“America is my country, and Paris is my home town.” ― Gertrude Stein
I started discovering myself long before I moved to France. My mother saw to that.It wasn’t so much that we went on vacation when I was young. But we did travel. With neither plan nor map, we drove. When we stopped for gas, my mother placed one foot out the door. By the time the second foot landed she would say yes or no. This was not a judgement so much as a choice. And not whether she would actually fit in this place, but whether she wanted to. Visiting nearly all of the states, I won’t give you the list of “no”s. There were hard yesses throughout the country, but the easiest of these came in New England. One small, elegant, cultured town after another. Streets lined with freshly painted houses. Groomed lawns. High fashion behind screen door porches. Lobster on paper plates. Accessible luxury that not only agreed with her, but was her. I don’t know why we love what we love. I’m not even sure it really matters. I guess the most important thing is knowing when your are in the middle of love’s embrace. When your feet stop and say, “we’re here!” When your heart beats louder than any reservation your brain can come up with. When you don’t just feel alive, but you feel the fresh warmth of being born, again and again. When the only word is yes.
I have a recipe for bread. I can make it in a cocotte (a cast iron French oven), or I can make baguettes. Same ingredients, but different taste. I can’t tell you why it’s true, but only that we love it. When the scent rises with the morning sun, I am my mother’s daughter, driving on paved streets of the familiar unknown. I am still my country, but I am home. I slice the steaming baguette, add the butter and honey, raise it to my mouth, and say, “yes!”
She said, “I’ll take that in mauve,” as if I had stock of my mother’s birthday present that hung on the wall, and in different colors. I looked at my mom to see if I actually could sell the poem that I wrote for her birthday, the poem that painted her picture in every word, line and phrase. She clapped her hands in front of her smile, and would have been the first to carry it to the woman’s restaurant had it been ready.
We never looked back.
Maybe it was the approval, the validation in the sale. But it seemed more to be the pure joy of stepping into our lives. Finding the doors and walking through. No longer looking for permission, but offering it up to those behind.
The woman who owned the beautiful new coffee/bagel/restaurant in town, covered her walls in my images, right down to the “lipstick woman” in her bathroom. For years my mom would get the random call, “I’m in the bathroom at Time Square.” The first time was alarming, but it brought years of laughter, and even friendships were formed from that image.
I saw people reminiscing about the place yesterday online. The tagline read, “for people on the go.” And weren’t we all…on the go…becoming. I think we still are. Still standing in front of doors, wondering, do we take the chance, (still feeling those that have closed), but pushed forward by the joy of the time we were mauve. The time we dared, and kept daring. And believed. And believed again. This is the time, once again.
There’s not a lot of glory in the underpainting, but without it, there really is nothing. Time must be spent to prepare the canvas or panel. Gessoing. Sanding. Long before you get to the “garden.” And oh, how eager I am to jump to the flowers. But I take my time. I paint the shadow of black (one can’t go back later and expect to paint it in). Then the layering of stems and leaves. Creating depth. Perspective (that so often elusive perspective). Once I have put in the time, only then can I delight in the flowers. And having spent the time, oh what a delight they are!!!!! As if they bloom just for me.
It’s hard to remember this in the daily rush of things. The furious speed to get over, get beyond, to get through. But when I’m lucky, (which simply means when I’m paying attention), it’s my hands that remind my heart that tell my brain, “It’s only underpainting…the flowers are yet to come!”
I know the furious speed at which you are trying to get over and around. I have traveled that wind and hung on for dear life. But the dear life I found came only in the quiet slowing down. The letting go. No longer rushing to get past, but easing my way through. And the peace. Smiled. Knowing it had always been there, as I whirled. Peace, sitting quietly next to joy, and hope, and OK now. There, there.
In my sketchbook, all the pages are almost absent of color. Not flesh, nor butter, it welcomes every image, and rests it gently, softly, without judgement. But for the flaps. The flaps are a vibrant red. Already set in tone, they present a different challenge. We call this an “underpainting.” The red cannot help but affect each color applied. And it can be tempting, this coming in hot. There is a vibrancy, a bit of excitement. And so it is with heart and mind.
Sometimes, seemingly without my knowledge or permission, I find myself in the flaps. But this! And that! And they! Should haves and could haves and supposed tos hovering in all that redness. And that’s ok, for a moment. I try not to add to the heat of the color by beating myself up. But rather create a space, where all are welcome. All.
We are living in a time of red. Perhaps an inhuman time. We’re not the first, nor the last, but It is our job to remain human. To love, to create, to inspire, to preserve the goodness. To be the pages that welcome, with all the gentle might of heart and mind.
Just outside my dorm room, I came across a red balloon. Nearly deflated after its apparent celebration, it merely hopped in front of me, seemingly hoping for one last hurrah. Who was I to turn away? I gave it a little tap with my foot. Did it blush deeper red as it popped up to my hand? I waved it on ahead. And we danced. It didn’t occur to me that my normal three minute walk to class had now taken upwards of nine. I took on the same blush of red as I walked in late. The professor looked at me and asked why I was late. “Because I grew up on a gravel road,” I said. Always a proponent of the specific, he smiled and let me sit down.
It was true what I had said. I had consumed hours kicking a single rock down the gravel of Van Dyke Road. It’s something, I suppose, to kick a rock on the paved streets of town, but it took special attention to traverse your specific rock in a sea of them. It started out simply, just a little tap by Weiss’s house. Then a quick passing of Alf’s. Once between Muzik’s and Dynda’s, I really gathered steam. Passing Norton’s I was ready to make it all the way to the North End, where all gravel went to rest in giant cliffed piles. Simply acquaintances at the edge of my driveway, we had now become friends. So certainly, as with any friend, I was ready to take it back home with me. Back up the hill. Maybe it was a foretaste of the feast to come, but I was unwilling to settle for any abandoning.
You get over being left, but one has to decide if you are going to be a part of the leaving. I wasn’t. So I kicked that red balloon all the way to my creative writing class, in a story that began on Van Dyke Road.
It wasn’t long after I realized that everyone didn’t have them, these Tech-ers in the basement, that they were gone. It’s clear now that we needed the money more than the space. We went through at least three cycles of young men from the law enforcement class. I only remember one’s name – Terry Eilers. Maybe because he was also our bus driver, but mostly I think because he was nice to me. And wasn’t that everything? —when there was just one unlocked door at the bottom of the stairs that separated them from our laundry.
Before lessons were learned, I race from upstairs to downstairs without a glance. It was one of the men from the first group of three. (Everyone over 17 seems like a man when you are six.) He was building a canoe in the driveway to our basement. Fascinated by anything being built, I was probably annoying. Watchful. Eager to know the bend of wood. And what was that green stuff? What was he putting on the shell? Certainly he must have my best interests at heart, I thought, he lived with us after all. He was going to enforce the law. He told me to touch the canoe. I poked one hesitant finger out of my sleeve and touched it as if it were a hot pan on the stove. No, really get in there, he said. Rub your arm across it. I don’t why I did. Just like the heat from a hot pan, it took a minute for the tiny shards of glass, the insulation, to reach my brain. And it took longer, I suppose, wondering not why the pain, but more, why did he want to inflict it?
I wasn’t going to let him see me cry. I ran up the browning hill of fall grass. Through the garage door. Down the stairs to the laundry room in the basement. Took off the painful sweater and placed it in a basket. It was the first time I noticed there was no lock on that door. It was the first time I needed one.
I stayed upstairs for the rest of their time. The next group came. They called one “Buzz” I think because of his hair, but I remained at a distance.
When Terry Eilers came the next year, slightly overweight in his tan shirt and brown pants, the new uniform of the students, he smiled at me from behind the big bus wheel. I don’t know how many rides it took before I trusted him, but I did.
It’s no longer a technical school, but a college. They have their own housing now, I guess. Call it whatever you want, I hope we’ve all learned along the way. Kindness is memorable.
Some will try to take it away. Innocence. Curiosity. Joy. Others still will pick you up when you need it most. It only takes one Terry.
It’s one of my favorites in Paris, the Musée d’Orsay. Maybe because it feels most like me.
It didn’t start out as a museum. At one point it was a train station,
even a parking lot, long before it housed the most beautiful impressionists in the world. I suppose I’ve always known it — that I would have to become, and keep becoming.
When I was a kid, I thought I would just figure stuff out, you know, and be something, and that would be it…that would be my life. Because didn’t they always ask, “What are you going to be?” And especially at this time of year, as we prepared to dress up and go from door to door asking for our treat behind the question, “What are you supposed to be?”
At first I was a cowboy, (was this my train station?). Then I was a hobo, (my parking lot?) It took a long time to become an artist. This was me. Who I was supposed to be.
I think that I, we, just have to keep becoming. We change and grow. We are molded by love and trips around the sun. It takes a long time to build a soul. We get older, maybe wiser, (even better, we gain a little grace) but we don’t finish – we don’t have to – we begin, and be, and begin again. I think that’s the gift of living…the joy of being alive!
Before Google, my mother had recipe cards with chocolate stains and bits of dough. A Betty Crocker cookbook so tattered, pages dogeared more with hope than actual meals made. She had a Bible with verses underlined in tears and yellow highlighter. Quotes from books stuck to the phone to remind her of what was actually funny now. Cassette tapes cued to the kitchen dance. And a phone book nearly rewritten with vital numbers like the Clinque counter at Macy’s.
And it was tangible, this chain of life. How it moved from heart to page to note to smile. I suppose it is what I’m still trying to do. To create the images. Meld them with thought. (Neither artificial.) So you can touch and feel, and pass them on, with your own notes and heart and smiles. And amid all the tatters and laughter, what we will have is real. So very real.
If it was only 29 years, it was 29 of the hardest years I had ever seen.
Visiting the Hank Williams museum was our first choice in Montgomery, Alabama, after finding out the Rosa Parks Museum was closed, the Legacy museum was closed, and the art museum was closed. Even F. Scott Fitzgerald’s house, closed.
Of course I had heard of “Your cheatin’ heart,” and perhaps a few other songs, but I can’t say I was a real fan. I just assumed he was old, as I had with anyone I was introduced to when I was young. And the images didn’t tell a different story. In the videos and photos, I would have said he was in his seventies.
The man at the front counter said to be sure and ask questions. There were mostly stage outfits and record labels, nothing that questionable. The wooden Native Americans caught my eye. This made me wonder, until I saw the story of his song, “Kaw-Liga.” The whole thing made me a little uncomfortable. The story of the Native American turning to wood by the water, waiting for his true love. They spelled it differently on the marker by the bridge. Differently on the carved statue in the museum. Someone got it wrong. (I was having the feeling that we all did.) Of course I asked about the spelling. He didn’t actually spell it, but said the word slowly, claiming that this was correct because “he fished in that very lake.”
Still confused, we walked to Hank’s statue just down the street. I saw the date listed, 1923 – 1953. It took a minute to compute. Certainly this wasn’t his age. Were these the years he lived here? The years of his songs? 30 years old? Maybe it was the same engraver who tried to spell Kaw-Ligi. It just couldn’t be. I asked Siri. 29 she said. “It’s even worse,” I shouted to Dominique in the street. He was only 29! A hard 29!
So many things get by us. So easily. It’s hard to believe, even when the images are right there in front of us. The Freedom Riders. Bloody Sunday. The Civil Rights Movement. We learned the dates in school. But did we ask the questions? Are we asking the questions? Are we curious enough, open enough, loving enough, not to repeat the same horrific mistakes?
I suppose that’s the one thing the man at the Hank Williams counter got right – “Be sure to ask some questions.”
If you saw that I am not just my face, but all that I have faced… and if I did that for you…
