and it grew and grew. up from the forest floor, where it was surrounded by decaying leaves and bits of branch. next to the big meadow and not far off the beaten trail, it pushed its way past the low grasses next to it.
this wildflower – a somewhat historically unloved taproot – with an abundance of early spring juju, kept sprouting up, up. it looked around to see many just like it. suddenly, it was surrounded by a village of yellow flowers – each maybe a bit hard to discern from the other.
but the flower still knew it had a place in the world.
and so, it held its bloom until it was time to close and then it grayed. it stoked up seeds and waited for the right time to release them, a puff of magic.
and then it bent its head to the sun, content in its cycle on earth, knowing it would be back and that – for a time – it had been a wild giraffe.
surely it would garner a bidding war. “post-old-fashioned” – a contemporary art piece. a beguiling installation.
how could it be any less engaging, any less valuable, any less a statement piece, any less desirable than the fresh banana duct-taped to the wall? the first banana (with the used duct tape, i’m guessing) sold for $120,000, followed by more bananas and rising prices. and – it expires! one cannot keeeep the banana piece (called “comedian”) around unless one loves fruit flies and smush.
instead, “post-old-fashioned” is meant to be enduring. the orange peel will shrink and dry, but will remain – likely – bug-less. and the cherry stem…..well, it is likely to outlive all of us.
“post-old-fashioned” is a work of active art that is conceptual and timeless and we could certainly provide a certificate of authenticity and directions for proper display. i cannot imagine any true wisconsinite without this piece or, perhaps, any wisconsin bar without it.
any curator who can go on and on about the benefits of purchasing the long strand of jute with the kitchen sponge hanging off of it should surely be able to conjure up the joy of owning “post-old-fashioned” in its three-dimensional option or a limited edition print of the work.
were it not for the teasing of the hike&spike foursome – and, also likely, the up-north gang – renowned experts in the field of old-fashioneds – i would list it, enter it in contests, send it to galleries. each week – post-hike – in the spike section of our hike&spike – i could add to a burgeoning collection of pieces dedicated to the afterglow of the old-fashioned.
watch out. i’m about ready to follow in the clearly-brilliant footsteps of italian artist maurizio cattelan, who explains, “the banana is supposed to be a banana.”.
it’s simple. there’s only one pertinent question about this work, an old-fashioned supposed to be an old-fashioned.
mama dear made rag rugs. i still have a few of them. for a long time, a rag rug served as a faux tablecloth on the kitchen table. eventually, after years of washings, the stitches loosened up and i tucked it carefully into the drawer of a cupboard in the dining room.
my grandmother also made yoyo quilts. she took outgrown clothing and bits of leftover fabric bolts and cut circles from them. sewing a running stitch along the perimeter she pulled and it gathered into a rosette-round. hundreds of rosettes later, even thousands, she stitched them together into quilts full of visceral memories of moments spent in party dresses or aprons or simple a-lines. yoyo quilts sell on etsy for a few hundred dollars, but i would never sell mine.
some day i’d like to make a yoyo quilt. i had envisioned my children cherishing one made from clothing they wore as little ones, but i realize that their level of thready is nowhere near mine, so i will have to make the quilt for myself. i have saved their clothing to do just that – tiny overalls, sweet sundresses, toddler leggings, mini blue jeans, printed onesies and receiving blankets – for a yoyo or even for a traditional quilt, both projects which seem like mindfulness exercises even with the tedious work needed to create them. someday.
we walked into the door of the farmhouse. it was our second time there. i remembered it as homey and just perfect for what we needed – as a gathering space for the family, the rest of whom were staying in a hotel. i remembered the blue walls, the chalkboard cabinet doors with messages, the photographs. i remembered the cheer.
but i had forgotten about the rag rugs. instant bonding.
in early morning, the sun rose past the horizon, peeked under the porchroof, around the adirondack chairs and the swinging platform, past the sleeping gracie-cat and up and over the fern perched on the rusty-red outside cellar doors.
but at just the right time, in later afternoon, it curled around the silo and the barn out on the west side, streamed in through the screen door and bathed the old wood floor and the rag rug in light. like a spotlight on something simply beautiful, it called out to be noticed.
i wonder how hard it is to make a rag rug. mama dear never showed me how she made them. i suppose i could take them out of the upstairs closet where they linger, waiting for the right chance to use them again. maybe i could figure it out. it can’t be too very difficult to discern the process. but my grandmother was a talented seamstress and i remember mama dear sewing and sewing, her hands moving quickly – at her singer or with needle and thread – and talking, talking, talking as she sewed. the only time she didn’t speak was when she would (don’t try this at home) store pins pursed between her lips. i thought that straight pins needed ‘spittin’ on’ in order to use them. it wasn’t for a few years until i learned that my grandmother was not spitting on the pins before she used them. perception – as a child – is a funny thing. what i did understand was how much she made things for all of us. no spit needed, just lots of love.
rag rugs and quilts and wood floors. they go straight to my heart.
it stands on a small-town iowa hillside. it’s been there well over a hundred years, this carved headstone at almost-the-highest-point of the pioneer cemetery. in front of us, the earth falls off into fields and fields of green. if you didn’t know it was there, you wouldn’t know it was there.
we spent the afternoon on the lake michigan beach, searching for hagstones and leaning against a big piece of driftwood watching the waves. mostly deserted, the stripes of soft sand, rocks, aqua, blue sky were serene. we had stumbled upon this beach, discovering it. if you didn’t know it was there, you wouldn’t know it was there.
there is a spot high in the mountains surrounded by lodgepole pines, the scent strong and inviting. it is cool under the canopy of trees and the log sits next to the stream in a bed of pine needles. an upstream glance reveals a snow-covered summit; downstream is a tiny waterfall. it is a slice of heaven. if you didn’t know…
another spot, a different mountain, we have hiked past the aspen stands and are past the end of the trail. we sit on rocks and play in the brook that swims past us, curling around red rock and granite. there is little noise, save for the babbling. if you didn’t know…
high on the edge of a deep canyon, the sun set over us as we echoed our voices into the deepening dusk. my daughter brought me here and it will always be a pinnacle moment in my heart. that very spot – that canyon – that sunset – that breeze – that stillness – that echo – that power – that humbling – that love – is profound. but if you didn’t know…
places that have made an enduring impact. places unmarked by signs, specific places many do not even know exist, they are carved into my mind’s eye. places – specific spots – of relative anonymity. places that changed me.
it is likely that hillside, that beach, those mountains, that stream, that brook, that canyon will maybe last forever. they will certainly be there long after i will be here. it’s sobering. it gives one pause for thought. it seems a natural hop and skip to: if you didn’t know i was there, you wouldn’t know i was there.
but the hillside, the beach, the mountain stream, the end-of-trail brook, the canyon became a part of me, of the stuff in my tapestry. and, in symbiotic turn, i became a part of them, of those spots.
and somewhere along they way, we have done the same – a tiny part of us has become a part of someone else and they a part of us.
i used to know someone who really despised redundancy. this person would interrupt and say, “you already told me that” or “i heard that already”. ask them about their day and they would reply, “same-old-same-old.” it was hard for me – a new yorker – born into repetition and long-story-telling.
d and i sat on that iowa porch only four days, but it doesn’t take long to grow fond of something beautiful.
in front of us – facing east – were two trees. beyond the trees were fields. before they were mowed down, the fields were wildgrasses green with sunny yellow flowers. in the distance – quite a ways off – was the road. a country highway, it was populated by many pickup trucks, an occasional sedan, rarely a semi and, at one point, more booming harleys than we could count.
the light changed during the day. no surprise there. the sun rose to the left of the trees and burned its way into the sky. the trees glimmered and reappeared through the early morning thin layer of smoke from wildfires in canada, jetstreaming its way into the heartland. it was bright in midday and then the sky took on the echo of the western sunset. at night, the trees were still a presence, silent, rooted strength.
i took many photographs of these two trees. they were somehow very comforting and reassuring; it was a time of memorial for columbus and emotions were all over the place. and the trees stood there, steadfast.
they watched us all gather and eat and talk and reminisce and play bags and run with oversized bubble wands. they watched us hula-hoop and dance in the grass and drag chairs following the sun and escaping the wind. they watched us wander and take pictures, play with gracie-cat, pour wine. they watched – as trees do – and we watched them back.
i love each of the photos of the two trees on the east side.
were i to be on jeopardy – and were there to be a topic called “agriculture” – and were i forced to try and answer any question at all – $1000, $800, $600, $400 or even $200 – i would fail miserably. the tools of the trade are foreign to me, just as, i suppose, sheet music for the rachmaninoff piano concerto no.2 in c minor might befor the farmer skilled at using the farm implements. different languages entirely.
so, for us, sitting outside the iowa farmhouse, gazing around at the unfamiliar, it was both mysterious and magical. interesting textures and things with wheels had us guessing and googling. everything begged to be photographed. for us, the unfamiliar is novel and, through our eyes, doesn’t represent the hard work it actually stands for. instead, the wheel hay rake is flowers in the sky, metal petals reaching out from the center on thick metal stems connecting to the machine. the tractors and disc cultivators and harrows and silos – all unknown and a little exotic. it is easier to see beauty in that which is simply shape and texture than when it is the embodiment of the toil and worry each farmer faces each and every year.
i suppose that should make it easier for me to understand why others can generously send notes and email messages to me about my music, about how the piano piece or a song resonates with them, yet i – at this moment in time – see toil and worry. worry about how – in a new world – to put out new music. worry about how to sustain it all financially. worry about how – with a significantly-reduced wrist – my music may differ from what it has been. new crops, new agricultural costs, new limitations. what is that expression about perception? one man’s trash is another man’s treasure. that might be true also as – one man’s albatross is another man’s beauty.
yet, despite the decidedly different ways we perceive things out of our realm of familiarity, we are all spokes in the big wheel. we honor all the tools of our different trades, the languages, the expressions of work, the products of toil.
to be fascinated by another’s work is to appreciate it. to appreciate another’s work is to respect it. to respect another is to live together, under one sun … flowers in the sky.
*****
on this two artists tuesday, we’d like to make a clarification. i received a text asking me about what “buy me a coffee” meant. just as i was given to misunderstand this platform, i’m not sure we have done an adequate job of explaining it. so, please forgive any redundancy as i take a moment to clarify:
the arts don’t generally have the same avenues for payment as other professional routes, so there has been an effort for more crowdfunding types of options. both BuyMeACoffee and Patreon are platforms in which content creators can receive support from people who appreciate their work.
http://www.buymeacoffee.com is a casual way to support creators. when you “buy a cup of coffee” it transfers $5 per “cup” (minus a small percentage) directly to an account for the artist you have chosen to support. it is called a virtual tip jar because it is not a recurring payment – it is a one-time tip for something that has resonated with you. you can opt for 1, 3, 5 “cups of coffee” or any number you wish (in the square box) and the application will do the math. when i first encountered it on a site of wonderful thru-hikers we follow, i mistakenly thought it literally was sending them coffee – or – sending them money they needed to use for coffee-and-only-coffee. silly me. it is simply providing helpful funding – a lovely way for us to tell them “thank you” for inspiring us. a “cup of coffee” is a way to support them in any number of five dollar increments.
patreon (which we will have shortly) is an opportunity to subscribe to an artist’s work on a monthly, recurring basis. people who wish to support the arts have an ongoing and dedicated way to do this through patreon, choosing a monthly dollar amount. again, a small percentage is taken out and the rest is made available to your chosen artist(s).
either way, artists everywhere appreciate the generosity of those who take the time and the resources to help them keep doing their work in the world. all spokes in the big wheel.
that gratitude goes for us as well. we appreciate you and are grateful for your support of our work. you are flowers in our sky.
it was the last night. we stood out on the porch and then out in the east field, the farmhouse behind us. the dark of iowa-night rained down on us as we peered into the sky to see the constellations. we could feel the “last” of the last night. but out there, on the horizon – in the way an ellipsis works – the ellipses had a reminder: it’s never really over. the horizon lights suggested the story would be trailing on and on – up till now and then dot-dot-dot…
the story dot-dot-dot – without definition, without a distinct end, unrestrained – keeps on…
last week’s time in iowa and return home gave us grounding…reminders…learnings. feet firmly planted…spine tall…solid and trusting, we intentionally rearranged our thoughts – trying (because it’s not easy and it always takes the work of trying) to put aside worry and angst, instead centering on being steady and calm. the decision to not panic. the ellipsis of keeping on…
the impermanence sticks with us.
and we know it doesn’t matter that there is rust on our hubcaps or that our countertops are chalkboard/food-safe-wax-painted-wood. we know it has no bearing on real life that we don’t wear trendy name-brand clothing or that we actually like $2.50 old navy flipflops. we know that leftovers nourish us just like restaurant fare and we are not worried if we never get to sit at the table of a three-star-michelin. we know that there are wines of great robust but we continue to sip apothic and splurge on the new broadside (paso robles) we found. the ellipsis of keeping on…
the transitory taps us on the shoulder.
gathered, we listened to stories of the past, suddenly way long ago. we went to the pioneer cemetery high on a hill overlooking planted cropfields. the 1800s were just a moment ago there. and, just as the years fly by, we know that the incandescent kite we each fly has fragile filmy threads. our hands – holding the moment – age before our eyes. the ellipsis of keeping on…
the ephemeral sounds harmonic overtones we can hear.
we gaze at the peony buds in the backyard. they will soon bloom – in their sweet time – and they will stun all who walk by. their beauty will not be forgotten. each one has opened to the sun and told its own story. each one. and then dot-dot-dot…
these chairs – privy to a lot of life – over just a few days – in warm iowa sun.
we gathered to celebrate columbus’ life, to inurn his ashes, to solemnly and with great gaiety – for that is how columbus lived – say the final-of-the-final goodbyes.
it was the game of bags (cornhole for the rest of you), the bubble wands, the hula-hoops and columbus’ old 33rpm records we brought with us i think he really loved. we made his brats with beer and onions. we made the pasta sauce he liked. there was more; a lotta-lotta food – just the way he liked it. mason jars with wine and a cooler full of water and sparkling hard seltzers and beers-just-up-a-notch-from-columbus’-favorites. and he – from the next plane over – held his beloved wife’s hand as she navigated this time in his growing-up land.
the three adirondack chairs from the east-facing porch were moved, following the activity. down the big grassy hill for bags and around the south side of the house closer to gracie-cat’s-plugged-in-water-bowl to escape the howling wind. back to the porch for happy hour and in a big circle in the lawn to toast his momma’s first hostess cupcake, bag chairs a little teetery on the uneven ground.
you had to watch for the thistles in the grass – you couldn’t just run around willy-nilly without being – yowsa! – aware. but somehow that reminds me of life itself.
it was a time of red. bright bright red. a time of brilliant stand-out moments we will clutch onto, like the hugs we shared at the cemetery and at the old screen door past nightfall the last evening.
though life is like a box of chocolates – yes, forrest gump – it is also like an adirondack chair you drag from place to place. it’s about comfort, simplicity and peacefulness. an intention.
you can sit and watch life, take it all in.
you can do life and then, rest.
both, and.
we took turns with the red adirondacks. that’s what family does.
the flower-power stickers adhering to my growing-up wall and my sister’s volkswagen beetle were these colors. hot pink and orange daisies, yellows, greens, vibrant and happy. and you think that some pantone or pms chart somewhere was the place they originated. but it’s not so.
this is where they came from.
and the tulips stand – proudly but not arrogantly – in their color, in their field. completely present and at ease, they open to the world, giving it all they’ve got. stand in nature and try not to be humbled…it’s impossible.
belleruth naparstek guides you – inside and outside – to quiet. a place of presence, of ease. not trying to push out thoughts or streams of consciousness passing by, but allowing it all to flow. with practice, you can feel the roots growing under your feet, the steady breathing of awareness, calmness.
and, if you are fortunate, you are held gently, right in the middle of tulip petals, and you are reminded, once again, you are alive. “knowing in a deep place that this place is inside of you…that you are better for this…“
the dandy dandelions are baaaaack and we are celebrating them! i cannot help but smile looking at dandelions. i have a rich history with them. i suppose many moms do.
so, for many reasons – the bees included – we won’t be quiiiite as obsessive about ridding our lawn of them. not to mention, they are stubborn and will likely return despite any attempts to mitigate them. i have found taproots of great length underground – dandelions aspiring to be large carrots, channeling the subterranean tenacity of root vegetables.
but – in the end – even with this year’s gargantuan effort to have nice grass and earn the respect of the GrassKing, we need our pollinators and we need flowers for tiny toddlers to pick. so, we will dial it back a little bit on total eradication and live in the memories of fists full of dandelions.
reverse threading 