Sunday, September 24, 2017

#SOL17: Kneel Down

"We Have Chosen Hope Over Fear" (Reilly, 2012)

I. 

The day after Barack Obama won the presidency in November 2008, Rob, Devon, and I were eating dinner at a local diner when I looked up at an image of the newly elected President on a FOX News telecast and snapped a photo.  At the time I wasn't sure what I planned to do, but I knew I wanted to work the image into a collage. As I worked our flag began to emerge alongside images of children and young people I had taught across many years. Like so many others, I too felt strongly that "we had chosen hope over fear." The flag symbolized that hope. I remember Rob and I believing that our flag was a beacon that called attention to what was possible. Thomas Paine in Common Sense wrote, "A long habit of not thinking a thing wrong gives it a superficial appearance of being right" (p. 25). It was time, well past time, to set right what was and remained so very wrong. Not all  were treated equally, justly, equitably. As white parents to a child of color, we took hope that night that given the vote, other white people in this country finally understood that healing racial injustice was the most important step forward we could make as a country.  If we failed to do this, we placed in peril these United States. 

And now, nearly a decade later, that peril feels palpable. We are a long way from that night when a young Barack Obama and so many of us felt proud, and believed that perhaps America was ready, interested, and committed to heal our racial injustice.  That hope has grown dim these last few years. Now, we are led by a man, who at the very least, is highly sympathetic with white nationalists, who bates Americans to hate other Americans on a weekly basis, and who behaves as the bully of the country.  Our president, Donald Trump does not act like a man who loves America. Loving America and its people is the foundation upon which all other presidential responsibilities rest.

II.

The national anthem and the US flag represent many ideals for citizens, ideals that some have even died for and these beliefs aren't singular, nor are they owned. What America means has never been a simple or singular belief, nor should it. Democracies are far more complex. 

Being a patriot ought to involve some self-sacrifice and that's what the young quarterback at that time playing for San Francisco did. Sacrifice. Colin Kaepernick knelt in protest when the national anthem played. He explained, "I am not going to stand up to show pride in a flag for a country that oppresses black people and people of color." In kneeling down, he stood up and did so at potential personal harm. Unsigned, the talent remains in the wings this season as President Trump rallies his mostly white, Southern audiences by calling black athletes, like Kaepernick who kneel when the anthem is played sons of bitches.

Last week President Trump went to Alabama and said this to a crowd of followers:

Wouldn’t you love to see one of these N.F.L. owners, when somebody disrespects our flag, to say, ‘Get that son of a bitch off the field right now, out, he’s fired!’ ” You know, some owner is going to do that. He’s gonna say, ‘That guy disrespects our flag, he’s fired.’ And that owner, they don’t know it. They don’t know it. They’re friends of mine, many of them. They don’t know it. They’ll be the most popular person, for a week. They’ll be the most popular person in the country.”

Imagine, an old, white rich guy bating a hoard of white people at a "rally" by saying that his NFL team-owner friends (other mega-wealthy men) could be the most popular people in the country by firing black athletes for exercising the very rights that flag symbolizes.  Now consider that the man spewing such hate is the man elected to protect our basic ideals and frankly the only thing I am left wondering is why aren't we all kneeling down?  



Monday, September 18, 2017

#SOL17: Healing with Art

 Call and the Birds Will Come


I. 

A friend, Heidi, recently returned to school to study art therapy. I was delighted for her as this seems like a very good fit. I have no doubt she will be terrific. Thinking about art therapy led me to also think how for the last 19 months I painted most every day and in doing so I began to heal.

As some of you have remarked, the last few months black birds seem to have flown in and out of most of my paintings.  Another art friend, Jim, asked today why there were birds in so much of my work. I told him I was not completely sure why the birds are flying in and out, but I feel better knowing they are there. I also realized that the last section of the memoir I am writing has the subtitle, Wild Birds Rising. I suspect there is a connection. Perhaps the birds are spirits.


II.

A few weeks ago, my friend Jane's sister, Susan, died. The birds showed up again in force right after her death.  I didn't realize until this evening that her death affected me.  For the last two weeks I have been feeling down, revisiting the sadness I felt months after Rob died. Susan was three months older than Rob. Both were far too young to die. Last year, I spent a week with Susan in North Carolina at the beach and the beginning of August I had the opportunity to visit with her while I was in North Carolina taking an art class. Some people I've know forever and others have come in and out of my life briefly and yet profoundly touched it.  That was the kind of person Susan was.  She profoundly touched lives by simply being herself.

Some days I think the birds are those spirits that carry away pain. Some days I think the birds are the departed who find ways to wing back to this world.


III.

For me, painting reveals new ways of naming and feeling--ways I am often not aware of in a codified manner.

I sense knowing. '

Edward Hopper explained how the language of art opens us in ways that words simply do not.  He wrote, “If I could say it in words there would be no reason to paint.”

Here are a few of my new paintings.


How I See You (acrylic, collage, pencil, Tombow markers, gesso, digital remix)

Prayer  (acrylic, Tombow markers, pencil, digital remix)

Through a Window (acrylic, gesso, pencil, digital remix) 

Tangled (acrylic, ink, pencil, digital remix) 


Self Portrait  with Black Birds (Photograph, paint, transfer, acrylic)

A few art therapy links (Activities and books)


Here's a link to 100 Art Therapy exercises. Does anyone want to take some of these on? I am going to try to work my way through the list.

Here are 20 art therapy ideas that also looks good.

Art Heals: How Creativity Cures the Soul

Imagination in Action: Secrets for Unleashing Creative Expression

Tuesday, September 12, 2017

#SOL17: A Crazy Woman in Ringwood, NJ


Last night my son and I were coming home around 9:30 and a car coming off an Interstate pulled in behind us and talegated our car for the 15 minutes it took to arrive at home. We live at the end of a dead end street and the car not only followed us up our long hill, but also drove right in behind us in our driveway. I got out of our car and approached the two-toned sport utility vehicle, like a Suburban, to ask if the driver needed help. A woman in her 40s or 50s was driving.

"Do you need some help?" I asked, approaching the front passenger side of the car. The window was opened and I could see the driver quite well.
"Who is in the car with you?" she asked aggressively.
"Who are you and why are you in my driveway?" I asked.
"Someone in a car like that destroyed my property."
"My son is in the car. We did not destroy any property." By then, Devon had also gotten out of the car.
"Oh, I see his face. That's not him," she said contritely.
"Are you crazy?" I asked.
"I'm sorry I bothered you," she mumbled.
"Lady, what you're doing isn't simply a bother. You pursued us. That's aggressive and wrong."
Devon and I watched her back out of our driveway and then I went inside to report the incident to the police. 

It was disconcerting to have some crazy woman pursue us with the aim of confronting us about something we knew nothing about. What's very odd though was that it was a chance encounter, given that she had just come off of a highway and that is how she ended up behind us and we were miles from our home. Also, my son drives a very common car, a black Ford Fusion, hardly a unique car.

It made me wonder if Devon and I needed to fear having her return during the night, but I decided not to get caught up in this woman's craziness. I did call the police and reported what I knew and gave the dispatcher my home address. The encounter also made me wonder about the vigilante sentiment that Trump and his followers seem to embrace. Is this part of making American Great Again? Vigilantes driving around the streets? How bold and foolish this woman was to drive down our driveway. How entitled she seemed to feel and certainly acted.

Tuesday, September 5, 2017

#SOL17: Saying No to Best Practices



(M.A.Reilly, 2017)


I woke up this morning and realized that I am tired of best practices. In education and otherwise. Every fall with the startup of school comes the ads, tweets, and posts for best practices of this and that. It's like some absurd Seuss riddle and frankly it is well past time to say no to the whole idea of a best practice in learning. It cannot exist. The logic is flawed.

To me the use of the word, best, is an example of foolish coding.  Place that adjective before any noun and it is likely an invitation to think that the matter has been determined. When used in education to connote a practice, it begs the question why someone or group would want to reduce discussion about learning and variables and anomalies. It also belies context. How could any one practice simply be best? For whom? In what situation?

Kurt Godel's Incompleteness theorem told us that best as the exclusive correlative of excellence was simply not possible. There is always that which does not fit neatly within a given set. I wonder if we might do better to consider the exception rather than the comfortable fit? 

Sunday, September 3, 2017

25 Books that Helped Me To Notice

from The Poetics of Space.


I wish I knew you. I wish I could stand for a moment in that corridor of craft and doubt where you will spend so much of your time. But I don’t and I can’t. Eavan Boland, A Journey with Two Maps: Becoming a Woman Poet (p. 249). 

Under my childhood bed were boxes of writing--mostly poems. None survive to this day. On the walls of my childhood bedroom were images I painted. On the radiator were plants. And on the shelves were books. A large part of being a writer is listening and noticing. Below are a handful of books that have helped me to notice differently, listen attentively. Some are fiction, most not.

What books help you live more wide awake?



  1. Bachelard, Gaston. (1958/2014). The Poetics of Space. New York: Penguin Classics.
  2. Bateson, Mary Catherine. (2010). Composing a Further Life: The Age of Active Wisdom. New York: Knopf.
  3. Berger, John & Jean Mohr. (2011). Another Way of Telling. New York: Vintage.
  4. Berry, Wendell. (1996). The Unsettling of America: Culture & Agriculture. Sierra Club Books.
  5. Boland, Eavan. (2011). A Journey with Two Maps: Becoming a Woman Poet. New York: W.W. Norton.
  6. Carse, James. (1986). Finite and Infinite Games. New York: The Free Press. 
  7. Danticat, Edwidge. (2011). Create Dangerously: The Immigrant Artist at Work. New York: Vintage.
  8. Diaz, Junot. (2012). This is How You Lose Her. New York: Riverhead.
  9. Dillard, Annie. (2013). Teaching a Stone to Talk: Expeditions and Encounters, Revised Edition. New York: Perennial.
  10. Gaiman Neil. (2013). The Ocean at the End of the Lane: Audio CD. New York: William Morrow. (I could listen to him read for weeks and weeks.)
  11. Heaney, Seamus. (1997). The Spirit Level: Poems. New York: Farrar, Straus & Giroux. 
  12. Heaney, Seamus. (2011). Human Chain: Poems. New York: Farrar, Straus & Giroux. 
  13. Heat-Moon, William Least. (2012). Blue Highways: A Journey Into America. New York: Little Brown & Company.
  14. hooks, bell. (1997). Bone Black: Memoirs of a Girlhood. New York: Holt.
  15. Kawabata, Yasunari. (1972/2006). Palm-of-the-Hand Stories. Translated by Lane Dunlop. New York: Farrar, Straus & Giroux.
  16. Lewis, C.S. (2009). A Grief Observed. New York: HarperCollins.
  17. McCarthy, Cormac. (2007). The Road. New York: Vintage.
  18. Merton, Thomas. (1979). Love and Living. New York: Farrar, Straus & Giroux.
  19. Morrison, Toni. (2008). What Moves at the Margin: Selected Nonfiction. Jackson, MS: University Press of Mississippi.
  20. Oliver, Mary. (2006). Thirst. New York: Penguin.
  21. Rich, Adrienne. (2002). The Fact of a Doorframe: Poems 1950-2001 New York: W.W. Norton.
  22. Ruefle, Mary. (2017). On Imagination. Brooklyn, NY: Sarabande Books.
  23. Rumi, Jalal al-Din. (2010). The Essential Rumi. Translated by Coleman Barks. New York: HarperCollins.
  24. Solnit, Rebecca. (2010). A Field Guide To Getting Lost. New York: Penguin.
  25. Whyte, David. (2015). Consolations: The Solace, Nourishment and Underlying Meaning of Everyday Words. May Rivers Press: Langley, WA.


from On Imagination.

Tuesday, August 29, 2017

#SOL:17: Coming to Know Other through Book Discussions

Utopia (M.A. Reilly, 2012)

"The only true voyage...would be not to visit strange lands but to possess other eyes, to see the universe through the eyes of another, of a hundred others, to see the hundred universes that each of them sees, that each of them is."  - Marcel Proust


I have been thinking about Proust's sense of knowing other and becoming wise about other a lot lately. The times we live in demand such attention. Last night was my monthly book group. We were discussing Karolina's Twins: A Novel by Ron Balson and the recent uprising of white nationalists and anti-semitism. The novel is set in current day Chicago but chronicles happenings that occurred in Poland during Nazi occupation. (I write about this novel in a previous post). One way we become wise about other is to interact with others who are not necessarily like us--at least at the surface. It is through interactions--sustained ones--that we learn how our differences can be interesting and how being human creates essential similarities. I think about this as friendships have formed across these last few months that the book group has been meeting.

The book group is comprised of six other women and we range in age from our 30s to 50s. We are also of different races, religions, and ideologies. Three of us are immigrants.  Several of the women have lived in places outside the United States and others have lived outside the North East. Most of us would classify ourselves as progressives, but not all. We are all professional women and our work represents a range of occupations. The majority of us own/control the work we do. What is interesting to me is how discussing books allows for friendships to form, ideas to be developed, and difference and sameness to be enjoyed. We meet once a month at a local restaurant and over a meal and some wine, we spend three hours talking about the book for that month and current events and more recently about ourselves and our families. Jawahara, the book group's founder and leader prepares a set of questions that initially guide the discussion.

These are the books we have read to date since I joined the group:

March/April: Between the World and Me by Ta-Neshi Coates
April: Americanah by Chimamanda Ngozi Adichi
May: Small Great Things by Jodi Picoult
June: Hillbilly Elegy:A Memoir of Family and Culture in Crisis by J.D. Vance
July: Born a Crime: Stories from a South African Childhood by Trevor Noah
August: Karolina's Twins: A Novel By Ron Balson

And here are the books we plan to read through the remainder of the year:

September: The Handmaid's Tale by Margaret Atwood
October: The Ministry of Utmost Happiness: A Novel by Arundhati Roy
November: Miss Burma by Charmaine Craig
December: Grief Cottage:A Novel by Gail Godwin

As we have gotten to know one another, we also have introduced one another to other types of activities, opportunities, and groups.  I was introduced to the writer's group I now belong to from Jawahara.  Several of us will be at a women's writing conference next month as a result of an email Jawahara sent. One newer member of the book club, Navina, came to it through an art group she and I have in common. I thought she would love the group and it seems that she does.

Way leads on to way if we stay open to chance, opportunity, and other. Reading literature helps to open us to one another and to ideas.  Through shared books, Proust's notion of the true voyage can be realized. Imagine a whole country reading and discussing a single novel? It might be one way to begin to heal the great divides we now feel. 

Friday, August 25, 2017

A Few Questions

Crossing Avon Avenue (Reilly, Newark)

"Historically, our working and learning lives have been overly coded," writes Renee Charney on the first page of her dissertation, Rhizomatic Learning and Adapting: A Case Sturdy Exploring Interprofessional Team's Lived Experience (unpublished). I am serving as a committee member for Renee who will defend her dissertation in a few weeks. That opening line, so bold, caught and held my attention as I read her work. Frankly, it's the finest dissertation I've read and I found myself wanting to write academically again.  I wanted to wade into that sea of middles that I have known and forgotten. I wanted to dwell in that storied world Renee (re)presents so invitingly and think about codification, standards, tacit ways of knowing, grief and stories.

As I read I wondered:
  • What does it mean to live/work overly coded? In such a world, what happens to thought? Confidence?
  • What leads us to embrace certainty? How does it comfort? Complicate?
  • Are content standards a form of exploitation as defined by Holmqvist? (see here and here) Must we exploit?
  • How do we unlearn? How do organizations unlearn?
  • Are stories representations of middle spaces?
  • How might storytelling trigger unlearning
  • Can a nation heal through the stories and counter-stories it tells? How can we better hear counter-stories?




Wednesday, August 23, 2017

#SOL17: Why I Paint

Mountain Landscape (Reilly, 2016)

A FEW YEARS AGO, I heard a wonderful story, which I’m very fond of telling. An elementary school teacher was giving a drawing class to a group of six-year-old children. At the back of the classroom sat a little girl who normally didn’t pay much attention in school. In the drawing class she did. For more than twenty minutes, the girl sat with her arms curled around her paper, totally absorbed in what she was doing. The teacher found this fascinating. Eventually, she asked the girl what she was drawing. Without looking up, the girl said, “I’m drawing a picture of God.” Surprised, the teacher said, “But nobody knows what God looks like.” The girl said, “They will in a minute.”  from Ken Robinson, The Element, p. 11.



I.

These days I mostly paint. Maybe, like the girl in the story Ken Robinson tells it is to represent God, to author. Maybe painting defies such cause and effect. I blessedly don't know. Some mornings as I stand with a paintbrush in hand, I wonder what my husband would have made of this compulsion. Painting is an in-the-middle type of work (highly rhizomatic) and a  mostly solitary expression. Seeing something arise out of the paint loosens the grip of grief even as it reveals it and deepens my will to live.

I dream about painting. Asleep I seem to be working out problems of space and intention. Rehearsing variations. I feel the paint move beneath my brush and stain my hands. After such loss that is redefined by each new moment, creating is a form of grace. So too is saying yes. Frankly, I indulge myself and I am unapologetic. I have traded earning money for time to paint and I am the better for it and just a bit poorer. Unlike Thoreau, I have more chairs in my home than I could sit on in a given night or week. Im the last 18 months, I have reclaimed the dining room and now it is filled with tubes and pots of paint, gesso, journals, brushes, pencils, and a crock pot.


II.

Somedays I fear I am more Grasshopper than industrious Ant.  But after Rob's death, I mostly know what is important and what could easily be forgotten. If you were to visit  tomorrow you might see a half dozen journals spread across the dining room table in various stages of drying. Some pages might look abstract, while others might display more recognizable images. A hand opening. A woman's face in profile. A murder of crows lifting out of an eye. I paint to tell myself what my words can't seem to convey. Painting loosens what I tacitly know and gives it a temporary voice that remains uncoded.  I paint out of curiousity.

Often my intention when painting is to become better at it and also to have those very frustrating days when nothing my hand touches matches my intention--when painting mostly sucks. I paint to forsake technique, to forget intention and open myself to possibility. Painting reminds me that I can still be surprised.

III.

Some mornings, it is the sheer messiness of it that I love best--that and how meaning sometimes emerges along the length of a line, within the swell of a shape, in conflict with space or tone, and often in homage to color. I must confess that I have loved Mark Rothko since I was a young girl. For every codification I make to explain what it means to paint,

                           the next day,
    hour,

                                               minute                           finds the exception

    and returns me to
                                      a lovely stream

                     
                                                                              where the banks
                         are less certain,

                   the flow less contained,

                                     and Gödel (not God)

is in the house.



Tuesday, August 22, 2017

#SOL17: Transforming Heart Ache through Art: 18 Months of Journaling with Paint

Dreaming. (watercolor, digital remix, August 18, 2017, about 3 a.m., Molskine journal)

For the last 18 months I have been painting in art journals--some purchased, some made by hand. It hasn't exactly been practice, as practice connotes an end game and somehow the drawing and painting I have been doing was more elemental, more necessary. There was no prescribed end in mind. It began simply because I needed to expend energy after Rob died. Lifting my camera was a too familiar weight. Making a photographic image felt too passive and perhaps more so reminded me of Rob and all the times I had photographed during our nearly thirty years together.

In the time since his death, painting in my journals (and perhaps painting on a large sheet of watercolor--I actually took out a sheet in anticipation) has become essential.  I dream of painting, rehearsing in my mind what I will do. I can feel my hand holding the brush, moving paint with my fingers.  I don't remember many dreams upon waking, but I do remember my painting dreams.  Most mornings when I am not at work I paint. When I can I paint in the evenings too, especially late evening.  I paint, let dry what needs to dry and come back. I also work across numerous journals now using a lot of different media. Some days I sketch in different journals. These may be people I have been observing in public spaces, like at a Starbucks or photographs or images from magazines that I use as references. On other days I may spend hours just painting backgrounds on journal pages with little anticipation of what I might end up creating on the page. Now and then I will just sketch what I imagine or paint without any guide.

Oddly, it was without any reference that I began painting. Below is the first painting I made after Rob died. It is non-representational and I thought it nothing more than a sloppy mess. I titled it, "Let Her Paint" and posted it on my blog nonetheless. Beneath all of that grief, I think I knew that physical act of painting would be necessary. I needed it so much and how grateful I am that painting was possible.

from an art journal (March 18, 2016)
Two months later I began to keep an art journal in earnest. I selected an old atlas that had been Rob's and gessoed several pages.  It was an oversized book and allowed me a lot of space to work. I painted the image below using a stencil and also free hand. Even now, looking at it, I still enjoy the image--mostly because of the way I used space across two pages. This morning when I reread the image, knowing I made it two months after Rob died,  I notice how life percolates beneath the ground unseen--like the will to live remained within me.

Page from art journal, May 18, 2016

After Father's Day I made  the two images below, using newspaper, ink, gesso, Stabilo pencil, and acrylic paint. As I look at these paintings, I notice the empty spaces surrounding each and how the the grief image (6.19.16) seems to float without an anchor, whereas the other image of sadness is anchored to the bottom of the page. Each new holiday, like Father's Day, was mostly a terror that first year. Less so the second year.

(stabilo pencil, gesso, acrylic paint, ink, newspaper, 6.20.16)
(stabilo pencil, gesso, acrylic paint, newspaper, 6.19.16)

The image of two women I made four months later crossed two large journal pages. I think about how I was seeing and not seeing at the time. Grief and loneliness alter reality.  The arrangement here of images and collage elements felt new to me.  Uncharted territory. What to do with empty space is a question I worked out on this page--much like I was working out in my life. After the death of a husband, large blocks of what felt like empty space become more noticeable. Understanding that I had choices and perhaps, more importantly, needed to see my own hand in my life, I began slowly to accept that the life I was making was my own.  I had been waiting for life to be given to me, not made. In the fall of last year I was learning that if I waited for something external to show me all there was to see, I would be waiting for a long time. Most days now, I accept that living is always about partial sight. We never really know where we are walking and what we will see.


from my art journal, 10.22.16 (gesso, found papers, acrylic paint, Tombow markers, tissue paper, ink)

Five months later in mid-March of 2017 I was thinking a lot about the burden of grief and that lovely poem by Molly Peacock, "Putting a Burden Down."  Many years ago I took a class at the 92nd Street Y with Molly and after the class ended she became a private teacher for me for the remainder of the year. I was writing a final project for a graduate degree--a collection of poems. I painted the image below in my journal. It was a week after the anniversary of Rob's death and I began to think that putting down grief is a decision not a divine directive. What rested in my hands was mine for the making. As Rob told me so many times, the only way out is through. After a year of grieving I came to understand that defining myself through grief and grieving was a choice. So too was putting it all down. And if only it was that simple.


(watercolor, pencil, acrylic paint, ink, March 2017)

A month later, I decided to spend the next 100 days painting, drawing and on occasion photographing faces.  I wanted to represent faces better.  This led me to painting most days and learning how to first try to control the paint brush and paint and paint representationally. Later I experimented with leaning into the work and seeing where it led. Below is one of my more expressive pieces. The painting happened across a month.  It was a painting I started and abandoned, returning to again and again. Finally, I just painted and scribbled with much abandon. Just as grief was loosening its grip from my heart and life, my hand was learning how to hold the top of of the paint brush looser, to trust mark making both literally and figuratively.

acrylic paint, crayon, early July 2017)


12 paintings with blackbirds (July - August, 2017)

In the last month, flocks of blackbirds have found their way into what I am painting. A friend suggested the old Beatles' song, "Blackbird," as an apt metaphor. And perhaps it is new wings I am trying out. Painting offers a language that is complementary and different than the words I use to speak and write. Painting reveals truths I might not know or could not say. Below is a detail from a painting I completed in my art journal on August 19th. I wonder about the partiality of it and also the sensuousness of the image. It is more blended, less precise. More heart than mind. What might suggestion have to do with healing?  I suspect as I paint more, I will learn.

Suggestion (August 19, 2017)

Next spring I will be taking an acrylic collage workshop with abstract painter, Jane Davies. Lately the call of the non-representational is loud.  I want to explore it in large ways, using big spaces to paint. I have been drawn to abstract expressionist art for decades, but have never tried my hand at it. These days find me bolder, more willing to risk.

After the death of a husband, little seems undoable.

Thursday, August 17, 2017

Making a New Journal by Hand

from the cover of my new handmade book
I recently attended a book making class that Cari from Art for the Soul organized and taught. She modeled how to make a simple 5" x 5" book.

In less than 2 hours we were able to do the following:

  1. dye rice paper for the book covers and set aside to dry,  
  2. use clips to hold the cut pages together
  3. punch three holes into the clipped pages using a hammer, block, and awl
  4. re-cut strip of material from a piece of Sari cloth to use as thick thread for binding
  5. glue dyed papers to front and back substrates to create the front and back covers 
  6. glue inside face pages to front and back covers
  7. clip front cover, pages, and back cover together
  8. re-punch holes making sure that each hole is large enough for binding materials
  9. thread needle with the strip of sari cloth 
  10. bind the book, using a Chinese-wrapped binding method. 

I took photographs as I was working so I could remember the process.  Some of those images can be seen below.





When I got home I opened the journal to the 2nd and 3rd page (I never start painting on page 1) and created the two images below by adding gesso to each page. Next I made two very quick sketches in pencil.  Then I shaded and painted the two faces using  Stablio pencil, Tombow markers, and thinned acrylic paint.

Pages 2 and 3 from my new journal

Wednesday, August 16, 2017

#PoetryBreak: Hymn by Sherman Alexie

Hymn: A New Poem by Sherman Alexie


Why do we measure people's capacity
To love by how well they love their progeny?
That kind of love is easy. Encoded.
Any lion can be devoted
To its cubs. Any insect, be it prey
Or predator, worships its own DNA.
Like the wolf, elephant, bear, and bees,
We humans are programmed to love what we conceive.
That's why it's so shocking when a neighbor
Drives his car into a pond and slaughter–
Drowns his children. And that's why we curse
The mother who leaves her kids—her hearth—
And never returns. That kind of betrayal
Rattles our souls. That shit is biblical.
So, yes, we should grieve an ocean
When we encounter a caretaker so broken.
But I'm not going to send you a card
For being a decent parent. It ain't that hard
To love somebody who resembles you.
If you want an ode then join the endless queue
Of people who are good to their next of kin—
Who somehow love people with the same chin
And skin and religion and accent and eyes.
So you love your sibling? Big fucking surprise.
But how much do you love the strange and stranger?
Hey, Caveman, do you see only danger
When you peer into the night? Are you afraid
Of the country that exists outside of your cave?
Hey, Caveman, when are you going to evolve?
Are you still baffled by the way the earth revolves
Around the sun and not the other way around?
Are you terrified by the ever-shifting ground?
Hey, Trump, I know you weren't loved enough
By your sandpaper father, who roughed and roughed
And roughed the world. I have some empathy
For the boy you were. But, damn, your incivility,
Your volcanic hostility, your lists
Of enemies, your moral apocalypse—
All of it makes you dumb and dangerous.
You are the Antichrist we need to antitrust.
Or maybe you're only a minor league
Dictator—temporary, small, and weak.
You've wounded our country. It might heal.
And yet, I think of what you've revealed
About the millions and millions of people
Who worship beneath your tarnished steeple.
Those folks admire your lack of compassion.
They think it's honest and wonderfully old-fashioned.
They call you traditional and Christian.
LOL! You've given them permission
To be callous. They have been rewarded
For being heavily armed and heavily guarded.
You've convinced them that their deadly sins
(Envy, wrath, greed) have transformed into wins.
Of course, I'm also fragile and finite and flawed.
I have yet to fully atone for the pain I've caused.
I'm an atheist who believes in grace if not in God.
I'm a humanist who thinks that we’re all not
Humane enough. I think of someone who loves me—
A friend I love back—and how he didn't believe
How much I grieved the death of Prince and his paisley.
My friend doubted that anyone could grieve so deeply
The death of any stranger, especially a star.
"It doesn't feel real," he said. If I could play guitar
And sing, I would have turned purple and roared
One hundred Prince songs—every lick and chord—
But I think my friend would have still doubted me.
And now, in the context of this poem, I can see
That my friend’s love was the kind that only burns
In expectation of a fire in return.
He’s no longer my friend. I mourn that loss.
But, in the Trump aftermath, I've measured the costs
And benefits of loving those who don't love
Strangers. After all, I'm often the odd one—
The strangest stranger—in any field or room.
"He was weird" will be carved into my tomb.
But it’s wrong to measure my family and friends
By where their love for me begins or ends.
It’s too easy to keep a domestic score.
This world demands more love than that. More.
So let me ask demanding questions: Will you be
Eyes for the blind? Will you become the feet
For the wounded? Will you protect the poor?
Will you welcome the lost to your shore?
Will you battle the blood-thieves
And rescue the powerless from their teeth?
Who will you be? Who will I become
As we gather in this terrible kingdom?
My friends, I'm not quite sure what I should do.
I'm as angry and afraid and disillusioned as you.
But I do know this: I will resist hate. I will resist.
I will stand and sing my love. I will use my fist
To drum and drum my love. I will write and read poems
That offer the warmth and shelter of any good home.
I will sing for people who might not sing for me.
I will sing for people who are not my family.
I will sing honor songs for the unfamilar and new.
I will visit a different church and pray in a different pew.
I will silently sit and carefully listen to new stories
About other people’s tragedies and glories.
I will not assume my pain and joy are better.
I will not claim my people invented gravity or weather.
And, oh, I know I will still feel my rage and rage and rage
But I won’t act like I’m the only person onstage.
I am one more citizen marching against hatred.
Alone, we are defenseless. Collected, we are sacred.
We will march by the millions. We will tremble and grieve.
We will praise and weep and laugh. We will believe.
We will be courageous with our love. We will risk danger
As we sing and sing and sing to welcome strangers.
©2017, Sherman Alexie

Tuesday, August 15, 2017

SOL17: Karolina's Twins, The Nazis, and Trump


Memory is the Diary We All Carry (M.A. Reilly, 2017)


I.

Since I finished reading Ronald Balson's novel Karolina's Twins, my sleep has been disturbed.  I'm not sure I would have finished the novel had it not been the next book my book group is discussing. But I did finish it and for the next week, I woke from nightmares very early each morning recalling the sounds of trains, the cries of babies, the hard leather of a boot pressed against my neck.

The novel is set in Poland during Nazi occupation and tells the story of Lena, a 89-year-old Jewish woman who at the time of the Holocaust was a teenager. The atrocities described cut me and surely fueled the nightmares. While asleep, I have been replaying some of the cruelties Lena, the main character faced. This is not the first or only Holocaust-related book I have read. Yet, it hurt more than any other. I'm not sure if it is because I am a mom and relate to the immense loss mothers must have experienced at the hands of the Nazis--losses I can not set down. Or perhaps it was that my husband who was Jewish and is now dead calls forth for me all those cowards who watched the Nazis slaughter innocent lives. There were thousands and thousands of people who killed men just like Rob and would have done so at any point in his life.  They would have murdered him as an infant, a young boy, a teen, a man--and millions more would have turned a blind eye and allowed it to happen.  The question of who we are, wakes me from sleep.

Lena and Karolina know that at the end of the train ride to Gross-Rosen, their two baby girls will be murdered. Of this there is no question. When Lena describes how she and her friend Karolina each throw an infant girl from a moving train in an effort to perhaps save their lives, I felt the very weight of my own son the first time I held him against my chest.  I felt this in 2017 as I sat in a chair in my home. I could feel the solidness of his small body. The smell of him. The way he fit just perfectly against me. All of this felt imprinted. Lena knows their only hope is to leave them for chance: Will they survive the fall?  Will someone find them in time?  Will someone care for them? Will they be turned over to the Nazis anyway?

And I wondered would I have ever had the courage to throw my son that solid living body and beautiful boy, out a train window in order to perhaps save him from the certain death he would know by Nazis.


II.

Old Man Watching (M.A. Reilly, 2017)
I'm not sure the nightmares would have come had murdered infants been all I was thinking about. From the start of the novel, I was disturbed by the wishful thinking Lena and her family engaged in when the German occupation was new. It felt too familiar. It felt like how I have been living here in the United States since Donald Trump was elected and began to staff the White House with Nazis.

Early in the novel, Lena explains the beginning of Nazi occupation,
“New rules came down every day and more restrictions were imposed. Still, we survived. We adapted. We would wait it out. We held tight to the belief that soon the world would crush the Germans and they would leave" (p. 25).
Lena's dismissal of the horror, the adaptations they made, had me wondering about home.


III.

I imagine, like me, you know where you were when you first heard about the white supremacist march in Charlottesville, VA this last weekend and the violence they caused. I was walking out of the MET, having just finished a drawing class and as soon as I heard the location, I immediately thought of a friend  who lives there.  When I got home, I sent her a message asking if she and her family were okay and was relieved to learn quickly they were safe.

Then the death of Heather Hayer was reported, a 32-year-old woman who while protesting the Nazis, was murdered by a 20-year-old kid from Ohio who drove his car into a crowd, reminiscent of the Nice, France terrorist act a year ago. This young Nazi killed Heather and injured 19 others. He did so with determination.

As expected, the US president, Donald Trump, spoke to the country.  In moments of terrorism, leadership matters. He said this:

We condemn in the strongest possible terms this egregious display of hatred, bigotry and violence, on many sides. On many sides. 

I thought my head might explode when I heard him say and then repeat, "on many sides" as he gestured with his hands as if he could dismiss the whole matter like one calling for a bill at the end of a meal.

What sides?

A young woman was dead because a Nazi killed her on a street in America.  With his words and then silence, Trump signaled his support for the violent Nazis in our country.  Make no mistake, Trump invited them into our homes. His language was clear.  There was no ambiguity.

The very people who elected him as president were supported by the president. And they said so.

Andrew Anglin, the cretor of the Nazi site The Daily Stormer, praised Trump's response. "He didn't attack us,"he wrote in a blog post on the site. "[He] implied that there was hate...on both sides. So he implied the antifa are haters. There was virtually no counter-signaling of us all." (from here).

It's 2017 and the Nazis are here.


IV.


Faced with increasing criticism from his own party, the media, and the public, Trump still took days to make a new statement. He showed us all who he really is by his comment on Saturday and his silence on Sunday. He's his father's son. Fred was arrested in his youth at a KKK rally. Like father like son.

And now Donald Trump has invited the Nazis to come out from under the rocks and slime and parade down Main Street, full of swagger and spitting hate, and designing murder. He has invited white supremacists into the White House. They dine with him. They fly alongside him on Air Force One. They advise him.

Make no mistake, we should not adapt to this, turn the other eye, wish for better days, hope this maniac settles.

Empowering hate is what Donald Trump does most consistently and most well.  He is divisive, mistaken, and unable to function as president. He and Vice President Pence must be removed from office because they harm us.

Their choices harm us. Their allegiances harm us. Their overt support of white supremacists harm us.

Impeach Trump and Pence, now.