Talking with Emilio I often find myself explaining idioms. “What do you mean you’ll take a pass?” he asked recently. We were in the car and not playing ball of any sort, so how was I going to catch a pass? To him a piece of cake is what he gets to eat at birthday parties. Tying the knot is a way to attach two pieces of rope. How can you drive someone up the wall?
The shoe is on the other foot? This idiom first appeared in the mid-1800’s as “the boot is on the other leg.” Either way, it makes clear the possible discomfort in reversing roles, especially when positions of power are involved. Did I have that in mind as I put together the images in this new collage?
A friend recently told me she thought the collages I was making two years ago really “had something.” The encouragement was welcome, because I missed creating statements with images. The Fractured News series I did early last year, weaving newspaper and magazine articles and graphics, was calming in the midst of so much distressing news. The need for calm amidst the news hasn’t gone away.
So I uncapped my x-acto knife and opened a favorite book of images and followed my instincts about what to cut and shape and paste. Getting a leg up? Finding a foot hold? Standing on my own two feet? On my feet? Have legs? The shoe is on the other foot? The words that go with what I put together come later — it’s all layer and color and intersection as I collage.
It’s fun to be back to it, especially as a break from all the word work I do. My memoir work right now is pulling out pieces to make into essays. I’m also starting to assemble a book of poems. I signed up for a poetry manuscript workshop with Kathleen Graber this summer at the Vermont College of Fine Arts Postgraduate Writers’ Conference, without any plan for a next book. I knew having a deadline would get me working, and I must have known somewhere in the back of my mind that I had a series of poems from five years ago in a folder buried in a folder. Those poems were waiting for me, ready to be the basis of my next book.
I love to make things. I make poems and blog posts and stories and prints and broadsides and dinner and sweaters and gardens and friends and granola and yogurt and books and books of boxes, which will soon have poems in them, the boxes that is.
Yesterday I made things all afternoon with Alison, a friend who also loves to make things. And she knows how to sew. With her help I lengthened a too-short sweater by attaching the extra of an extra-long scarf to the bottom. Now my favorite sweater falls past my hips, exactly as long as I want it. I made treats for Alison to put in her freezer and she made a skirt out of another too-short sweater I never finished or wore.
While Alison and I were happily making things, David and John made music, playing guitars and singing. John remarked on how much better David has gotten and David answered, “I’ve been practicing and playing like I need to make a living at it.”
I thought, yes, that’s how I write, I put in enough hours to create something I could sell. Given what I write, if I do “sell” a piece it may not bring in much money. It may not bring in any money. But I work to create marketable pieces. It’s extremely unlikely that David will ever play guitar and sing for money, but he wants to be that good. Using the standards of the material exchange economy keeps us working hard, and we have the great good fortune of not having to make the exchange actually happen. The results of our creative focus are free to be gifts.
Have you read The Gift by Louis Hyde? He won a MacArther Grant for it and it was well deserved. Creativity is a basic human instinct and the art that comes from that instinct is a gift. It doesn’t have to be in the market economy to be meaningful. In fact, creativity is even more important given our culture’s focus on money and commodities. We need to create not to earn but to share.
If you want to make art of some sort but don’t think you have permission or the time or a worthy talent or the necessary creativity, read The Gift.
Detroit isn’t often a destination choice for a winter family vacation, but there are reasons it should be. The New York Times chose it as one of 52 Places to Go in 2017 and Lonely Planet put it at #2 for Top Cities to Visit in 2018. If their motive is to encourage tourists to go spend money in a city working hard to make a come back, I support that. Detroit is a great choice.
We have a couple of major Pistons fans in the family and I grew up as a Celtics fan and so did my kids. The Pistons played the Celtics at the brand new Little Caesar’s Arena in Detroit last Friday night, which coincided with Emilio’s school vacation. So Adrienne, Matt, Emilio, and Ava traveled to Detroit from New York, Sam and Mariah came from Tennessee, David and I flew out of Manchester. The three planes arrived within minutes of each other. I walked off the plane, went one gate over and waited five minutes before Emilio emerged from the jetway in his Detroit Pistons hat and Andre Drummond shirt.
The AirBnB we rented was a three-story house, once abandoned and bought by a nonprofit that hires local unemployed people to learn a skilled trade while rehabbing properties. The returning prosperity of Detroit is less evident in the North End neighborhood. The AirBnB had a boarded up house beside it and one across the street and every block had vacant, littered lots.
But there were also houses occupied by friendly people. Everyone I passed as I walked to a coffee shop with David, Emilio and Ava on Friday, or while Emilio and I ran on Saturday gave us a hearty hello. An elderly man on the porch of a big brick house on a street scarred by boarded up windows and junk-choked yards cheered Emilio and I as we passed him on our two mile running loop through blocks varying from high end to abandoned.
Adrienne had tapped into her enormous network and found a friend who knows someone who knows someone and we were met at the Arena by a tall, handsome black man in a long camel hair jacket who escorted us to center court before the game. He took our photo while Kyrie Irving and Andre Drummond drained three point shots on either side of us. The photo was in a collage on the Jumbotron several times during the game, along with a shot Adrienne posted of Matt and Emilio in Pistons gear posing outside the arena.
Detroit Industry Murals
Detroit Industry Murals
Detroit Industry Murals
Detroit Industry Murals
The Detroit Institute of Art is a first rate museum worth visiting just for the Diego Rivera “Detroit Industry Murals,” a series of frescoes that cover the walls of an interior courtyard — huge, detailed, layered and complex. But you don’t have to go to the museum to see first rate art. Murals cover the sides and fronts and center strips of buildings all over the city.
The Heidelberg Project is the most bizarre and exuberantly expressive street art I’ve ever seen — a city block of sculpture and installations constructed from recycled toys, shoes, wagons, metal, plastic, and stuffed animals, bleached and wilted from the weather. Piles of discards of every sort are a central feature. Large and small rectangles of crudely painted plywood were nailed to trees and buildings, decorated with clock hands pointing to different times.
Every where we went we had good food, good beer and a good time. People in shops and restaurants and on the street were friendly and happy to know we were visiting from out of town. There was a vibe of welcome everywhere. A Lyft driver waited for us to all to load in her car after the Pistons game, even though it got her yelled at by an overly aggressive policeman because she didn’t move as soon as he said to. She was impassive and polite, then rolled up her window and drove us back to the AirBnB.
Yesterday morning Sam, Mariah, David and I dropped off our rental car and took a shuttle to the airport. As we boarded, the driver asked where we were headed. When he started to drive, he said, “You folks from Tennessee?” Sam and Mariah both said yes, that’s us. “When you get there, I want you to find someone for me.” “Okay.” Then a bluesy jazz version of Candyman came on and the driver laughed full and happy. Everyone on the shuttle laughed.
“And you from New Hampshire? How about when you get home you find some boogie.” More loud funk and we all laughed again. I got up and danced.
You know you live in New Hampshire when you get invited to a tea party to celebrate your elderly neighbor’s house turning 200 years old. At the party the many older women there tell stories about growing up in this town.
“There was the time the horse fell through the floor of the barn. My father tied a rope to his tail and dragged him back up. How else was he going to do it?”
“I would visit Sam at the farm because otherwise I didn’t get to see him and one day I went in to the milking barn. His father and uncle pushed me between two cows and said, ‘Can’t come out til ya get some milk outta that udder.”
“There were only 40 of so students in each class at Coe Brown (the high school) and the boys didn’t know enough to ask a girl to the prom so the teachers had to tell them — ask a girl. They all asked the same girl.”
When you’re asked where you live people know your house by the family that owned it four generations ago.
Everyone goes around the room to say how they know the elderly hostess. Connections that reach back three generations are discovered — a grandfather’s uncle lived on the farm next to a great-aunt’s mother (or something similar).
One women reads from a card with notes about who owned the house first — a couple who grew up on abutting farms (of course) and had eight children but only five lived to grow up.
There are fewer farms now and lots of people who live in this town are “from away” and the elderly neighbor no longer walks up the hill to collect branches blowing off the old maple trees bordering the ceremony to bring home and use as kindling. She’s too frail now. So her family keeps her house warm and makes tea and scones and fills the house with stories and maybe another 200 years will go by and another circle of women will gather and talk and make connections that radiate out from a center of home.
There should be a name for the color of the particular blue deepening into purple-black indigo of winter evenings, especially as a day of snow slips over into sleet. The indigo glow through my windows right now brings back this poem from February 2007. The barn and shed and silo are still there, though the farmhouse burned. And l need a bigger wagon, there’s so much more to hold than a hole now.
The first real storm washes out the little color
in the landscape, the barn and shed and silo
weathered to the gray of a cut snow bank.
Sparrows peck in the perennial bed, tall stems
and seed heads clustered through snow. Small storms
of snow blow up off the roof of the hay shed,
sweep past. We would ski at midnight to catch
the pure snow before the storm slipped over to sleet.
So much happens every day, I need a wagon to hold
the hole. Last night I lay on the kitchen floor,
where our cat slept for her last year, her old body
bony, weightless. I noticed the narrow maple
floor boards running under the hutch, thinking
the world is flat even as I know it is round.
Mansplaining and manspreading have been around for several years now, with not unexpected debates about whether the terms are fair or part of generalized trashing of male behavior by over zealous feminists.
Whatever. If you’re a woman, you’ve likely experienced both, as well as hepeating. That’s a phenomenon familiar to women who spend time in group meetings. A woman suggests an idea that’s ignored, then a man says the same thing and everyone loves it.
But what about mansisting? David came up with the term recently after listening to a friend describe an experience with a man who kept making his point over and over without listening to any arguments or counters to what he just knew to be true. My definition: a man who insists, particularly to a woman, his point of view regardless of his own or the other person’s expertise or knowledge. Yes, women do it too, but men do it more, and besides, the term for someone who does it is a great word. He’s a mansister.
Donald Trump is a constant mansister. He’s not particularly skilled at it, given that his vocabulary consists of about 100 words, too many of them adjectives that he over uses. Without any knowledge, facts or even common sense he routinely insists that something is “terrific” or “terrible” or “tremendous” or “dangerous” or “bad.” He repeats his assertions, as if saying something multiple times will make it true. He mansists.
Actually, mansplaining isn’t an option for Trump. He doesn’t really know anything, so how could he mansplain anything to anyone? Hepeating is also tricky for him. He certainly does repeat what others say (like whatever he hears on Fox & Friends), but hepeating requires repeating what a woman says. Does Trump ever really listen to anything a woman says?
Beyond having to endure the idiotic and insulting assertions of Trump, mansisting can be a real problem for women. How do you convince a man that you know more about a topic than him, or that he’s wrong, or that your vagina actually doesn’t make you less intelligent when he mansists instead of listens?
But we persist, right? “Nevertheless, she persisted.” Remember that, Mitch McConnell shutting down Elizabeth Warren because he didn’t want to hear the truth she was speaking? A recent study of interruption patterns during oral arguments before the Supreme Court Justices, published in the Virginia Law Review concluded “that judicial interactions at oral argument are highly gendered, with women being interrupted at disproportionate rates by their male colleagues, as well as by male advocates.”
Surprised? I thought not. The study found that seniority also plays a role, but mostly from “female Justices learning over time how to behave more like male Justices, avoiding traditionally female linguistic framing in order to reduce the extent to which they are dominated by the men.”
Do we need to behave more like men in order to get them to stop dominating us with mansplaining, manspreading, hepeating and mansisting?
I propose that as many of us that safely can become shesisters: a woman who persists and resists in the face of the verbal tactics men use to dominate her.
A week ago David and I finished the holiday gift I gave him for 2017 — a commitment to visit at least one museum and have one outdoor adventure a month. Experience gifts make sense — we already have so much stuff — and they’ve been a needed break from the dread and disgust that’s been too present for the past year if you’re paying any attention at all to what’s happening in the world. Which we are.
Early on we decided if we went someplace outdoors we’d never been before, that could count as an outdoor adventure. It didn’t have to be arduous. Just new. We also realized early on that there are a lot of museums near us. New Hampshire has a snowmobile museum, several rail depot museums, a telephone museum, a model railroad and toy museum, and a classic arcade museum that has pinball machines and electric games built no later than 1987. We didn’t go to any of those, but we did go to the NH Historical Society museum which has an old ski-doo snowmobile as an exhibit.
So what did our year of art and adventure include?
We trudged through snow up a hill in an orchard under a full moon. We camped in Evans Notch and hiked the Baldface Circle (very arduous!), slept on the front porch three times in the last month, toasty in big down bags, swam in the North Atlantic twice in September and in Long Pond during the second week of October. Wet suits are magic in cold water, but we came out a bit off balance from the cold affecting our inner ears.
We walked in Ireland and hiked in Zion Canyon, Kolob Canyon, Snow Canyon and Jenny’s Canyon (Utah is amazing) and lowered ourselves into lava tubes, caves hollowed out of old lava flows. We stayed in the Mitzpah Hut near the peak of Mt. Pierce and hiked to the summit of Mt. Mooselauke twice
Deep Cuts, Currier
Our museum visits ranged from interesting to mind blowing. The Deep Cuts exhibit at the Currier, featuring impossibly intricate and detailed paper art, was a marvel. We took in the Whitney Biennial along with Adrienne, Emilio and Ava. We went to the Museum of Fine Arts in Boston twice, most recently to see a phenomenal performance of poetry read by Jane Hirshfield (her own and her translations of Japanese poetry) and music composed by Linda Chase. The three part piece was a collaboration written in response to the earthquake and tsunami in Japan, and was masterfully done. Stunning music along with spoken words in the best weave of the two I’ve ever heard. And that was after being enchanted by the exhibit of wild and vibrant wall-size murals by Takashi Murakami.
My favorite museum visit was to the Northwood Historical Society’s museum, open on August Saturdays from 1:00 to 3:00. The town’s artifacts are housed in the small, square, brick building that was the Northwood Narrows branch of the library when I first moved to town. It’s around the corner from my house.
David wore his short wetsuit for that visit; we stopped at the museum when we saw it was open on our way to swim. The Historical Society volunteer staffing the museum that day didn’t pay any attention to the wet suit. She was too busy watching the two helicopters circling over the fields and woods of the Narrows, looking for a fugitive batterer, a man who’d come to town after abusing his girlfriend and then ran away from the police when they found him at a house on Blake’s Hill.
They caught him. It was an exciting day in the Narrows.
Last Friday we walked the boardwalk on Coney Island, a good choice for our last outdoor adventure of the year. Closed for the season, the arcades and amusement parks were like huge broken toys. We walked with a cold wind at our backs, then turned and walked into it, along the gray water, the winter sun low in the sky. We walked for a long time.
I’m grateful to have a life that allows me to choose experiences like this, to take breaks that refresh and energize and inspire me. I hope to keep it up next year.
Weeks have gone by without a blog post. How did that happen? I’ve been very focused on getting through another revision of my memoir and when I got to my desk that’s where my energy went.
Until this weekend. Because I’m finished. The manuscript is done. It’s formatted and ready to print out and read through for one final check.
Last week I told David I was done and he kept saying you’re done, you’re done, that’s a big deal and I couldn’t deal with that so I kept trying to qualify what I meant. But I guess I meant it. There’s a scene in the memoir when I’ve finished the manuscript of The Truth About Death and I go sit on a foot bridge over a river on a cold, windy day and cry. All I could think was, now what am I going to do?
So again, now what am I going to do? Well, I still don’t have a title so I need to figure that out, polish the query letter I wrote a year ago, do lots of agent research, and then launch the manuscript into the unknown.
Meanwhile my current printmaking class has led me to armchairs as a subject. Comfort and stories are drawing me. I’ve made monotypes and etchings and I’m not done yet.