rauf's birthday (January 8; it's already the 8th in India). Even though he and I have never met in person, and may never meet (though I hope that one day Don and I will get to India to meet him!), he is my brother. Happy Birthday, Rauf! This is a small "thank you" for the gift you are to all who know you. Watch full screen to be wrapped in the photos, and listen to "Time Remembered" by the Bill Evans Trio.

Photos by Rauf

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A home in winter

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I am not much use with my hands. I have bent them to work in an office on computers. They are weak, sore, pitiful. I hold a needle to a quilt a short while, the fabric and batting gathered and bunched in my left hand, the needle a steel splinter of my once-magic wand arm in my right; then my hands collapse, in pain or icy numbness, in the calico on my lap. The most basic tools have no moneyback guarantee.

But once, after the supremacy of Sunday morning church and dinner, these hands of mine built a home. I was five. I had three construction assistants in the yard between the house and the church — ages nine, eleven and thirteen; male; also inexperienced builders. It had snowed; the snow was deep. Then it snowed some more. It was January, the snows piled like ancient stone-dust cities of the Holy Land pilgrimage our parents showed us in slides. Then it rained on our cotton and wool hooded snow suits and on the snow; the rain froze. The black metal clasps of my red rubber galoshes froze shut. If we were very delicate, we could walk atop the crusted snow. With straight-edge machete fingertips, from the large age thirteen size to the small five, we punched out big rectangular snow bricks. Deep, deep I still feel the way of precision, my fingertips in wool mittens slicing snow stones from the whole quarry yard for layering in the masonry of igloos. No one taught us this. When the walls were an inch higher than the thirteen-year-old, my brothers placed the plywood ceiling and finished the exterior with a roof of ice-and-snow slate. We packed white mortar in each gap; smoothed with pearl-iced mitten-index fingers: a ten by ten closet or a small bedroom where the four of us could lie side by side hidden in mystery in the expanse between our father's parsonage and the church. We slept quietly in our civilized and insulated imaginations. We could live there, and survive. So warm; so home. So temporary.

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concrete poem, and alternate traditional form: family tree

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family tree

while   traveling

at the speed of a car   a particle hovers in the
passenger seat next to me      a neutrino of time and
space travel that I do not need to prove to anyone   or apologize

to the standing cows    for talking to myself like a mad scientist
who is to say he isn’t my self    a particle miracle      I go on
about my dead brother and gasp because he is not old enough
yet to hear about death    not even arrived here in this hubbled air
not having swum the arc through his mother’s arch    that opens
to the courtyard wherein the    family tree spreads limbs
on which my brother,   my father,     my mother have already

ripened and fallen in earth’s gravity    and I tell him
we don’t even know what they are

gravity    or death     or falling

but     soon    he    will
drop    and      be
caught     in
his
mother’s

ivory
hands

then

perched

and

nestled

in the

fork

of her

armpit

and

breast

his head

a plum

the crease

of his mouth open

for the galaxy of milk and I point

to the calf in the farmer’s field holding on to his mother for dear life

from the twig of her teat between the branches of her legs and say see life falls like that

Added note, from wiki: Concrete poetry or Size poetry is poetry in which the typographical arrangement of words is as important in conveying the intended effect as the conventional elements of the poem, such as meaning of words, rhythm, rhyme and so on. 

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11/20/11 7:22am I am reposting the poem without the shape, which may be a distraction this time. Fun to experiment (as Brendan says in his comment), but maybe this poem is better served in a traditional shape. 

family tree

while traveling at the speed of a car
a particle hovers in the passenger seat next to me
a neutrino of time and space travel
that I do not need to prove to anyone
or apologize to the standing cows
for talking to myself like a mad scientist

who is to say he isn’t my self
a particle miracle

I go on about my dead brother and gasp
because he is not old enough yet to hear about death
not even arrived here in this hubbled air
not having swum the arc through his mother’s arch
that opens to the courtyard
wherein the family tree spreads limbs
on which my brother, my father, my mother
have already ripened and fallen in earth’s gravity
and I tell him we don’t even know what they are
gravity or death or falling
but soon he will drop
and be caught in his mother’s ivory hands
then perched and nestled in the fork
of her armpit and breast
his head a plum
the crease of his mouth open
for the galaxy of milk
and I point to the calf in the farmer’s field
holding on to his mother for dear life
from the twig of her teat between the branches
of her legs and say see life falls like that

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Full House

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The week walks like a little girl in a brand new pair of black patent leather shoes, in a full house, ready for a huge piece of pumpkin pie with real whipped cream.

1Wednesday Inge and I toasted to eight years of good health and friendship since her breast cancer diagnosis. There is no way to express what this person I trust with all my being, with whom I have shared every discovery in tandem, means to me.

2Saturday the five of us (Don, me, Lesley, Brian, Peter—six with Poppy Seed) squeezed into Don’s new Chevy Cruze to drive down and help Don’s 83-year-old parents move into their new apartment. While the men moved the heavy stuff, Lesley and I made three pies: two apple and one pumpkin that we roasted a couple weeks ago. (If you don't have molasses in your recipe, add two tablespoons; you'll thank me.) I made pie crust from scratch for the first time in I don’t know how many years, and it was well worth the effort. (Ina Garten’s recipe was perfect.) A rare-for-me baking fest felt so good. Then feeding it to the five weary men felt even better.

3Tuesday is my Rilke blog partner Lorenzo’s 55th birthday. (Oops, I didn't ask him if I could tell you that, hope he doesn't mind.) Who'da thunk I'd have a blog partner in Spain whom I've never met? It just shows that you don't have to be with someone physically to develop a close friendship. Lorenzo's blog The Alchemist's Pillow is a haven of art enthusiasm and history, poetry, Spanish culture and other beauties that belie categorization. Happy Birthday, Lorenzo!

4Wednesday is the Willow Ball, and the moon goes harvest-full. Last week I wasn't feeling the ball thing, and then I got inspired. I'll tell you next post. I hope you'll go, because if you don't you'll feel like a slug. Everyone's invited. Go to the link and look at the invitation.

5Friday is our son Peter’s 29th birthday. He is now back in Michigan to live after moving to L.A. in the summer. All five of us are in Michigan now (six with Poppy Seed)! After Peter's accident last month, you can imagine my feelings hugging him a couple of weeks ago. His jaw is healing well; just a couple of more weeks of wiredness, and then we'll cut loose and celebrate his birthday a bit late with SOLID FOOD.

Now if only the Detroit Tigers win the American League title in the baseball playoffs against our son-in-law's Texas Rangers, we’ll be "hitting on all sixes ." To "hit on all sixes" is Jazz Age slang for performing at 100%, as in hitting on all six cylinders. Don's new Chevy Cruze doesn't have six cylinders, but it is a six-speed, the new Eco model. Sweet (but claustrophobic for five, especially when one of the five has a sixth in her).

The Wes Montgomery Quintet gets the idea of this glee in "Full House," recorded live in Berkeley in 1962. On Piano: Wynton Kelly; on tenor sax: Johnny Griffin; on bass: Paul Chambers; on drums: Jimmy Cobb. I love watching Wes's five l - o - n - g fingers on his right hand on the strings and the left five on the frets, then Wynton's five+five fingers on the keys while sun flare music and Wes's smile drive headlong on all six cylinders into my heart.

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Poem: His instrument

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His instrument

In this early morning dark
I am unused to the sound

of the old rasping clock that hangs

on the wall until it is shipped

to our son. It is a banjo twin

of the one our girl already has —

gifts from their grandpa,

my father-in-law, who is still

living, though altered

from when he collected time

pieces, wool-serge-suited for work.

He wound keys of all 74 clocks

before driving off in his ‘77

Lincoln, back when he had both

kidneys and a five-bedroom
colonial. His meticulous fingertips
have plucked pendulums

into motion, rotated arrow-hands,

and shut doors with

miniature country paintings

on glass, housing hollows

of time that keep tapping out

the rhythm of a heart,

strumming the quarter hour,
radiating his timbre now into
our many houses across
the land, long after
he has fallen asleep, flanneled
in his corduroy chair,

snug in the apartment where
he'll drift off until the end of time.

banjo clock image found here

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Nouvelle 55: Nelson's Mandala

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Nelson's mandala "synch-ro-ni-zing"

It never once occurred to me to write a Nouvelle 55 for my 55th birthday. But it did to my brother Nelson who wrote this one for my birthday post today. It is based on this complex and radiant mandala he designed for me in April. When he created it he meditated on the name of my blog, and flights of imagination caught him. I see me at the center. I see the overlapping worlds that touch me. I see crosses . . . perhaps the religion of my past. I see XOXO - the symbols of hugs and kisses which commenters and I use for one another. I see memories, stories, all that has made me who I am. I see the worlds of others around the country and world whose lives have come into mine through blogging. I see vibrancy and life, and most of all color.

Nelson is the oldest of eight kids, I'm the youngest. We didn't bump into each other much at home, since he went off to college before I began kindergarten. He did have a part in naming me. He was sweet on a certain girl, so when Dad asked what they should name me if I was a girl, Nelson said her name, "How about Ruth Anne?"

It wasn't until 1995, the year I turned 40 (the age of my parents when I was born) that our friendship began. When Dad died of cancer six weeks after his diagnosis, Nelson and I were given the task of designing the funeral program for him. The family had to take special care arranging the funeral of a minister who had conducted countless funerals in our little town. While Nelson and I sat with our heads together at the dining table over the typewriter designing the printed program for the service, gradually, and unrelated to our task, out trickled traces of our own stories, revealing similar feelings about growing up in our home. It hadn't always been easy.

Since then, we've grown to be close friends. We talk about the mysteries of the soul, and we're both deeply optimistic about that. "Whether that comes from nature or nurture, I cannot say. Part of being optimistic is keeping one's head pointed toward the sun, one's feet moving forward." Do you know which Nelson said that?

The haiku-esque stanzas of Nelson's poem are like layered stairs of time, bearing our separate-yet-interconnected steps toward spiritual freedom.

These gifts live and move.

Nouvelle 55: Eight Twenty-two

An age ago
Sophia undraped Ruth,
baby number eight.

   Soon number one
   teased out smiles and, later,
   steps from her stances.

      Then he hid in ivied halls;
      when he emerged
      she dropped petals for his bride.

         That couple drove
         into the sunrise
         and Ruthie blossomed.

            Presently
            she soars under stars,
            inspiring him onward and upward.


            Mandala and Poem © Nelson Hart, 2011

Nelson's Note: Ruth describes Nouvelle 55 as a flash fiction or poem in 55 words based upon a work of art. Nelson describes mandala as a symbol of the relationship between the larger world and our inner world; the image accepts life's tension and ambivalence. Carl Jung believed them to arise out of “the unconscious self." For information on mandalas in the Indian subcontinent, see this.

Ruth’s note: Sophia is a feminine aspect of God in the Gnostic tradition. Some say She fell from grace and created the material world, still expressing the light of God. She’s the deep mystery of wisdom (and the wisdom of mystery?). Lately when I pray, I pray to her. I don’t think Nelson knew that when he wrote his poem.

Us 8 kids in 1961 (?)
bookended by Ruthie and Nelson, 

with Ginnie (Boots) 3rd from right;
I loved my matching dress and sweater set,
and velvet shoes

Nelson and Peg's wedding in 1964; I was junior bridesmaid;

our brother Bennett who passed away in 1996 stands next to Nelson;
and our Dad is next to Bennett

Dad married Nelson and Peg in his Baptist church

 my college graduation in 2001 when I was 44,
with Ginnie (Boots) and Nelson,
a sister and brother of the soul as well as the blood

Nelson and me at our great-niece Katy's wedding in May 2011

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Poem: Departures

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I am on vacation (stay-cation) and am 'supposed' to be working on my book this morning, a self publishing project that I hope to have ready in the fall for anyone interested. Well, I came across this poem in that partial volume, written in 1994, and I thought I'd post it. I am the youngest of eight children. This is about my next older sibling, four years my senior. He doesn't read my blog, but even if he did, I'm not sure he'd find anything in this poem that is untrue or unfair. He was my best buddy growing up. He tried to teach me to laugh at myself when I struck out at neighborhood baseball. He didn't succeed, but I love him for trying.

Departures

He arrived home like a Fenian
in his long-haired sheep coat,
dirty from bus sides, the smell of English
cigarettes a celebration in his hair,
maroon patent platforms cracked
from two lavish weeks on London sidewalks,
fulvous Lennon wire-rims the keystone,
his mark of triumph.

At 18,
he had pocketed his tuition money and cast
the coins over his shoulder into the Thames.

I noticed him camber slightly
as they stepped from the station wagon,
then straighten to the same height as Dad,
the first time my brother ever appeared
a stranger in our town, combating the gravel
of the driveway, so unlike Dad, even calumnious
in his gait, the jingle of foreign currency
audible above the restraint of our welcome.

It was then I knew he had entered a mezzanine
decade or century or maybe an island
where he began to linger
away from us, although 25 years later
he still lives in the same town.
He approached my mother and me on the porch
and, looking me in the eye,
departed across the channel, oars cocked.

Listen to a podcast of this poem here.

Photo still of London in 1970 from the movie "Follow Me" found here.

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Giving thanks for the greatest days of our lives

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     Thanksgiving weekend we wound through towns with names from my childhood on the road to the old family cottage – Betsie, Beulah, Benzie, Mesick -- on our drive north to “the Cape Cod of the Midwest": northwest Michigan. The childhood cottage was the lake place my great grandfather and great-uncle built, of the hoity toities from Chicago, the ones with money who I was sure I should have been born among. Had there been some mistake? I was the youngest of the born-again Baptist minister’s family, all ten of us. We must have been a visual diversion when descending upon the Congregational Assembly at Crystal Lake just a mile from Lake Michigan, tumbling out of the old fifties Woody wagon, carrying brown paper bags from the trailer bursting with clothes and groceries, then changing into hand-me-down cotton bathing suits and running to the beach. How I loved the smell of fusty leaves around the white painted porch and its slamming wood screen door, then the hot asphalt road I skimmed across barefoot to the fine white sand edging the lapis blue lake, and at last digging my fingers down beneath hot sand to cool clay, clawing it into my fist, then sculpting bowls to be lined up to dry in the sun in preparation for some imagined feast.

     So when we drove up this Thanksgiving weekend to a lake inn down the road from that old glory of a place, with foot-thick birches and old wooden porches, I was five again, smelling lake water lapping the firm white beach. I was walking the lane through deep oak woods and a tunnel of white cottages to Lake Michigan where we’d watch the sun set. Back at the cottage before bed, with sore sunburned skin, I’d sit on my fifteen-year-old sister’s lap during family devotions in warm lamp light and learn to read by following her fingertip guiding my eyes over the black print on thin Bible paper in passages Dad picked. We ten sat in wicker sofas and chairs around the unlit fireplace, my long-legged sisters and brothers shifting and rearranging the cushions, while they imagined the other cottage teenagers dancing at the rec hall.

     This year’s Thanksgiving weekend was an anniversary ball to celebrate my nephew’s wedding to a brilliant woman who survived breast cancer last year. In a little black dress and heels I sat on the edge of the dance floor watching two dozen kids dance with abandon. Others joined me sitting there between dances, observing the Bacchanalia of movement, sweat and wildness of the three-to-twenty-year-olds. We reminisced back to our own quiet and sober wedding celebrations, utterly devoid of wine, song or dance in the basements of Baptist churches. How far we’ve come, we said, how free we are now, sculpting memories of dance and lining them up like clay vessels to be filled with the wine of wedding after wedding, then dashing them to pieces in the fireplace with joyful abandon, until the next wild-heart celebration.

     Just then four-year-old Greta hoofed by yelling, “This is the greatest day of my life . . .” above the speakers blaring Cake’s “Perhaps, Perhaps, Perhaps” as her cousins pulled her back into their line dance.

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Acorn season

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Nineteen of us, including babies, headed to the family cottage for the fall clean-up Saturday. We took out screens on the porch and washed the storm windows before putting them up. We cleaned behind the stove and fridge. We raked leaves. We raked and raked and raked. We piled leaves on tarps and dragged them into the woods.

There's a lot to rake, all the way around, down the hill to the lake, and down the driveway.

Our cottage sits on a hill, the highest point on the lake, except for the state-owned woods next door, which we don't have to rake, thankfully. If you know about feng shui, our cottage has a pretty good feng shui position with its hill at the back and side, and facing water.

This is the view of the place from the lake.

It takes a big investment of energy and funds from our individual selves to maintain this place and keep it in the family, now that Mom and Dad are gone. Sometimes Don and I think of the vacations we could take somewhere every year with our share if we didn't have this place to keep up.

And then we gather with our family at one of the spring or fall work days, or the 4th of July, or New Year's, and we realize again that we have something very special. We have a home where our tribe can go, and keep our love alive.

I wasn't even going to post about the cottage clean-up this year, and then when I viewed my pictures I had to show you the acorn harvest and what I learned.

For hours, the kids picked cleaned up acorns. (Their work was important.) There was a bumper crop this year! I asked Audrey if she thought they could pick them ALL up. She said with complete assurance: Yes. Of course it became a competition between the girls and the boys. But when I asked Audrey if they were going to count them all, and she said, No, I said, well how will you know who wins? That stumped her. She and Lydia stored theirs in the playhouse oven. Eli and Johnny stored theirs in the plastic dock owl. I don't know who won. I don't even know if they know who won. I do know that not all the acorns got picked up, but don't tell them.

The icing on the acorn cake was when Casey (in the next to the last photo, below) decided she was going to make acorn cakes. (You can see the ball of acorn dough in her right hand in that photo; that's a lot of acorns.) I asked her if acorns are edible, she just shrugged her shoulders and smiled big with her gorgeous white teeth just released from their cages (braces). I told her I was not about to sample her acorn cake until I knew they were not poisonous (where was my sick-at-home husband when I needed him?). Someone googled it on their iPhone and we decided we were safe. You know what? Acorn cakes are not bad. She just added flour and water. I could survive with Casey if we were stranded near oak trees.

Of course when I got home and asked the sick [smarty-pants] husband about eating acorns, he coughed and sneezed out a fine lecture on the Native Americans, especially those in California, who made breads and mush with nutritious acorns, soaking them first in water to remove the tannins. They used the tannin water to tan animal hides. Read this beautiful history in our National Archives of the California Indian Acorn Culture. You know what I just remembered? I think Casey's mom has Native American heritage. Casey was not taught this by a relative though. It was in her somewhere, waiting for acorn season when the acorns called.

In the photo above, you can see a number of things: The original structure, on the right, built in the 1920s with its tin roof that is wonderful to fall asleep under in our beds at night when there is a rainfall lullaby (but alarming under acornfall!) and badly needs replacing; at the left, the addition my father built in the 1960s (after my grandpa bought the place for my mom) to accommodate the ten of us, and eventually many, many more; and most importantly for this post, notice the little green sandbox lid at the bottom left behind the woodshed where Casey and Sydney stashed their acorn collection, which ended up in the acorn cake, below. (Oh! Casey and Sydney won!) In the first picture, Gary (visiting from Guatemala, next to Rachel from Brazil), is smelling the acorn dough.

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Family (H)art

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Come in, come in, just follow the crowds (hehe). I hope you don’t mind if I indulge myself. I have created a gallery of visual art by members of my family. It’s my gift to me mostly, an acknowledgement of the love of growing up with Art as a recurring character in our family tree. It’s long, but you can be grateful that every single member of my family is not represented. In total we number 70 living souls, if I count correctly (math is not my strongest subject), but I am only including the visual artists, several of whom have passed on. I'm sharing 15 artists in all. I am defining visual art narrowly, as what you can hang on a wall (except for one exception, one of Lesley’s). Please click on the images if you’d like to see the details enlarged. I’ll start from oldest to youngest, except me. I’ll be last, but it doesn’t mean I’m saving the best for it. I’m just trying to be polite. Of course just look at pictures if you don't want to read all the information about the artists. I wouldn't blame you one bit, I know you're busy. This is documentation for my family and me as much as anything.

DISCLAIMER: I took photographs of many of these images, or the artists did, so there might be glare, or distortions. Blur your eyes when necessary.

Welcome, won’t you come in? Would you like an audio guide? They’re only $5. Or you can leave your photo ID. (I don’t really have an audio guide, I was just kidding.)

Corn, by Grandma Elizabeth

1 Grandma Elizabeth  b. 1870 d. 1957. My dad’s mother was 47 when Dad was born (and his dad, also a minister, was 70 when Dad was born and fought in the Civil War!), and I do not know if I met her. She died in Charlottesville, Virginia less than a year after I arrived. When my older siblings knew her, she was deaf and used an ear horn to hear. I know little else. Were we ever surprised when Dad was dying gently on a hospice bed in his dining room in 1995, and someone found this corn painting of Grandma’s in the attic. We had never seen nor heard of it, or that she was an artist. Lucky me, it’s hanging on the wall in our bedroom. (We don't have a formal dining room, where it would be more appropriate.) Sorry about the glare and distortion, I tried to photoshop it out and just couldn't get all of it.

2 Grandma Olive  b. 1891 d. 1960. I’ve posted about Grandma Olive, my mom’s mother, many times at this blog. I have no memory of her, she died when I was 3 or 4. After graduating from the Art Institute in Chicago, Olive was a professional artist/designer/illustrator in the 1920s and 30s. She designed clothes for Vogue and wallpaper for Thibaut. Her pen and ink drawings illustrated World Book encyclopedias and newspaper ads. You know that curious little sepia girl studying life from my sidebar? It’s one of hers, from a page in World Book, below. In this gallery I’ve also included a cabinet she painted that now lives in our family room. Mom said her mother used to go tromping on the streets of NYC looking for dilapidated bargains and would bring them home and doll them up. Below is also her cover illustration for the Bayonne Times (she resided in Bayonne, New Jersey) when the NY Holland Tunnel opened – the world’s first vehicular tunnel.

Illustration in World Book Encyclopedia, Grandma Olive

The "bastard" cabinet (so-called by an antiques dealer
who said it mixed many styles)
that Grandma Olive rescued and painted

Cover and detail in the Bayonne Times, on the event

of the opening of the Holland Tunnel, by Grandma Olive

3 Uncle Jimmie  b. 1906 d. 1994. My dad’s 10-year-older brother. The subject of a poem I posted. Uncle Jimmie had his own printing company, and he used to send us calendars at Christmas with prints from his carved woodblocks. Woodblock prints require a long, arduous and painstaking process, with a different block carved for each color, leaving the rest of the design uncarved and left for another block, then having to align everything perfectly.

Woodblock prints, by Uncle Jimmie 

4 Mom  b. 1916 d. 1997. Though my mom was a musical artist (pianist, choir director and composer), not so much a visual one, I’m including sheet music from an operetta she wrote based on Alice in Wonderland, which I only just learned about from my niece Shari, herself a splendid pianist, who inherited her grandma's handwritten sheet music. It has Mom's maiden name on it, but I have no idea when she wrote it. I think the flourishes of musical note flags are lyrically and visually beautiful. I sat by my mom on the piano bench as a toddler while she composed, watching her play a phrase, then transcribe the notes onto staff paper, painstakingly, one phrase at a time. Eventually I started pounding out melodies after hearing them repeated so often, surprising everyone. Too bad I didn't turn into a prodigy.

My mom's composition of the operetta, Adventures of Alice in Wonderland, never published

5 Dad  b. 1917 d. 1995. The image of him at right is the day he pronounced Don and me Husband & Wife. In his early days as a minister, my father supplemented his income with signs he painted. He was a fine pen and ink artist as well and created his own bookplate, below. Engravers duplicated the image on his and Mom's gravestone. Hart was his name, but it was also an animal (another word for deer) in a beautiful Psalm verse that represented his heart for God: As the hart panteth after the water brooks, so panteth my soul after Thee, oh God.  ~ Psalm 42:1.

Dad's pen and ink bookplate.

Mom and Dad's grave stone, with Dad's art work
(that's the headstone of my childhood Dr. Garlock behind)

6 Boots, aka Ginnie  My sister.

I grew up watching Bootsie draw. She drew this girl very early, in high school I think. Now she uses Soul Girl as her avatar at In Soul, her blog, after I suggested it, since it so perfectly represents her spirit. She is also an inspired photographer, and I am including a photo of windmills, one of her favorite symbols. She lives near Amsterdam with her wife Astrid, where they are legally married. (When oh when will we catch up in the U.S.?) I like that both these images are about wind. Her blog is In Soul and her photoblog is Hart & Soul, where she unfolds her beautiful eye and insights into life.

Soul Girl, by Ginnie

Windmills, by Ginnie

7 Bennett  My brother, who passed away in 1996.

I’ve blogged about Bennett a lot. I think there is no one who has shaped my world view more than he did, eight years my senior. He loved to shoot rustic scenes in Nova Scotia and New England. He shot this Greek Orthodox priest in Greece in the 1970s. (Do you think they were related?) Bennett died before the advent of digital photography, and I think he would have loved it, though he also had his own dark room and loved to spend hours deep into the night developing prints. I have no way of knowing if this print I photographed was one he was happy with, since he discarded so many out of perfectionism. My photo of it also does not do it justice, and one of these days we’ll need to scan it or its negative (I think one of my nephews Paul or Todd, see below, might have Ben’s negatives). This photo, which he made a very large print of, won grand prize at a photography show, and was breathtaking. I have also included the poster he used to advertise his work. The grasshopper was his “avatar.” (Again, sorry for the glare on that one.)

Greek Orthodox priest, by Bennett

Bennett's photography show poster

8 John My brother.

John and Bennett are in the photo at right at the Acropolis in 1970 -- John is on the left; click to see their handsome faces better. John is my closest sibling in age, four years my senior. We spent many hours at the kitchen table sketching, and I was always amazed at his abilities. Strange story of synchronicity: As I was preparing this post last weekend, Don found the following charcoal John did of our dad in our barn in my dad’s things, quite by accident, accompanied by the touching poem. In a quick phone call to John he told me he believes he created them together sometime in his teens. I'll type out the poem here, because it touches me and expresses something of my own sense of things growing up.

You were tall and I was small—

I gazed wide-eyed at your legs and feet.

You’d hear the ring, then answer the call

and head off down the street.

(I tried, when you walked,

to follow along, but your steps were hard to reach).

And it seemed to me you never talked,

except to pun or preach.

Your silent side was good for me;

it helped me grow inside.

I watched and listened, and I could see

the heart you couldn’t hide.

I remember well one hurtful day

how you loved me in your quiet way.

You stood at my door with tears in your eyes;

your heart reached for mine with pain-laden sighs.

When I was liddle I watched you diddle—always on your knee;

You were tall and I was small, but I knew it was just for me,

‘cause after awhile—

you’d smile.

~ John

charcoal of Dad, poem to Dad, by John

9 Todd  My nephew – my sister Nancy’s son.

Todd is a web and graphic designer, among many other things. The first image, titled “Esther,” is a pen and ink drawing he created in high school. Todd has also started a photography business doing photo shoots with models (his web site is here). The second image of Margaret was shot during a photo session at our farm.

Esther, by Todd

Margaret, by Todd, shot at our farm

10 Paul  My nephew -- my brother Jim’s son.

Paul's four kids are often his photo subjects. Paul provides design for software professionally and is also quite successful selling his photos at iStock on the side. (His best seller? A hospital emergency sign.) I fell in love with these two portraits of his kids Lydia, Eli, Aden and Clara, when he posted them at his flickr photostream, taken at our family cottage about a month ago. In fact, these images were what got me inspired to do this family gallery. They remind me of a cut-out silhouette we had done at Knott’s Berry Farm when Lesley was little (right).

Clara and Aden, by Paul

Lydia, Eli, Clara and Aden, by Paul, at our cottage

11 Mark My nephew -- Ginnie/Bootsie’s son.

Mark shot this spontaneous family portrait of us on the frozen lake over New Year’s one year. That’s our family cottage on the hill in the upper left of the photo. Mark is a computer programmer and also studied photography at the Maine Photographic Workshops. I’m trying to remember why we were smiling so geekily in this photo, I think we had just been skating around and slipping on the sliding ice like spazzes. We’ve paused for Mark and are holding on to each other for dear life. Oh! I just noticed . . . that scarf hugging Lesley's head is one of the only things I've ever knitted.

Family Portrait, by Mark

12 Rachel My niece – my brother John’s daughter.

Rachel lives in Utah with her husband Swede and is dying to have her own studio to create art again. She teaches English and math to special needs students in middle school. I just love this acrylic Paris painting, her own version of Starry Night. Don't Swede and Rachel look like they were just tango-ing?

Paris, by Rachel

13 Lesley   My daughter.

Lesley went to art school in Detroit (College for Creative Studies), earning a Bachelor of Fine Arts in Interior Design, and a minor in Fibers. I have some gorgeous wearable art she has made. When she has time and energy after working very hard as a commercial interior designer in NYC, she knits, makes beautiful jewelry and creates re-styled clothes from vintage. I have included her charcoal self-portrait from art school, an interesting technique of covering the paper/canvas with charcoal then rubbing out the drawing with an eraser. Below that is a photo of a retail space she spent about 18 months designing with her boss at Spin Design where she still works, including the design of custom furnishings. I am especially fond of the gold mesh chandelier "sheaths." It is the Swiss watchmaker Audemars Piguet’s newly opened flagship store on 57th Street in NYC. I think the least expensive watch they sell is about $10,000, so please do browse -- you might bump into Arnold Schwarzenegger or Meryl Streep, who are AP customers. I like the juxtaposition of Lesley’s bohemian art school self and the posh watch store.

Self, by Lesley

Audemars Piguet flagship store, designed by Spin Design (by Lesley and her boss)

14 Peter   My son. 

Like my mom, Peter is a remarkable musician (guitarist, arranger). But he is also an artist and amateur photographer. This painting is one he did in Advanced Placement Studio Art in high school, in the manner of Peter Max. The photograph below that is one he shot in Hilo, Hawaii. Peter continually inspires me with his photographs and also excels at videography. (The photo of Peter and me is from a few years ago.)

Purty Gerty, by Peter

Hilo puddle, by Peter

15 Me My self.

I can draw some, but I don’t apply discipline or practice, so just sketching something once or twice a year means I haven’t developed my skills. The sketches span decades: a young man in a magazine while I studied abroad, Hal Holbrook as Mark Twain a couple of years back, an imagined girl 20 years ago, and a drawing for a Christmas card around that same time. If this is not your first visit to this blog, you know I love to take photos. The first photograph below is probably a favorite of mine, shot early one morning in October 2006, when I went out on Horseshoe Lake where our family cottage is, in Lesley’s kayak, with my little point and shoot Olympus. I watched the moon set and the sun rise in that two hour float. If you look very closely, you can see geese on the water at the left. The next photo is the same lake, same morning, the sun rising in fog, just about 30 minutes later. It may look silent, but dozens of geese were honking (like vuvuzelas). It is a strange feeling to hear something so loud and close, that is invisible.

Sketches, by me

two photos of Horseshoe Lake

top: moon setting -- can you see the geese in the mist at the left near the horizon?

bottom: 30 minutes later, sunrise

by me

Well, that's it! Thank you very much for visiting my family gallery today. I know it was long. Bravo for getting down to here. You can put your audio guide thingie over there by the door before you leave. Now the sun is up, and I hope you found some visual pleasure in the comfort of your chair.

There is more artistic talent in my family, including Nelson who designs kitchens, Susan who plays piano like a goddess, Nancy who decorates houses that should be in magazines, Jim who has skilled craftsman hands, and their many children, and their children, who are fragrant with artistic talent as well.

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