A carved flower isn't identifiable.
29.4.08
Homesteading:
He and the weaver look at a spider together, webless.
Some of them live in cones.
She whispers against his neck, "its back."
Two red spots.
It folds itself into a vertical pocket of space along the heavy white window frame.
An injured limb.
She puts herself away inside his chest.
He and the weaver look at a spider together, webless.
Some of them live in cones.
She whispers against his neck, "its back."
Two red spots.
It folds itself into a vertical pocket of space along the heavy white window frame.
An injured limb.
She puts herself away inside his chest.
22.4.08
17.4.08
16.4.08
The master asks for portraits first. Every family member. Five children, the lady, the master himself. They are to be surrounded by possessions, suggestive gems and pursuits, and also swathed in the land, leaves arranged around their bodies.
He is not well taught. She can see that in his shoulders. The quality of his work seesaws one week to the next. He puts the grey of dawn around the mouth of the third son, renders books too narrow to read, paints the master's eyes like steelhead swimming upstream. Curtains are blocks of red strokes.
For the second child, Martha, he puts his easel next to the window and drapes a black string crookedly around her neck and breast. Her generous creamy sash, her careful lace--he takes her unformed gaze and paints it knowing, only a little fear in it, mostly just looking back and holding a peach. He keeps her face intact but makes her arms too long.
The weaver, his lover, stands behind him in a corner speaking into a tiny recorder in her palm. Or she scratches captions to his canvas onto a scrap of paper. Her father had been a homesteader here, four miles upriver where the valley is tighter.
Paint cracks in waves toward Martha's body.
He is not well taught. She can see that in his shoulders. The quality of his work seesaws one week to the next. He puts the grey of dawn around the mouth of the third son, renders books too narrow to read, paints the master's eyes like steelhead swimming upstream. Curtains are blocks of red strokes.
For the second child, Martha, he puts his easel next to the window and drapes a black string crookedly around her neck and breast. Her generous creamy sash, her careful lace--he takes her unformed gaze and paints it knowing, only a little fear in it, mostly just looking back and holding a peach. He keeps her face intact but makes her arms too long.
The weaver, his lover, stands behind him in a corner speaking into a tiny recorder in her palm. Or she scratches captions to his canvas onto a scrap of paper. Her father had been a homesteader here, four miles upriver where the valley is tighter.
Paint cracks in waves toward Martha's body.
10.4.08
8.4.08
The SITE:
“Jefferson Davis State Historic Site is a memorial to the famous Kentuckian born on this site on June 3, 1808. Ironically, just eight months later, and not more than 100 miles away, another great Kentucky statesman was born, Abraham Lincoln.”
[Ambrose Burnside (with newspaper) and Matthew Brady under a long, tall tree]
[The last reception of a long, tall man]
The Civil War is not the tallest obelisk in the world.
“(Because its cross section is octagonal and doesn't have a pyramidal top, the San Jacinto Monument could be considered a column instead of an obelisk.)”
“The 9-pointed star is 35 feet tall, weighs 220 tons, and can be seen as a star from any direction in the site because of its unique configuration. The star took 20 working days to build and each stone used in the star was 12x12 inches in size, 3 inches thick, and had to be cut to fit. Not a single piece of the star was level and plumb.”
The CITE:
“It is hypothesized by New York University Egyptologist Patricia Blackwell Gary and Astronomy senior editor Richard Talcott that the shapes of the ancient Egyptian pyramid and Obelisk were derived from natural phenomena associated with the sun (the sun-god Ra being the Egyptians' greatest deity).[2] The pyramid and Obelisk would have been inspired by previously overlooked astronomical phenomena connected with sunrise and sunset: the zodiacal light and Sun pillars, respectively.”
The urge to mark the spot with something long and tall comes from space. But sun pillars now come from streetlights too. So where does space come from? And where is the spot?
“Jefferson Davis State Historic Site is a memorial to the famous Kentuckian born on this site on June 3, 1808. Ironically, just eight months later, and not more than 100 miles away, another great Kentucky statesman was born, Abraham Lincoln.”
[Ambrose Burnside (with newspaper) and Matthew Brady under a long, tall tree]
[Officers and ladies in Virginia under long, tall columns]
The Civil War is not the tallest obelisk in the world.
“(Because its cross section is octagonal and doesn't have a pyramidal top, the San Jacinto Monument could be considered a column instead of an obelisk.)”
“The 9-pointed star is 35 feet tall, weighs 220 tons, and can be seen as a star from any direction in the site because of its unique configuration. The star took 20 working days to build and each stone used in the star was 12x12 inches in size, 3 inches thick, and had to be cut to fit. Not a single piece of the star was level and plumb.”
The CITE:
“It is hypothesized by New York University Egyptologist Patricia Blackwell Gary and Astronomy senior editor Richard Talcott that the shapes of the ancient Egyptian pyramid and Obelisk were derived from natural phenomena associated with the sun (the sun-god Ra being the Egyptians' greatest deity).[2] The pyramid and Obelisk would have been inspired by previously overlooked astronomical phenomena connected with sunrise and sunset: the zodiacal light and Sun pillars, respectively.”
The urge to mark the spot with something long and tall comes from space. But sun pillars now come from streetlights too. So where does space come from? And where is the spot?
7.4.08
"...appear to be the thickness of stone...":
An itinerant artist arrives on foot at a wealthy home, itself patterned after Greek temples. It is meant to be seen from the river. It is built in either 1820-1860 or the late 20th century; in either case it is a mimic.
The artist is hired to paint a mural in the dining room. It will depict a version of life at this very estate: a half-finished fence, an animal with its head down, people bent to their work. Clouds as solid as cliffs. One man approaches on a horse. This is an idea of rootedness and agrarian forcefulness. It is a florid explanation of a disappeared past. The clan wants its trees to bloom during supper.
Meanwhile, the artist himself is never at home.
He becomes involved with a house servant who weaves cloth for the family. Or, she mows the lawn. She lives inland in her mind, walking back and forth.
An itinerant artist arrives on foot at a wealthy home, itself patterned after Greek temples. It is meant to be seen from the river. It is built in either 1820-1860 or the late 20th century; in either case it is a mimic.
The artist is hired to paint a mural in the dining room. It will depict a version of life at this very estate: a half-finished fence, an animal with its head down, people bent to their work. Clouds as solid as cliffs. One man approaches on a horse. This is an idea of rootedness and agrarian forcefulness. It is a florid explanation of a disappeared past. The clan wants its trees to bloom during supper.
Meanwhile, the artist himself is never at home.
He becomes involved with a house servant who weaves cloth for the family. Or, she mows the lawn. She lives inland in her mind, walking back and forth.
2D imitations:
A brown thrasher may sing over 1,100 song types—mimicked from other birds—within thick shrubs.
This morning I heard it do robin and cardinal.
Then, a tangent: A meow-like call, and the birdlike chirps of the aroused housecat in the windowsill, got me thinking it was another type of mimic—a catbird.
I had to look to confirm its identity.
A brown thrasher may sing over 1,100 song types—mimicked from other birds—within thick shrubs.
This morning I heard it do robin and cardinal.
Then, a tangent: A meow-like call, and the birdlike chirps of the aroused housecat in the windowsill, got me thinking it was another type of mimic—a catbird.
I had to look to confirm its identity.
3.4.08
Stake and begs:
"Concentrating on the panoramas of his homeland, [Worthington Whittredge] steadfastly pursued a career as a landscapist. Carrying his gun, stool, umbrella, and paint box, he set out on often dangerous expeditions to discover new subjects. He worked particularly hard on a canvas called Crossing the Ford, struggling especially with one obsessive detail: a stand of cottonwood trees. Determined to get it right, he consulted guides of the region, traveled back to Colorado, and, between Denver and Loveland Pass, searched for several months for a particular group of trees he had discovered four years earlier along the banks of the Cache la Poudre River. He finally found the place and worked desperately, producing sketch after sketch, to render an accurate version of this singular group of trees. Only after two years' effort could he assure himself that he had succeeded."
"Concentrating on the panoramas of his homeland, [Worthington Whittredge] steadfastly pursued a career as a landscapist. Carrying his gun, stool, umbrella, and paint box, he set out on often dangerous expeditions to discover new subjects. He worked particularly hard on a canvas called Crossing the Ford, struggling especially with one obsessive detail: a stand of cottonwood trees. Determined to get it right, he consulted guides of the region, traveled back to Colorado, and, between Denver and Loveland Pass, searched for several months for a particular group of trees he had discovered four years earlier along the banks of the Cache la Poudre River. He finally found the place and worked desperately, producing sketch after sketch, to render an accurate version of this singular group of trees. Only after two years' effort could he assure himself that he had succeeded."
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