I don’t know who she’s looking at, but I do know that person is loved.
I used to enjoy going to the airport. That may sound crazy. It was so long ago, I can hardly believe it myself. There was a humanity at the gate. (Days when people could actually meet you at the gate.) Even when they weren’t waiting for me, it was nice to see it – the proof in the welcoming. How the faces changed when they caught the first glimpse of the ones they loved (and you had to love someone to do the airport run, it was still the airport after all.) It was the softest excitement. The pure energy of an embrace. A joyful safety that sounded in the unrung bells of “I’m so happy you’re here.”
We can still do that you know. Not at the airport, but in the car. Across the table. On sidewalks and shopping centers. In the mirror. At all of our gates — gates of joy and sorrow, fear and hope. To welcome each other with a joyful ease. We all want that, don’t we?
So I ask myself, is this what I want written across my face? Is this the first thing I want people to see of me? Each moment is a choice. A new gate. Let me greet it with care. The sun is coming up. I smile to the world…and myself…and say, “you’re here.”
There wasn’t a hard edge on her. Not fingers, nor elbows, nor knees. She was built to make a lap, cup the small of a back, wipe a tear, widen a smile. She held. She gave. She touched. This was my grandma Elsie.
Sometimes I have to apologize to her, and myself, for carrying my shoulders just a little too high. What am I braced for that couldn’t more easily roll off and on by, if I only relaxed them down. It feels so good when I do. My neck wanders freely, softening my face, releasing my cheeks that smile and say, “what a relief!”
As I work in my sketchbook, I remind myself. The blending of rouge and flesh. Whites, yellows and greens. No hard edges. Wondering to myself, “Does that man appearing know that I am Elsie-ing his face?” I lay the brush down, along with my shoulders, and know, she is gently and ever teaching me. Thank you, Grandma.
When you love something, you want to share it. In my youth, I used to think that meant that the other person not only had to love it, but love it for the same reasons. Childish, I know, but I’d like to think I’ve gotten better, more secure. It is more than enough to simply love.
I enjoy making Christmas cookies. Thanks to a childhood friend, I have one cutter in the shape of Minnesota. Of course no one here in France knows what it is, but the shape of my home state is just as delicious as the Christmas tree, or the star, and they enjoy it. Sometimes I watch. I smile when I think, oh, my husband just took a bite of Duluth, and that same shape that rests in my heart, without his knowledge or permission, is colored in the morning blue of a fresh snow, and is silently full.
Is that what love has always been? If so, what a relief to know it is in the giving that we become filled. Oh, the stress of waiting and wanting to receive… So I offer my love, in all the shapes and colors I know, and find myself with more than I ever could have asked for. And I am saved.
The noise was constant. Children and pans. Even the overalls and coats that hung by the furnace seemed to hum. So it was something to hear it — how the upstairs bedroom closets whispered. I could crawl all the way inside and shut the door. Armed with only admiration, curiosity, and my grandfather’s flashlight, I opened the boxes. It wasn’t forbidden — mostly out of lack of time, I suppose. My grandmother had too many things to do. How could she keep track of every child and all those eager thumbs, thumbing through her past.
It wasn’t a lot, when you think of the years that had passed. A few coats and hats. A fox stole. I had to imagine her once this small — before her belly had grandma-ed behind the aprons. To rub the fur was to awaken the genie, and I could see her, clutching her imaginary pearls, blushing at a boy behind the Alexandria hotel.
And I thought how she must have loved us, the pure thought of us, to trade in all those whispers for the never ending noise. I closed up everything with the admiration it deserved and creaked my way down the steps to the kitchen. I got face deep in her softened belly and hugged her. “What’s that now?” She asked. I curled my pointer finger in motion, asking her to bend her ear to my mouth. It seemed too pedestrian to shout it over the din. She wiped her hands on her thighs and bent down. I whispered in her ear, “Thanks for loving me.” She smiled. Kissed the top of my head. And the spoons clanked on.
When they asked Muhammad Ali to give them a poem, he offered up two words. “Me. We.” Just two simple words. But oh, how much they said. ‘Me We’ is a poem about one man’s transition from one to the many, singularity to plurality, and selfishness to altruism.
It’s a reminder to me, how little it actually takes. To make someone’s day. To let them know they are not alone. To give them hope. A smile. It’s a small space from me to we, easily traveled, if we simply remember to take the step.
When I think of my best moments. They’ve always been with someone. It makes me wonder, does anything really happen unless we share it? I’m not sure. I’m not willing to take the chance.
I remember early on, speaking to a group of young school children. I was humbled that they knew the answers to their own questions. After a reading, one student asked why I didn’t use any names, just he, she, they… Without missing a beat a little girl raised her hand and said, “Because it could be anyone.” I’m still smiling. The answer remains the same, this movement from singularity to plurality. We can all do it, take the path, from Me to We.
The bisous is nice — a kiss on both cheeks — but for me, it will never replace a good hug. I have the imprints on my heart. I can tell you the progression through the years of my grandmother’s hug. The first I can remember were mostly knees. Then I was sticky faced against her apron (maybe because of me, or maybe because of the apron). She was pillowy. And welcoming. Pulling me in so close, I was almost behind her. And then there was the angled structure of my grandfather. Firm and elbowed. Offering the blessed assurance of “I’ll be here, strong, a foot in each furrow.” And then there was my mother. I knew every inch of her. Where my head could rest. Where my mind could wander. The home of every embrace. The feel of each blouse and sweater, hugged so closely, as if to wear the same. And didn’t we wear them together, our sleeved hearts, through every fashion lay-a-wayed and purchased.
This is to be hugged.
It’s not our culture here in France. But it is happening. Slowly. And isn’t it beautiful, that without pattern, knowledge or language even, we can teach each other how we need to be loved.
Ever since I painted his picture, Dominique’s cousin, he has hugged the stuffing out of me. Such a joyful surprise from this man of French measure. Nearly lifting me off the ground. A melding of imprints. Strength and joy and tenderness. All the arms around me now, I paint my way home.
It was one of the greatest mysteries to me, the perfection of the rows in the fields. I knew nothing about farming, nor even driving, when I asked my grandpa how he did it. “I just see them,” he said. “But how do you not run over it all when you turn the corner? Or get out of line when you take a sip of coffee from the thermos between your feet?” “I know where I am, and I know where I need to be. It makes it very clear.” “That’s a lot to see,” I said, still not certain that I would be able to do it. “Will I be able to do it?” “This, probably not, but you’ll see what you need to see.” “How will I know?” He got on the tractor, and showed me.
I don’t know the exact moment it happened. How I found my row. My place. But I did. It all became so clear on the page and on the canvas. People ask me all the time — How do make them so real? How do you bring them to life? The truth is, I just see them. And it is my hope, that they see what I see, and others too… then they will know they are beautiful. That’s why I paint the portraits.
I can’t tell you how it happens. So I simply hop on my daily tractor, and write and paint, and I know, somehow, we’ll all find our way.
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.
Knowing that the number one rule in improv (perhaps the only) is to always continue the conversation with “yes, and…” — and thinking that life is really one big improvisation — I try to do the same in my daily practices.
I got up early this morning to make the baguettes. The sticky dough questions my every move, and yes, I continue. My tiny spatula is barely a match for the fluidity. It’s like trying to herd cats or gather water in the palm of your hand. But the scent of bread baking is priceless. The impossible cut straight from the oven melts the butter, and beds the lavender honey, and there really is no better way to begin the day.
It feels good to begin in all that agreement. I will ride it to my sketchbook — the current sketchbook whose only rule is “Bird, and…” Every page must contain a bird. It started from the need to lighten the moment. To feel barely more than air. To fly. Thus, the birds, and… whatever I wanted to paint with them. Be it ukulele, purse, or human, it always continues with the bird, and…
The two most recent humans in the book, although pages apart, seem to belong together. And how telling of our world, I suppose. This “pages apart.” But I’m encouraged by the ease of paper turning…the smell of fresh bread, the taste of lavender honey… So as the sun questions, “Will we rise to the moment?” — I can only answer, YES!
We could blame algorithms, AI, all the usual suspects, but really it comes down to us. I don’t know that much about TikTok. I make little videos of painting progression. Clips from my sketchbook. I don’t pay that much attention to the views, or how they tag the videos. To me it seems pretty obvious of what they contain. But I was really surprised how my obvious was interpreted.
I painted a study of a woman from old portraiture. It was in practice of being loose, and allowing the woman to come to life. A gentle attempt at survival, comfort, in the act of trying to simply be. I was so shocked when I saw the tag that AI had generated for this image — “Women who want to lose weight.” What???? That was not the point at all. Not hashtag sketch, or sketchbook, or painting, or art, or woman trying to warm herself with blankets, nor woman waiting, not even bird. And I was quick to curl my lip in disgust of AI, but then the hard truth became as clear as the Magpie on her shoulder, that AI is only repeating the information that we’ve been feeding it. So telling of what we see. And I guess it’s a harder truth to understand. A harder task to change the way we see things. But soon our humanity will be hashtagged away and what will we be left with then?
I suppose it’s a good reminder though — to be aware of how we look at things. Is this why our country, our world, is so divided? Perhaps if we stopped telling each other that what we see is wrong, and started simply telling what we see, maybe we could get back to our blanket of humanity. Maybe I’m just a woman waiting, or a simple Magpie, but I’ll take comfort in that, loose and simple comfort.
