Jodi Hills

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


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Out of nothing.

When I saw the image of the man start to appear, it made me laugh. I had seen him before. Not this exact version, but certainly a handsome man, clad in something spectacular from the Sundance catalog, or Banana Republic.

It started when I was in college. We didn’t have email or texting. We had letters. My mother sent something to me weekly. Oh what a glorious day when I saw it in the mailbox. Maybe it began because there wasn’t a lot of news to be shared. Or maybe it was simply her glorious sense of humor. She cut out images of good looking men her age from catalogs and wrote, “Wouldn’t you like him for a stepfather?” The answer was always yes! And the jokes continued about ordering, sending away for, arriving in the mail… we could go on forever, until it switched to the outfits in the same catalog that she would wear to get said man, which turned into a fashion show of what we already had, an exchange of compliments, bent over belly laughs and hearts that were full. 

Through the years, at gallery shows throughout the country, people would ask my mother if she too was an artist. She shyly said no, but we both knew the truth in the hesitation. She could, had, and continued, to create something out of nothing. Isn’t that exactly what an artist is?  I think so. 

I see him in my sketchbook and write stepfather. My mother’s art lives on. 


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Becoming the ocean.

I think even then, I didn’t feel like I was waiting for it, it felt like I was in it.

I didn’t use the front door of our house on Van Dyke Road. But I did use the stoop — the set of cement stairs that faced the gravel. I would perch there. Knowing a car might pass going to town. Or a truck to the North End. A Dynda hanging laundry. A Schulz boy up to no good. A Norton girl on bicycle, on foot. A Weiss getting the mail. A Mullen racing from the sound of their mother’s call. 

Even motionless, I could feel the river’s ripple. Weren’t we all a part of this movement toward the ocean? Khalil Gabran tells us “It’s not about disappearing into the ocean but of becoming the ocean.” I didn’t have the words for it then, and yet the water lapped against my bare feet. Perhaps change is the hardest now when I forget the water and find myself waiting. Waiting for the change that will bring all the relief, the “I’ll be happy when…” It’s not until my formerly chubby toes wiggle and say, you’re already in it… that’s all, you’re in it. I smile, and let myself become. 


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To my own hands.

When the world gets this overwhelming, I have to narrow the picture. From planet to country. Still too big. From city, to neighborhood. I can’t make sense of it all. Down to house. To room. To kitchen. To my own hands. I pull it out of the oven. And rest in the place of, “This bread is good.”

And maybe that’s all we can do. Be responsible for our own hand in it. Each day. Each minute. Forget the but they did this, they think that, how could they???? In order to breathe, I have to let go of “they,” in exchange for the reach of my own hands. 

At the breakfast table, it’s hard not to go over the latest news. Of course we have to be informed. We must learn and grow and be aware. I can’t change what’s going on in my old neighborhood. And it would be easy to say it doesn’t make a difference at all. But I can’t believe that. And so I humbly paint and write. And connect with the random. We will never be rewarded with certainty. But we have to try. Who would we be if we didn’t even try?

So I rise from the morning table, knowing only two things for sure, this bread is delicious, and all we have to do is be good to each other.


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Jonquil.

I was a teenager having surgery in Minneapolis. It was not yet spring, but for my mother. She was dressed in yellow, head to toe.  From my wheelchair, I could see her slacks, not break at the knee, but simply curve like a note in a Harry Belafonte song. The elevator door opened and the doctor smiled at her — said she looked as “beautiful as a jonquil.” I didn’t even know what that meant, but it was the most elegant compliment I had ever heard. Back at my room, no iPad or telephone, certainly no dictionary, we could only imagine how beautiful that flower looked.

It has been decades, and I’m still lifted by yellow. I’m still lifted that my mother dressed to lift, herself and me. I’m still lifted by jonquils standing tall in a breeze that they shouldn’t survive, as my mother bent, but never broke. 

As the elevator door opened to 2026, I gave the woman in my sketchbook a yellow sweater. That’s what we do, isn’t it? Lift each other. 

Welcome to the garden. 


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I do have a river.

I don’t know how many times I sang the song, “I wish I had a river…” Joni Mitchell was a staple in our house, so when it was “coming on Christmas,” she was on repeat. How many wishes did I make for that river, a river so long that I could skate away on, before I even knew what it would mean? 

It wasn’t a river where I learned to skate. In fact it was a pond. Noonan’s Pond. And by “learned” I mean, fell and broke my arm. (Maybe that’s where all lessons are learned, in the falling.) All of my summers were spent attempting to fly. From diving boards to bicycle wheels, I was certain that my feet could leave the ground. It was no different with the change in weather. When the lakes ponds and froze over, I was certain, it was simply another way to take flight. 

I wore my full plastered arm, like a badge of courage.  Every fifth grader celebrated the attempt. All knowing, valuing, what that breeze felt like underfoot. 

The needles are already falling from our tree on this sacred eve. But it’s ok. I learned it long ago on the ice. I learn it daily, simply loving. All the rivers to cross. There will be so many stumbles and falls, and letting ins and letting gos…all breezes under our hearts, under our feet, this love teaches us daily, how to fly.

Merry Christmas. 


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But not my mother.

As Jane Goodall sat for her portrait, she told the artist that everyone made fun of her as a little girl. After finding the Tarzan book, and reading from cover to cover, she knew that he had married the wrong Jane, and that she would go to Africa, study the animals and write books about them. “How are you going to do that?” — really more doubting than asking. “You don’t have the money,” or “You’re just a girl.” “Everyone scoffed at my dream,” she said, “but not my mother.”

And didn’t I make it the same way? Without examples or funding. Seeing the wrinkled looks. The doubters of my chosen unchartered path. But never with my mother. I can’t even tell you if she was reflecting my dream, or I was reflecting her belief, but within her presence, I didn’t just imagine who I could be, I believed in who I was. 

…but who was doing that for her?

Maybe this is one of life’s greatest treasures. Finding your champion. The person who eventually teaches you how to become your own. Maybe it’s a parent, or educator, or friend. When you find it, hold on tight, then let go loosely. Because this is the gift that must be shared. 

When I painted the first portrait of my mother, she looked at herself and said, “That woman doesn’t look like she needs to be afraid of anything…maybe I don’t either.” We were each other’s champions.

Amid all of the day’s doubts, run loosely.


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In the softening.

II don’t get them often, but I found a cure that works for me when I have the hiccups. It is simply to relax every part of my body. Exhaling from head to toe. Whatever it is that’s causing the jolt seems to disappear in the softening. 

It makes sense though. For me. Most of my worries, my so-called hiccups in life, are released the same way. Not with the violence of breath holding, or other extravagant scare tactics, but simply releasing. Letting go. It always takes me a minute to get there. Oh, I can let myself be jolted around like everyone else. But I find my way. Softly. Relaxing my face, I feel it fall, the fear, tumbling down my shoulders, stumbling over elbows and knees and finally wiggled from toes. Free.

Then there is room to just be. It’s the calm, I suppose, that welcomes in the comfort. Even comfort doesn’t want to enter a house a chaos. It comes in the softening. 

I painted her as a reminder. I see her and I drop my cheeks, my shoulders, exhale from head to toe. And begin again. Softly.


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Shrugging off purple.

Perhaps if you were to call it an eggplant, you wouldn’t give it such a frame. But l’aubergine, yes, an aubergine could hold its own, and perhaps even more, be the one not supported by, but wearing the frame. 

Hearing my name called now, it comes with a French accent, an English one, even German…so isn’t it funny that I always hear my mother’s voice. The familiar long o, so long it sometimes didn’t even have room for the i at the end, it simply wrapped itself around and ended with the d. Framing my heart, not just with love, but with a responsibility. In that drawn out o, I knew I was to keep becoming. 

I try every day. Offering up the words and the art. Would she find it worthy of how she framed me? The light in which she wanted me to be seen. My mother. I hope so. I think so. I keep trying. Because didn’t she bat away the ordinary? Try to clear the path? Shrug off and roll her eyes at purple? Yes, yes, yes…Joyfully, I was led to believe that I was aubergine. 

Aubergine.


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At the gate.

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.”


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Along with my shoulders.

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.