georgia and me

In 1992, I was given a little Georgia O’Keefe themed engagement calendar booklet thingy when such, now archaic, novelties were what every sensible person carried around with them. However else would you manage your days if not to write appointments, etc. in ink (a liquid, usually blue, stains something awful)…

As it happened I didn’t use mine to note appointments or meetings or social events—which is probably a story in itself—what I did instead was use it to note the titles of books I wanted to read.

Thing is I rarely consulted the list. I just kept adding to it and when I’d filled the pages I put the booklet in a drawer and began making lists on napkins and pizza flyers. The way you do. (Until someone gives you another little booklet—because it’s just the sort of thing you never walk into a dollar store and buy for yourself.) Recently, however—and it’s only been 19 years—someone did give me a new tiny notebook, which has freed me from pockets full of scribbles and shredded tissue and allows me space to begin making a new list I won’t get around to reading for a decade or two.

In any case, it’s time to say ta ta, Georgia. It’s been a slice and all that, but you’re really just part of the clutter now. (How a heart hardens over time, eh?) The contents of Georgia, however, are gold. But as long as she lives in a drawer, I won’t be aware of that gold.

So I’m listing Georgia’s contents, over at the other blog, a list I can share with friends, et al.  Technology makes this possible, god bless it, while ink—though I’m madly in love with it still—is such a private thing, and where books are concerned, I really think the more ‘sharing’ the better…

~

a sense of presence

“A railway station, especially a large one, is something like a home: it acquires a certain aura after it has been used. I do not believe in ghosts or haunted mansions but I am always conscious when I enter any old building of the unseen presence of those who came before. It does not matter if the furniture and bric-a-brac have been stripped away; a sense of presence remains—a feeling, an echo perhaps, that tells you lives were lived here, tragedies enacted, triumphs rewarded, loves consummated, and that this building knew the cycle of birth, life, and death, of hope and despair, of sadness and joy. You cannot experience any of this when you enter a brand new structure. Freshly completed edifices lack a soul. It is the older ones, the ones who have served their purpose over the years, that rejoice in this kind of psychic patina. The sense of history, the feeling of nostalgia, the echoes of the past can never bey worked into an architect’s blueprint.”  (From ‘A Feeling, An Echo’—an essay on the *near demise of Union Station, by Pierre Berton)

*Because of a period of underutilization and a prevailing fashion for all things modern—a la the CN Tower at the time—there was serious talk during the early 70’s of  demolishing Toronto’s Union Station. It really is quite stunning how stupid we humans can be. Fortunately, there are a handful that occasionally get it right. And in this case at least, sanity prevailed.

~

a new place for old stuff

I have too much stuff. I want less. In fact I want what Alix Kates Shulman describes in Drinking the Rain—to find out “how little I need in order to have everything.”

And so as I get rid, I thought I’d commemorate the debris that has no real meaning but is mysteriously difficult to part with—like a peculiar little boy doll in navy breeches that I bought during the 80’s. Can’t remember from where or even why, yet every time I try to pitch this unnamed thing that I have no special fondness for, I can’t. (The best I’ve done is getting him into a bag for the Sally Ann once. I dropped it off, drove away, then a kilometre or two later I turned around, went back, opened the bag, fetched him out and drove us back home.) Not sure what this means. But it’s very bloody weird, no?

Happily, I’m old enough to be more curious now about the why of hanging on to these things than to actually keep hanging on to it. Curious also about what there is to learn from the process of disentangling myself.

—And whether or not I’ll ever be able to say goodbye to breeches boy.

~

a new place for old stuff

I have too much stuff. I want less. In fact I want what Alix Kates Shulman describes in Drinking the Rain—to find out “how little I need in order to have everything.”

And so as I get rid, I thought I’d commemorate some of the debris with a project—The Stuff Stories—where I try to understand why things that have no real meaning are difficult to part with—like a strange little boy doll in navy blue breeches that I bought during the 80’s. Can’t remember from where or even why, yet every time I try to pitch this unnamed thing that I have no special fondness for, I can’t. (The best I’ve done is getting him into a bag for the Sally Ann once. I dropped it off, drove away, then a kilometre or two later I turned around, went back, opened the bag, fetched him out and drove us back home.) Not sure what this means. But it’s very bloody weird, no?

Happily, I’m old enough to be more curious now about the why of hanging on to these things than to actually keep hanging on to it. Curious also about what there is to learn from the process of disentangling myself.

—And whether or not I’ll ever be able to say goodbye to breeches boy.

~

The Stuff Stories, a de-cluttering project of the storied kind.

say no to slibber sauces

“It is a world to see how commonly we are blinded with the collusions of women, and more enticed by the ornaments being artificial than their proportion being natural. I loathe almost to think on their ointments and apothecary drugs, the sleeking of their faces, and all their slibber sauces, which bring queasiness to the stomach and disquiet to the mind. Take from them their periwigs, their paintings, their jewels, their rolls, their boulstrings, and though shalt soon perceive that a woman is the least part of herself.” (‘Collusions of Women’, from Euphues, by John Lyly, 1578)

(From A Book of Pleasures, an anthology of words and pictures, compiled by John Hadfield, Vista Books, London, 1960)

A Lady at Her Toilette: Water-Colour by J.M.W. Turner, 1830

assumptions and aspirations

I first read this definition of  ‘critique’ in a gallery catalogue for an installation that included, among other things, a deconstructed piano. What I love best is how it might apply to anything—painting, writing, dance—and how it reminds me that all art is shaped with, essentially, the same basic tools.

“… Taking a thing apart is a critique—a way of honouring the thing, a way of admiring its construction and the many decisions of its designers and makers. It exposes the assumptions and aspirations upon which the thing is made and it reveals the author’s inventions and limitations….

“….Rebuilding the thing is a form of love and respect. Adding to a thing—decorating it, manipulating it, customizing it—is to enter into a dialogue, to talk to the thing and to engage its maker’s spirit, to speculate on its history, to revel in its possibility and to indulge in creative anarchy.”