I have had this canvas for about 15 years. It has transitioned and traveled with me through abstraction and country. The last painting was here in France, a seascape of sorts. But I can’t tell you exactly what came before that. I know it’s still there. Underneath. Behind, within this woman.
If you ask me who she is, prepare yourself for the underpainting. She is the curve of every woman.
She is my grandmother whose hands never stopped. Hands that I watched in amazement and wrote, “If she did worry, it never showed in her hands. She held. She gave. She touched.”
She is my mother. The posture of grace. In an apartment kitchen filled with more worry than nourishment, she lifted a hand, and gently directed me in the dance.
She is my friend, long past her days of professional dance, who still walks in the garage as if onto the stage.
She is another friend, deep in grief, (a depth that only comes with love) who dares the dance of my mother, and releases, again, and again, with the curve of a woman.
When I look at the sides of the canvas, I see these bright and dark colors. Not who she is now. Not who I am now. But I see the lines of the underpainting — the embossing and debossing of all that paint (the experience) that has come before. And it adds pattern to her dress. Movement to her hands. Strength to her feet. And opens the sky. Opens her heart. My heart. Your heart. Wide open.
I imagine how the next day went. And the day after. Because their lives didn’t end when I got to the last page. Isn’t that what a good book does? With the same tools as every other writer, all the curved lines that form letters, the dots and dashes that make you stop in your tracks, an author can change the way you feel (not just in the moment) but for a lifetime.
I suppose it’s the same with love, when it’s written well upon your heart. That has to be what draws us in. What keeps us thinking. Those whose lives are so developed, whose storyline runs so deep, it continues long after the final turning of the page. These are the lives I want to surround myself with. It’s the life I want to live, and not in a vain way, (although I do indeed want you to keep coming back – I want to hold your interest) but also for myself — I want to be interested in my own life — to see where this goes. What could happen next? I want to live so deeply that the only choice isn’t even a choice, but a continuation.
The morning sun awakens the letters that tickle their way from heart to head to hands…and the story continues…
Working between two screens, sometimes my cursor gets stuck in the opposite one that I want. (Like my brain doesn’t do that all the time.)
It’s so easy to think, “Well, I always did it this way…” Whether I’m talking about different countries, different languages, loves, relationships, even my hairdresser. And I catch myself swiping madly on the wrong screen.
Change is never easy. Neither growth. But both are so necessary. And it doesn’t mean you have to give up everything in the letting go, the moving on…You keep the lightest of things, like joy and hope and love — none of these will ever weigh you down.
Too often I’m unaware. It’s barely more than air, the little birdie that tells me things. But when I’m paying attention, really paying attention, all the truths that move between who I am and who I want to be, chirp seamlessly between my heart and my brain, and I am saved.
She was not unlike most of the super powers that I watched on Saturday mornings. All were contained in the tightest of fashion. It’s why, I imagined they could move through the world so easily. And so it was with Mrs. Bergstrom. She stood in front of our first grade class at Washington Elementary. No loose ends. Her hair slicked back in a perfect bun. Her black pencil skirt smoothed without wrinkle, making it impossible to see where the chalkboard ended and her waist began. That’s how all the words got in, I thought. This seamless transition. And wasn’t that her superpower, all those words that she spelled out, sounded out, drew out. I wanted some of that power. Just to stand in all that “super” for even a moment. I leaned forward in my desk. Pulled up my neck. Straightened my back. Reached one leg behind the chair to make myself into the straightest line. To create a path for all that knowledge she was passing our way.
It’s easy to let a day go by. To let the passage of time slouch us over. To drape in the fray of worry and get caught in every dark moment. But that wasn’t how we were taught. Not how I was taught. So I wipe the chalk from my hands and smooth them down my skirt and I stand. I stand tall. “Gather it in,” my heart tells my brain — be taut — despair can only slide down, slide off. And it occurs to me how similar the words are. This taut and taught. And it straightens me. Lifts me. Letting go the fray, I Bergstrom to the front of the morning.
When she was reporting on a full time basis, the writer Joan Didion said she used to have this dossier taped to her door. It was a packing list of what to bring — a list she could quickly check off without thinking, and begin her journey. I love it because I find myself doing the same thing. Not for a suitcase, but for my heart, my mind.
Challenges rarely announce themselves, they merely show up at the door, so I need my list ready. I don’t want to think about it. It goes a little something like this:
Before I had finished the page in my sketchbook, it had become an Emily Dickinson poem. “In the name of the Bee,” — a poem that had been passed around between my mother, my ninth grade English teacher, my friend David, two books on my shelf, and the path that I walk daily.
It was another Emily who asked,
“EMILY: “Does anyone ever realize life while they live it…every, every minute?” STAGE MANAGER: “No. Saints and poets maybe…they do some.”
– Thornton Wilder, “Our Town”
Wanting to get to “some,” and realizing my limits for sainthood, I try to walk in the poem each day.
I said once, on the days that I can’t create something beautiful, at least give me the wisdom to see it. Yesterday was busied with a trip to Marseille. We had an appointment at the Hopital Conception. We were greeted at the entry with a poster of Rimbaud, the French poet. While others sat in the waiting room. I sat in the poetry. I looked around to see if others were held in the syntax, hoping, wishing, they could feel my Emily within their Rimbaud. That maybe we could all live together in the magic of the word, maybe not “every, every minute,” but for this moment, the magic of this collective poem.
I liked to sit by him at the table, breathing in the smell of the earth from his overalls, but there were often things on his plate that had me racing to the cereal cupboard for a replacement meal. I was not one for squirrel, or gizzard. Gravy poured over anything never appealed to me. It didn’t present the horror of a church potluck, but it was close. So I grabbed a stool to reach the bowls from up high, and something Kellog’s from the variety packs my Grandma so generously kept stocked in the very attainable bottom corner cupboard. And I was saved.
We carry emergency food in the car. Mostly crackers. Mostly for me. Dominique will often brave the local cuisine as we drive from state to state. Gas stations are sometimes the only source. Somewhere in the indistinguishable fields between Colorado and Nebraska, we pulled over. After gratefully using their bathroom, I knew I would be finishing my Wheat Thins. Dominique looked behind the glass and settled on the deep fried gizzards. (Of course they had gizzards! If my grandma could so easily show up with her root-beer floats, my grandpa was certainly not going to be outdone. And there they were – gas stations gizzards.)
I kept driving with the box of crackers neatly tucked between my legs. Dominique ate his gas station gizzards — and really enjoyed them! The smell of earth seeped through the windows. Rueben and Elsie smiled in the rear view.
I don’t remember not having a crayon in my hand. At least one in the pocket of my jeans purchased in Herberger’s basement. An unsharpened pencil (because why wouldn’t I use it?). Paints in the nightstand by my bed. Big Chief notebook pads everywhere. Coloring books stacked in the closet. Inside my book bag. Pencil cases from every theme park within Minnesota and Wisconsin. I suppose the scene was set from the start, in this my first act.
The famous writer Anton Chekhov said, “If in the first act you have hung a pistol on the wall, then in the following one it should be fired. Otherwise don’t put it there.”
I may never be famous. Nor rich (in the monetary sense). None of this has ever been the worry. But I fire my “pistol” daily. I write. I paint. I create something. Anything. Because I know what I’ve been given. I’ve always known the value. I have peeled the paper from every Crayola and used it to the end. I have sharpened the #2 until my fingers were at risk of getting caught in the sharpener that hung by each classroom of Washington Elementary. I fill the pages. Each canvas. It is my privilege. My duty. My responsibility. My joy.
Whatever it is that you’ve been given, use it. Fire the pistol. Play the piano. Weed the garden. Care for the children. Teach. Reach. Run. Use your gifts. There is a reason that they were put there, on your set, in your hands, within your heart.
I type the words for you this glorious morning. Read them with a bang!
I suppose we all hope for it — a little of the magic to rub off. The plaque on the outside wall says the author lived here. I stand in sturdy on the sidewalk, ready to catch any discarded words from a hundred years ago. Words left hanging in the cement’s cracking, perhaps ready, in this moment of my standing, to release themselves. I open my pockets and umbrella my shirt.
I go to museums and restaurants. Vowing to paint this. To make this. I will turn the kitchen table into the coffee shop, and sip slowly, slip gently into the romance of it all. And isn’t that what we’re here for, after all. To enjoy the art of being alive, but also to leave a touch of the magic behind for others to climb upon, to rest upon, to become.
I was lucky. I saw it early. I sat at my grandparents’ kitchen table, and held. The wood had already absorbed them. These Hvezdas. Scents of kolaches and pipe tobacco. Imprints of elbows calculating and cards slapped down in victory. Dice shook. Recipes tweaked. Books of crops and yields gone over and over again. Radio vibrations of Paul Harvey and rain forecasts. Over it hands shook. On it hands folded. And underneath, four angular legs that stuck out too far for a racing toddler, but held strong, this sturdy table, this gathering of life.
I take it with me everywhere. I’m sprinkling it now on this kitchen table where I type the morning words. Reach out your hands, your heart, the magic is falling.
I have purchased them, found them, painted them even — these bookmarks. This way to signify where I’ve been, where I’m headed. This perfect way to keep moving forward. If only I, we, had the same way to mark our every day lives.
I think of how many times I have learned lessons again and again. Going back in chapter to retain the information. Oh, yes, I think, I’ve learned this for the last time, and yet…here I am thumbing backwards. Worrying the same old worries. Replaying the words someone said. Until my heart finally says, as loud as it can, over the words written on brain, “Move on. Read on. There’s so much more!” And it’s always sweeter. Life. My story. When I do. When I take the mark from the page, lay it beside me, just out of reach, and continue the story.
I’ve said it before, it’s good to rest. To place the bookmark gently. Breathe. Sleep. Smile. Dream even. But we must never give up. There’s so much more to learn. To see. To love. To share. So much of the story awaits.
I painted this bookmark of Maya Angelou. She says, “When you know better, do better.” Yes, I smile, and turn the page.
