Sparked by Words

Trespass

The soles of my feet, my bared knees and forehead

Bend to the earth as do the strands of my hair

Trailing over my cheeks

 

The one good thing about being brought so low

Is not my humility, proofed by drops of my blood

Pooling in the dirt

 

But that I am left only one direction for movement

May the One Who abides in the High Heavens

Help me to rise

 

If I am unseen, ignored, or even abandoned

Perhaps I will be lifted by atonement of my sins

The flood of my tears

 

Sighted by bugs and spiders in their native land

No others will witness my remorse or their toil

More holy than mine

 

Just a thought 77

 

Painting Africa Landscape courtesy Pixabay

 

 

 

 

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Morning Blooms

Morning blooms a fervid pledge

The horizon and the stars, yet

From every next morning crawls

A battered promise cobbled

From the previous morning’s rubble

 

All future in a bud or the wind

Rinds of melon, a wilted rose

Only one petal removed

The elegant equation of

Despair and a child’s hope

 

Blossoms cast on the ground

An apple clenched in one’s fist

The breeze murmured in hair

A nimbus cloud damp against lips

Water casting pearls upon cheeks

 

Chants twine around two wrists

Lightning cradles two heartbeats

The bright promise of morning

Forgets yesterday’s heartache

And wakes the sleeper

 

Pause by the moaning trees

Crouch on salt flats

Pad into the wilderness

Rush toward tomorrow

For dreams of horizon and stars

 

 

Just  a thought 76

 

 

Painting Olivenheim, by Vincent Van Gogh, 1889, courtesy Wikimedia Commons

 

 

 

 

A Certain Artwork

My college journey detoured a few weeks into my freshman year. (Read A Certain Word, May 30, 2019.) The day after the Marat/Sade theater fiasco, I enrolled as an art major. Majoring in art seemed a natural choice as I’d been winning art awards since I was a kid.

As the University of California at Irvine was such a new campus, only a few buildings served classroom needs, and almost none could be spared for singular departments. Art classes met in a room that in two hours would be a philosophy or Latin or trigonometry class.

Still trying to get its flag posted on the university map, the college did what most schools did: invite preeminent scholars to teach for a year. In other schools, these plum seats would be open to students in advanced programs, but Irvine only had a few dozen upper classmen. None were in art, so classes taught by master artists were open to anyone quick enough to register.

That’s how I found myself in the humanities building, ready to produce ART, along with twenty or so of my favorite strangers.

Into the room strode the visiting artist, a well known sculptor whose name I cannot remember. I do recall that he admired the work of Mark Di Suvero and David Smith, two abstract expressionist sculptors whose monumental works defied gravity and altered perceptions of what modern art should be. He wasn’t my father’s Michelangelo.

Our first assignment was to go home (all art assignments began with, “Go home and make,” because there was no studio where we could work.) I still lived with my parents, and this was the only project I created at home because it used clean supplies. All other projects were crafted on campus wherever I could find a space to spread a mess.

We were to choose a geometric shape, draw it many times to fill a sheet of paper, then color the drawing. I picked an octagon, drew about eight or ten, colored some in warm shades, alternating with others in cool tones. Each octagon exhibited a graduating range of color values within its predominant hue, the overall effect visually appealing.

At the critique for the first assignment, each of us set out our drawings so the instructor could walk around and evaluate them. He reviewed with a discerning eye, finding little merit in anything. Except somehow mine stood out. He said it was the only piece that approached art.

I had created something worthy of being called approached-art? This was a better outcome than my failed theater attempt.

The next assignment was a bit of a blow. We were to use our geometric shapes to make a sculpture of toothpicks. I sensed the wisdom of the other students who’d chosen squares and triangles.

Over the trimester, my octagon was built into increasingly complex structures of cardboard, tongue depressors, wire, aluminum foil. Fragile geometric sculptures whose parts were carefully measured, cut, balanced, and glued, then brought to class for critique.

The instructor lectured about negative and positive space, shape, form, mass, line – an entire foundational art curriculum on the elements of art and principles of composition. Somehow, lesson after lesson, my work continued to shine.

Then the final assignment. We got to jettison the geometric shapes and create a sculpture of our choice, any media, any size, any shape.

Some people do well with restrictions as they help to define their focus – I was one of those. Do anything and I was at loss, especially since I had no experience of working with classic sculpture materials. I’d never carved stone, sawn wood, turned clay, welded metal, or assembled more than paper and cardboard constructions. I was a Scotch tape and Elmer’s glue artist.

This was the late 60s, hippies were half our student population, handmade candles a popular craft. I admired their fanciful wax castles of spires, turrets, and suspended bridges in riotous colors. I figured I’d build a castle – how hard could it be? A campus Deadhead gave me verbal directions. He was a bit stoned. I was not.

First thing was to procure a place to build the castle of my dreams, my parents’ home forbidden territory. Violet volunteered her campus apartment. Next I needed supplies: blocks of paraffin, a pot to melt the wax, a pie pan to pour the hot melted wax, a giant trashcan to dip the wax, and crayons in my choice of colors.

I was able to get most of these items at a grocery. Violet dragged the apartment complex trash can into her kitchen. The time was inching towards 11:00 PM as we set to work. We yanked a garden hose through the window and filled the can. Violet begged ice cubes from every nearby student and we added them to cool the water.

Now I knew nothing about wax, like how flammable it is. Nor that you should heat it over a double boiler, not in an enamel pan directly on the burner. I guess Violet didn’t know either.

Once my paraffin melted, (lucky us we hadn’t burned down the building) I tossed in my crayons of choice – two sticks of red, two of yellow. I planned to swirl them to get a marble effect. Wasn’t planning on instant blending. My red and yellow marble instantly became the single shade of a human organ – maybe a sick liver.

Remember that in the late 60s there was no such thing as an all night grocery. I couldn’t buy more supplies to start over. I was stuck with a sick color.

Next I poured the hot – and I do mean HOT – wax into the pie pan. The red metal handle of the enamel pan was nearly as hot as the wax itself. Lifting the pot without a potholder scorched my palm. I poured the wax into the pie pan, then, still without potholders, picked up the pan. Ten fingers on the edge of the pan. HOT HOT.

I plunged the hot pie pan into the trash can of cold water, hoping to witness the birth of my architectural wonder.

A significant amount of the melted wax floated to the surface, the surface being my arms. HOT HOT HOT up both my arms above my elbows. Bright red burns as good as you get after eight hours tanning on the sands of Newport Beach without the cachet of having had a really fun afternoon in a bikini. Screech-when-bending-my-elbows kind of burn.

As for my castle? No spires, no turrets, no suspended bridges. It was an amorphous clump simulating a rotting cantaloupe.  A sick-liver colored blob. Violet pulled wax off my arms.

Next morning we submitted our sculptures. How those idiots who couldn’t make anything-approaching-art for the last nine weeks came up with their final projects, I have no idea. But they had. They’d carved stone, sawn wood, turned clay, welded metal, and assembled plaster.

Our visiting preeminent sculptor walked among the artworks and talked about appreciation for modernity, an eye for whimsy, an exuberance of sinuous curve, an intuition for culture. He raved, he swooned, he praised. He nearly smiled.

Then he got to mine. My sick-liver colored wax amorphous blob. He walked around, clipboard in the crook of his arm, me looking on with my burned arms. He scowled and declared, in a solemn and dignified voice:

“There is a place in art for the truly ugly.”

The next day, I dropped out of the art department. I had to write with arms so sore I could barely hold a pen.

I couldn’t act. I couldn’t create art.

I changed my major to English

At least I could read a damn book.

 

Sculpture Despair courtesy of Pixabay

 

 

 

 

 

 

 

Slippage

 

What slips from my pen is thoughtful, measured

What slips from my mouth – too often damned vile

 

Words scattered like seeds borne on wind

Feathers from the pillow

Oil from the jar

 

The pain in your eyes

The hurt on your face

 

If only I could redact half of what I say

Even then the world would still be too

Full of loathsome remark

 

The counterweight to an evil tongue is not apology

But silence before speaking

 

Here I offer my best effort

Nothing

Please accept my measured words

 

 

Just a thought 75

 

Photograph courtesy of Wikimedia Commons

 

 

A Certain Word

This article isn’t exactly X-rated but it’s a little blue in the face, if you know what I mean. A bit off-color, but just a bit. You might not want Grandma to read this, and definitely should turn on the TV for the kids. Let them watch some murder show or The Bachelor.

If I’d had a lot of friends in high school, if I’d been part of any group – the soches, the athletes, the brains, the goofusses, the ASBers, even the kids one hop short of a bunk bed at juvie – I probably would have known better.

But it was not belonging, not knowing, that makes this incident possible. I was a loner and belonged nowhere. Plenty of teenage angst loomed in my corner but an absence of other teens to inform me about secret adolescent passageways kept me in the dark. I didn’t know the references, the lingo, the flippant signs of kids slipping and sliding their way to adulthood. I lacked a map, a key, a password. My fault as much as anyone’s.

There are words you learn backstage, under the bleachers, at the street corner late at night. But only if you hang with someone who will teach you. Me – I hung out in my bedroom, pretending to do homework but mostly daydreaming about when I could get out of there. Out of the bedroom, out of my parents’ home, out of high school, out of Tulieville.

College was my operative escape route and though I planned little other than landing in those academic halls, I expected to blossom into something. Anything other than the painfully shy, unattractive nobody who looked back at me from the mirror, remarking, “You ain’t nobody, kid.”

First attempt to recast my fate: I declared my major in Theater.

The university was only one year out of the mint. The administration had begged for a few willing pioneers to defect from their first colleges to attend ours, the promise of the very first undergraduate diplomas ever to be given their carrot stick reward.

I entered as a raw freshman, raw being an operative word. I’d been a thespian at my high school where we’d mounted such theatrical productions as Little Women, Ben Hur, The Night of January 16th, and George Washington Slept Here. I’d only had character parts in a few of those plays, mostly doing backstage work. You could safely bring Grandma to our plays and she wouldn’t raise a chaste eyebrow. As I said, I had little social life, not even the usual backstage fun.

At the university I intended to try out for a part in the fall play, The Persecution and Assassination of Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade, written by Peter Weiss. Sure, I knew Marat/Sade, the leader of the French Revolution, the turbaned dead guy hanging out of the bathtub in Jacques-Louis David’s painting.

I didn’t know much about the play, nor about how much a brand new university would do to get itself on the academic map. Crap, I was barely 18 and hadn’t been to my first rock and roll concert, to my first anti-war protest. I’d never smoked a cigarette and hadn’t yet had s— maybe TMI here.

So I went to the tryouts. Hell, I could act, right?

This brand new university featured so few buildings that the history, science, math, and literature departments shared the two lecture halls. Barely room for French and calculus classes, but we had a theater, by gum, we had a theater, complete with backstage, ascending/descending audience tiers, a polished stage draped with velvet curtains, and an orchestra pit.

Try-out day. We pining, thirsting young actors sat in the rows. Across the stage strode our young director. He was not only a god, being the man who would select actors for the parts. He was a GOD. Young, handsome, confident, he looked as if he’d be at home on a warhorse or a surfboard, but there he stood on the stage where our fledgling Broadway careers would be launched.

Clutched in the crook of his arm was a clipboard. The uni must have handed out free clipboards to all the instructors as every professor on campus flouted their own. Mark of the chosen perhaps.

At center stage our director, clip board firmly grasped, stared into all our yellow eyes. (Yes, Mr. Sendak, mine were yellow with anticipation, at least that day.)  Then our director god made his announcement.

Were we fortunate enough to be selected for a part in this play, we would be expected to do something on stage. Something specific. Very specific.

The act is a word that begins with an M, ends with ate, and in between I’ll let you figure it out.

The actor wannabes remained quiet. At least that’s how I remember the moment. Something about that word…

I went home and looked up that three-syllable word in the dictionary and thank heaven it was an inclusive dictionary, not the elementary school tome. No, I did not yet know that word, (few friends, remember?) and yes, I had the intelligence at least to consult a dictionary rather than ask my mom.

My eyes might have remained yellow but on reading the definition, I could feel my face turn shades of red. Crimson, scarlet, burgundy, ruby, beet – what other color best describes embarrassment than red? My cheeks burned hot enough to toast s’mores.

And no, I could not do that on stage. Could barely do it … TMI.

So I went back to the university next day and changed my major.

Never saw the play.

Gotta laugh.

 

Painting The Death of Marat by Jacques Louis David courtesy Wikipedia

 

 

 

 

 

 

Employment Opportunity

Doughy, dumpy, and droopy but dauntless and otherwise technically inept woman seeks readers willing to look beyond her physical features and miserable mechanical skills to read her words.

 

Are you willing to consider the qualities that make you look beyond surface rubble for the luminous interior?

 

Apply within your own counsel.

 

 

Just a Thought 74

 

 

Painting Old Woman Reading by Yehuda Pen courtesy Wikimedia Commons

 

 

Happily ever after isn’t served on a silver plate. Cerissa and Henry struggle together to find theirs in Jenna Barwin’s Dark Wine at Dusk.

I was excited to read the third Hill Vampire Novel. Having devoured the first two books in the series, I couldn’t wait to open the pages of her newest story.

Stop right here if you haven’t read Dark Wine at Midnight and Dark Wine at Sunrise. Start with those – you’ll be so glad you did and well prepared to continue the story in Book 3. The sumptuous covers alone are worth drooling over – why deny yourself such pleasure as the reading will provide?

Dark Wine at Dusk picks up with the continuing mysterious murders on the residents of Sierra Escondida. This is a unique colony inhabited by vampires and their mortal mates, a place dedicated to preserving their lifestyle.

Police Chief Tig Anderson is focused on finding the mastermind attacking them, but his identity is difficult to decipher, masked as he is by subterfuge and cyber barriers.

While Tig tries to secure safety measures for her community, we enter the private domain of Henry Bautista and his new mate, Dr. Cerissa Patel.   Their passionate romance alights everywhere throughout his mansion. One of the most inventive love romps I’ve ever read is the hide-and-seek game they play in his vineyard. (Oh, to be chased. Oh, to be found!)

Henry reveals his youthful violent behavior in scenes so visceral that my skin tingled in horror as I read them. Cerissa reacts with grave distress over whether she can trust him, the molten fire of their love struggling to stay alive.

In addition, mortal mates are campaigning for equality, and everyone feels the mounting threat of death by an unknown enemy. Universal issues of morality, medical ethics, and personal relationships swirl in a complex brew, the outcomes uncertain.

The story escalates as Cerissa and Henry become dangerously involved in an attempt to identify the person who is targeting vampires for true death.

Then all hell breaks loose in a scene so unexpected I dropped my iPad.

I won’t tell more as story spoilers are not in my toolbox, but the tension and shock of the volatile climax will keep you riveted.

If you enjoyed the first two books in this series, you’re going to love this one. You’ll imagine yourself born with Lux wings.

I voluntarily read and reviewed an advance copy of this book. My review is entirely my opinion.

 

All images courtesy of author Jenna Barwin