A Subtlety: by Kara Walker

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What word does one use these days,                                     when something is truly awesome?

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The old Domino Sugar factory of Brooklyn, burnt years ago, and before getting demolished, this is its last hurrah: a cathedral on the sacred sucre.

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A sublime statement of history,

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Made from the almighty cane, by Kara Walker,

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And the strength of the poor who built the industry.

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Standing there is much like being born again,                                       only with eyes wide open.

Two days left: Saturday and Sunday, July 5th and 6th.  Don’t miss it!

Greece Blues

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There’s no freedom like the abandonment of the familiar,

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As an attunement to each breath in ourselves and the planet.

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Nuances found in foreign waters, and on new lands,

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Sweep us from our daily allêe,

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Invite us through barriers in perception,

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Stretching ways of seeing what we look at every day:

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The miraculous layers of life,

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From forever ’til tomorrow, and the tomorrows from tomorrow on.

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After struggling like a butterfly in a blizzard for the past few months, humanity has fluttered back in my heart. Thank you, Greece.  Thanks to Ruthanne Shobe, for glorious blue space to hear the imagination’s song.

Hola Del Cabo

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I haven’t been blogging much lately, one reason being eight weeks of an arm cast complete with pins, which were all recently and successfully removed.  And then I got on a plane for Cabo with one goal: enough daily physical therapy to remind my immobilized arm and fingers how to work and play with friends once more.

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So far, so good.

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So blue and beautiful.

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All the news of home we read is extreme: the Polar Vortex, according to the weatherman. and ‘life threatening temperatures.’    One more day of warmth…                                                                        Another reason I haven’t been posting much is that I want to do longer, deeper pieces, but in this environment, there’s nothing more exciting than the temperature, whale sightings, fresh fish, healing, water ten times a day, a little shopping in the charming village of San Jose del Cabo.  Not very eventful, except perched up on this mountaintop in an infinity pool, literally hanging off the edge of Mother Earth’s nether regions in southern Baja, I sometimes imagine the possibility of an earthquake, even a little quiver set off by an innocent sneeze. I don’t stay there long in my mind because it’s a little too relaxing here, but as you read these words, you must know the fragility of life is never forgotten by me.

To Phillip

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Phillip Seymour Hoffman: 46

Today is a sad one, a terrible tragedy for a family, a loss for the world of film and theater.  Phillip Seymour Hoffman is no longer in the land of the living.

The news of his untimely death made me ask  what it is that put him at the top of my list of favorite actors.  True, he had a wonderfully rich voice and could transform himself to almost any character with his extreme talent.  But the thing that touched my core was his willingness to be vulnerable, to be ugly, to play the pathetic, vile and cruel, yet with a huge and dignified humanity, to be seen as weak, to be the most tender.  It took great courage to expose that range and depth of feeling, to stand on the edge of an emotional cliff that most people avoid.

On his street late this afternoon, blocked off by police barricades, fans swarmed in tomb like silence.  I brought a bouquet of flesh-colored  tulips to leave at the front of his building, but forlornly carried them home and put them in a vase.  I often saw him in the neighborhood.  Once a big force, he’s left a gaping, palpable hole.  Oh, Phillip, here’s to your big-hearted talent.  May you rest in peace, may your family find comfort.

Fragments on the Bones

 

 

 

 

 

 

 

 

I’ve got bones on the brain, a cast on my arm, nothing to do but forensically comb through buried memories of the subject of bones.  Winter with broken bones seems apt.  Every stark landscape, the bare trees, frost on windows, they all remind me of bones, bones, bones…

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Still in Missouri in the early eighties, I was visiting St. Louis with Martin Griffin.  He’d quickly pulled the car over in an impoverished neighborhood at a tire shop made of faded black tar paper draped like aging skin over a wooden frame.  The outside of the building was encrusted with chrome plated steel discs, made from an array of hub caps from decades of different cars.  “Folk art,” Martin said as he left the car with his Nikon around his neck.

When Martin wasn’t back in the few minutes I assumed it would take, I fished out a current copy of The New Yorker from my purse and read a short article before I realized how long I’d been waiting for his return.

When he plopped in the driver’s seat, he reported that the guy who owned the shop came outside.  An older African-American in oily overalls, he demanded that Martin get off his property.  Martin convinced him that he admired the creative spectacle of his garage and they engaged in a playfully antagonistic conversation that ended with the old man saying, “You know, when you die, your skin is going to turn as black as mine.”  And Martin answered, “Yeah, and when you die and there’s no skin left at all, your bones will be as white as mine.”

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It wasn’t until I was an adult before I gave the bones much thought.  They have little symbolism here but great significance in other cultures.  I remember a character from Gabriel Garcia Marquez in One Hundred Years of Solitude, who carries the bones of deceased loved ones around in heavy suitcases.  It made such an impact, all these years later, it’s the only thing from the book I recall with any clarity.  Travels in Mexico introduced me to Day of the Dead, which is actually three days that begin at midnight on October 31st.  Miniature skeletons are on display, for sale all over that colorful country: skeletons cooking, wearing wedding gowns and top hats, dancing, children skeletons playing, sleeping, doing all the same activities of those still going through life in flesh and blood.  For The Day of the Dead, an altar is set up for the spirits to visit their loved ones.  It’s a festival of  communication and celebration of one’s ancestors.  In Mexico, the skeleton brings life and death together as one.  In the United States, it symbolizes death and is something to fear.

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Rather than wait for my mother;s ashes to be delivered, my sister Melanie I drove directly to the crematorium to retrieve them before our flight back to New York. It was a crisp southern Missouri February day. The weight of her life on my lap in the front seat of the car was so real, I had to place her behind me. It didn’t seem right to leave her alone back there, but the dense gallon size cardboard box of ash and crushed bone was more than I could bear.  It screamed of a larger than life woman with huge impact on those who crossed her flaming path, and every ounce of the remaining box said ‘This is what’s left of your mother.’  It was considerable, yet dead.

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As an avenue to entwining these fragments on the subject of bones, I read that the DNA in the bones is destroyed by cremation.  They represent so much more than calcium and marrow that stand and move as a living armature: they contain information, are formed by, and inform the life we lead.  Case in point: The Cheddar Man, a 9,000 year old skeleton discovered in a cave in 1903 in southern England, and it turns out his DNA was perfectly intact. Ninety years later, researchers analyzed a tooth from his head and found a maternal strain that matched a living school teacher in the area.  They weren’t exactly a tribe of nomads.

Blithely making it through a tomboy-tree-climbing-childhood without breaking any bones, I remember twinges of jealousy when a peer came to school in a cast.  It was a badge of honor.  And all the sympathy and signatures that came with the condition…  Fortunately, that was then and this is now and now demands consideration.

Turning to Revelations for a New Millennium by Andrew Ramer for enlightenment, there is a chapter on the symbol of the major bones of the body.  The arms represent expression of creativity and intention.  The ulna is the Creative Measure bone and the radial is the bone of Creative Expression.  As I type one handed, both those bones are in the miraculous process of mending while I dig deep to make sense out of a fall on the ice on an upstate country road.  I’m getting there, forming theories as I do all the things to encourage cellular growth: energy work, imaging straight, elegant, lovely bones that serve the rest of my precious life and times.

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