Jodi Hills

So this is who I am – a writer that paints, a painter that writes…


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To do the work.

Sometimes it’s a flower. Sometimes a branch from our olive tree. I just think the bird in our bathroom deserves an extension. 

At first I couldn’t place the smell, these men that came to help my grandpa on the farm. It wasn’t bad, more unfamiliar. Was it heavy? Damp maybe. I wasn’t sure if we were related. Neighbors attended reunions as often as relatives. Lines (or furrows) became rather blurred standing behind a card table filled with Grandma Elsie sandwiches. 

Perhaps it showed on my face, this uncertainty. Even in the heat of summer, I suppose I wore my heart where my winter sleeve used to be. “It’s only the earth,” my grandma whispered in my ear. I looked at her with wrinkled brow. “What you’re smelling, it’s the field. It’s work.” I smiled and helped her plate the bread and meat. 

“It’s only the earth,” I repeated it in my head over and over that day. I liked the sound of it. I still do. Some days, when I feel the stench of struggle, I repeat it to myself. “It’s only the earth.” We are here to do the work. Whatever it may be. And it changes from day to day. The work of creation. Relationships. Understanding. Community. Love. Life.

Somewhere in the damp and heavy scent of life on Rueben and Elsie’s farm, it was embedded in my heart…”the least of these…” So I give a branch to my bird in the bathroom, as a reminder. Everyone deserves an extension — how hard could it be? — it’s only the earth. 


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Waving away the donkeys. 


I turn the same corner every day to go for a walk. I’m reminded what century it is, as I pass the giant recycling bin, while listening to a podcast through earbuds. And yet, there they were. I heard the bells first before my eyes could focus on the image — a man leading two pack donkeys and a dog. They say time changes everything… well, here was proof that maybe it’s not about time at all.
If you’re waiting for time to do the work, I’m afraid you’re in for a long wait. Time really does nothing. It’s what you do with the time. I’ve said it before, and I’ll say it again — it’s about the choices we make in the time, the people we surround ourselves with, the life we create and share. The love in our hearts and the hope in our minds, at any time, can heal, create, inspire and change 

almost anything…you just have to take the time to realize it.

I’m grateful for the reminders. Sometimes I see a photograph, or read a poem and I remember that I did in fact, bear the unbearable. We’re all asked to do it from time to time. I smile, because I can recall the certainty of how this thing would never pass. And sometimes it seemed to linger at donkey-speed, but it did indeed pass. We get through.

That thing you’re in right now, this difficult time. I’m sorry. But hear me over the sound of the bells, it will pass. You will get through. I’ve walked that road. I’m still here, with a smile in each step, waving away the donkeys. 


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Inner Buffalo

I have a secret hope when painting cows, that perhaps they’ll see what I see, their inner buffalo. 

When a storm approaches, cows run away — which ultimately means they spend more time in the worst of it. Buffalo, on the other hand, face it directly. By running straight through it, they minimize the time and the pain suffered.

I remember him telling my tear-stained mother, “The only way out is through.” I’m not sure I understood exactly, but when my grandfather said something, I listened. I think they found their way in, these words. I still carry them, pocketed, tumbling through my fingers as I make my way through on the “least traveled path. In work, in love, and in living. Not to abandon the herd, but to offer another way. 

When I painted my neighbor’s portrait, she said it was the first time she saw herself as pretty. When I painted my mother’s portrait she said, “That woman doesn’t look like she needs to be afraid of anything, maybe I don’t either…” 

I think we all have it, the inner buffalo. I think if I see it in you, in myself, I have a responsibility to share it. And I do see it! Don’t you? We can do this. We can face it all together. Directly. Head on. Will it be easy? Not always. Will we run away? Never. 


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A flutter.

I forget how small they are. When I paint them, they become larger than life. Then I’ll see one in the yard. Almost nothing but a motion. A flutter in the leaves. Then it stops for just a second. And I see it. The most lovely little bird. I try not to blink. Capturing all the colors on wings. Knowing it will be gone from the tree in just a second, but it will remain in my heart.

Perhaps I’ve always done it. My grandma used to say that when I was a baby, she could put me in a chair, and I’d stay. I wouldn’t fidget, or fuss. Just watch her. I can’t say I was aware of how quickly it would all pass — this aproned love that fluttered by me. But maybe my heart knew. Maybe the heart always knows. So I sat quietly in the kitchen chair that my grandpa made out of an old tractor seat, and I tried not to blink.

We hung the portrait of the kids yesterday. It won’t stop time, but it does capture it. Even for just a moment. That moment when they stood before the open water. Daring the waves. Willing the breeze to give them flight. When they could see that all things were possible. I smile as I walk by and tell them not to blink. 


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Immeasurable.

I always marveled at how she just threw things in with such confidence. Never following a recipe. She seemed like a “Kitchen Super Hero” as I stood next to her, apron high, trying to work my way up to timid, at best. 

They called me shy. I like to think that I was just taking it all in. And there was so much to take in, there in my Grandma Elsie’s kitchen. I cupped one chubby hand to her chubby knee, and I watched. 

It was a dance really. From cupboard to table to stove to table again. I kept time as best I could. Losing my face in her apron, giggling behind the flower-print pocket, the pocket that was never without a Kleenex. I couldn’t learn the cups or tablespoons, so I focused on the dance. And just like the song played, I could have done this all night.

I started baking when I came to France. The language was such a surprise, I had forgotten about the measurements. What were these liters and grams? Celsius? There was nothing left to do but dance. I Elsied my way through. Tossing and twirling. And with the help of a lot of French butter, I must admit, it’s delicious!

Someone has always made a path. Maybe not in stone or pavement, but certainly in heart and spirit. The gifts we are given, just like an Elsie recipe, are immeasurable. 


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An American in France, speaking Double Dutch.

Almost everything that I learn today, I learned first on the grounds of Washington Elementary.

We started slow at first. Only one rope. We didn’t all advance at the same speed. Some caught on right away to this jumping in, jumping on, singing along to the song. The single jump rope for me was fairly easy. And I thought we were best friends, but one day Shari and Jan, without my knowledge or permission, added another rope. Double Dutch. I had no Google source at the time. Probably not even the sense to want to find a meaning. But here they were, twirling two ropes at a time and telling me to jump in. My hands couldn’t find the rhythm, nor my heart, nor my feet. Soon I was whipped. Tangled. Double Dutched right out of the security of everything I loved.

I don’t remember the length of time. I’m sure it seemed longer then, than now. I tried jumping in, again and again. It wasn’t until I asked if I could turn the ropes that I got it. I started to feel the rhythm. I had wanted so badly for the ropes to love me first. (I pause to laugh here, because I suppose I, we, still do that.) But then I got to know them. Feel them. Love them. And when I took my turn again to jump, they let me in. And it was beautiful.

It’s not easy to join a family. I married my way into a French playground. Rules of play already set. But there I was. So eager to jump in. Fumbling now in two languages. Now looking up the origin of “Double Dutch,” it’s not lost on me that it means a type of gibberish, something so indecipherable it would seem like ropes swinging through the air. That was me, an American in France, speaking Double Dutch.

When I first started painting their portraits, I will admit that unconsciously it was an attempt for them to love me. I wanted so badly for this to happen. To be loved. Let in. Time travel takes, well, some time, but through the years, I have made it back to Washington Elementary, and I learn again, and again, for the first time.

When I painted their portrait this time, the grandchildren, it was different. Certainly there are the ropes, the jumping, the missteps — it’s still a playground after all. But this time, the message is clear, simple. Not a plea for anything, only a statement, that I love them. I love them. That’s all I have to understand. And it’s beautiful.


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The gracious fresh.

I didn’t like the dark. Windows and doors were meant to open — that’s what I learned from my mother. Even in the winter, even if she had to blowdry the windows open, she gave us a blast of fresh air.

I didn’t really want to go to her house. We weren’t really what I would call friends. We had been in classes together. A few summer softball teams. In the fifth grade she beat me by one basket in the National Hoop Shoot contest. She invited me over to see her trophy. “It’s the gracious thing to do,” my mother said. My ten year old concerns weren’t really consumed with being gracious. Maybe it was because we were standing in the breeze of the open winter window. Maybe it was because she looked so bright, so sure, so lovely, and “if this was gracious…” I thought, I wanted in, so I agreed.

She pulled up to their house. Left the car running. “Go ahead,” she said. Handle on the door, I froze, no longer for winter reasons. I couldn’t see any lights on. “They’re expecting you,” my mother continued. The pulled shades said otherwise. Not wanting to admit fear, I slowly opened the car door. Clumped through the unshoveled walkway. The screen door, still attached, hung by one hinge. I tapped gently. I turned back around. My mother gave me the scoot sign with her waving hand. Never in my history had I wished so badly that no one was home. The doorknob turned and the better basketball player opened the door. My mother pulled away. In one hour she would return. I stepped inside slowly to take up extra seconds. It was even darker inside than I expected. But I could see her smiling as she led me to the sofa — the sofa with the coffee table that held her golden trophy and weeks of old newspapers. I had never really seen her smile before. I sat down and listened to how happy she was that she won.

I could hear something in the corner. What was that? That rhythmic noise. A motor? I jumped when I saw movement where the noise was coming from. It was a human. “It’s just my mother,” she said. “Sitting in the dark?” I thought. I could see the outlines now. Long hair. Hands on the rocker. Was there a clock somewhere? How much time had passed?

She went on about her win. At least it drowned out the breathing from the corner. She told me about each attempt at the free-throw. I never really thought about money before. I didn’t think about who was poor, who wasn’t. I don’t even know if we had more money than they did. Probably not. But we had light. Sweet and glorious light. We had open windows and fresh air. I had a mother who stood in it. Gracefully. Never was I more thankful. For the next 57 minutes, I offered up this gratitude.

In the end, I was happy she had the trophy. She deserved it. The shiny gold was the only light in the room. And I was thankful that she had that. Still, I’m not sure I was all that gracious, as I ran to the door, waving my goodbyes when I heard the honk of my mother’s car. I jumped between the steering wheel and hugged her so tightly. “You can open the window if you like,” I said. She smiled and we drove away in the gracious fresh.


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Between the rock and the rhubarb.

I can’t say I ever thought of them decorating, let alone decorating together. The thought of them having that conversation seems ridiculous. Maybe he said “Elsie, I’m going to put a giant rock at the end of the driveway.” And maybe she said, “mmm-hmmm,” with a slight turn of the head while watching the Hortons on Days of Our Lives. And maybe when she drove by the first time she wondered, “What’s that rock doing here?” while eating the last of her toasted marshmallows out of the Jerry’s Jack and Jill bag. 

They must have had conversations alone. But of course that would have been impossible to see. There were too many of us. With nine children, 27 grandchildren and growing, was there time to talk about the rhubarb? Maybe she said, “I’ll make a pie later.” And maybe he puffed an, “mmm-hmm,” through the stem of his pipe. And maybe he asked about dessert the next evening, as she rolled her eyes in the scent of the rhubarb that wafted through the kitchen.

Maybe it’s silly to imagine now, but I like thinking of them as people, not just as grandparents. It’s hard when you’re in the middle of it — standing on a rock, or eating a pie, but they were people. People who loved and laughed and worried and cried and wondered and hoped. People who got tired and excited. People who wrote down the price of grain and checked the weather report and went to the doctor. At the end of the day, people who called each other by name, and not by title. 

We can’t know everything about everyone, even the ones we love the most. But we can love them still. Maybe even more. Knowing we all have these lives filled with things we’ll never see. Reasons why we do the things we do. Live the way we live. 

If we can allow people to be people. See them somewhere between the rock and the rhubarb. And just love them…


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Above.

I was working on one of the subjects of my new painting. The nose wasn’t quite right. “Maybe if I just get the extension to the eyebrow a little more. Highlight it. Now the brow isn’t quite right. And the angle to the lash…wait…”  And he started to disappear. And then my additions became too noticeable. My apologies too thick. My thumb and pointer finger looked for the “undo” button. There wasn’t one. Nothing to do but begin. 

And that’s the way with painting. Sometimes you have to clear the mistakes and start fresh. I suppose the same is true with real life. Piling on the same behavior to get a different result, they call that insanity. And the funny thing is, we knew this, as kids. We were smart enough to let go of the thing that got us here, and ask for a do-over. Not a “do-again.” Not a repeat and repeat of the old, but a new solution. A do-over. 

I’m not sure why that scares us so much now as grownups. It seemed to be such a relief then. This letting go, and starting again. What freedom!  When did we unlearn that? And why? My heart knows when it’s time. Even my fingers reach for the keys. My eyes can see it. It’s just that convincing of the brain. I can do it on the canvas. I can do it in this life. We all can. We can do better. And if we can see that, not as a judgement, but as a release, a freedom, then the possibilities are endless. Perhaps even beautiful! 

Better. Over. Above. We can do this!


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The connecting strand. 


It always comes down to millimeters. The curve of an imperfect lip. A slight squint of one eye. Raising an eyebrow by seemingly a hair. When painting a portrait, it’s these infinitesimal adjustments that can change the image on the canvas from just a person into someone you know and love.


But I suppose it’s always been the way. these little things that I looked to for comfort. The nyloned leg of my mother. The pinstripes of my grandfather’s overalls. The cursive Thom McAn of my grandmother’s shoes.


It was at one of her neighbor’s garage sales. At best I was waist high of all the scavengers. And it wasn’t long before I was lost in a sea of card tables covered in dishes, rags, tools and knick knacks. My grandma had let go of my hand to pick up a sausage grinder, and the waves pushed me out of her sight. I could hear her laughing – perhaps at the price, or the details from the last card game played on one of those tables – but I couldn’t see her. My gerbil heart began to panic and race. Tears welled as I weaved my way from shoe to sensible shoe. I searched for the lines of the capital T that would form a string and gather me in. Off brand. Off brand. Where was she? I touched polyester pants and dangling laces. One tear fell, leading into two, three. Dropping quickly now. I got on hands and knees. And there they were — Grandma Elsie’s Thom McAn’s! I grabbed each ankle and she squealed like she had a “winning hand” — and I was safe. 


It’s what keeps me working. Sitting for hours in front of the canvas. Painting. Trying to get it right. Attempting to form the perfect strand that will unite us. Knowing these connections, they are the only way we are saved.