Shapes

I’ve been thinking of lines and spaces lately. Every leafy tree invites me to see it two ways: once as an image of the multitude of greens and branches, then once again in negative, seeing only the jagged splotches of sky between branches and leaves.

There’s one tree especially that I keep noticing for some reason. It draws me toward it every time I pass by it on the road leading northward to our street. It’s an ordinary tree, and I have no cause to notice it. It’s not standing alone, nor is it outwardly unique. It’s just a wide-spreading maple at the top of a small hill near the road. Regardless, something about it has caught my eye repeatedly for well over a week now.

There’s a hayfield next to the tree, and a long greystone wall that holds back the farm beyond and follows the road for miles. So maybe the open space that precedes the tree brings attention to this maple. But there are other maples next to it, behind it, across the street. It is only this maple, with its wide branches, that has captured my thoughts enough to notice it each day, to have it enter one of the bedtime stories I spin for my daughters, to write about it now.

Today I drove past the maple again, and as I approached, it dawned on me that perhaps it’s not the tree itself, but the overall outline of the tree’s shape that interests me. I slowed down and saw the tree in a new way. If one were to follow the top of the tree’s branches--the very points where they meet the sky--one might make a line drawing very much like a dot-to-dot picture that children do in coloring books. This morning I noticed that outline, and I noticed also that it was almost a perfect half circle. That must have some meaning for me. It felt right to recognize it. It was beautiful, round, welcoming--a sheltering arc rising above the field and road.





It took a second look to see it. But something in me must have noticed it right away, and kept calling my attention until I really saw the tree.


Last year I celebrated my 10th anniversary of learning to draw. That sounds too self- congratulatory, so I’ll be more precise. The series of classes I took in 1999 were technically drawing classes, but I wouldn’t say that’s what I found so life-changing about them. Even now I’m not particularly good at sketching, but I absolutely love to do it. There was something life changing, though, in those lessons. I learned to see.

Learning to see? Talk about self-congratulatory. Honestly, though, the world did change for me visually. Everyday things, things that I had lived with or walked past for my entire life--these things suddenly changed. Objects like teapots or screwdrivers, chairs, paving stones, an apple peeler, a pear, a tree--these all shifted from their ordinary selves into lines, and shape, shadows alternating with light. The world undulated with color, and and individual colors broke into strange and exciting combinations. I was practically dizzy with letting my mind re-vise them.

My new perspective distracted and thrilled me for months--I learned all of this while we were living overseas, and it simply added to the exciting, exotic feeling I had of living so far away from home. When we returned to the US, I retained a great deal of my giddiness about “seeing,” but I fell back into a routine and just enough of the magic faded so I could about my life without reeling every time I noticed the color of a glass of milk or the curve of a teacup handle.



In the past few years, I’ve learned a little bit more about how to “see” through a camera’s lens, to recapture an element of what I am noticing in a moment. It’s far from perfect, and I’m not a photographer by any stretch, but some of my photos are good enough for me to enjoy later, and that seems enough for me.

There is a difference to seeing and being seen, and I while I might often have a camera to my eye, I am seldom in front of one. It’s my dread to be tagged in a Facebook photo. I skulk out of view when I see someone swinging a camera around, readying a shot.


I have a disconnect between what I see in the outside world and how I see myself. I look in the mirror, and I think, “Not too bad. Not perfect, but not bad.” I like myself, and for the most part, I like the way I look. However, the scale and my clothing are reminders I need to lose some serious weight, and last month I finally listened. I’m on a good path, and I’ve dropped 6 pounds so far. Again, not bad. I’ve cut sugar from my diet, I’ve been feeling increasingly strong. Most shockingly, I’m actually enjoying working out. I put on my loose(r) pants and head out of the house knowing all of this, wearing my confidence like a must-have accessory.

Last week we visited a goat farm, not too far down the road past the maple tree, in fact. I brought our camera, and got some great pictures of Esme running after (and with) the baby goats. She captured a few for hugs, and so did I. My husband took a photo of me, laughing as I cuddled a soft brown and white kid. I felt a twinge of self-consciousness, then let it go.

I downloaded the photos later that night and discovered, to my disgust, that I still don’t recognize myself.

As fantastic and confident as I might feel, the camera (and everyone else, I presume) sees something different. In fact, people who have known me for only the past 5 years have no other template for Kirie. I’m just that same old chubby mom they see in town (I cringe as I type). I don’t know which is worse--to be only known as the chubby mom, or to be recognized by people from my long-ago life accompanied by a thought like “Hey, didn’t that girl used to be small and cute? What happened?”

I get myself all worked up for nothing, I realize. Do I consider the appearance of my friends? No. These harsh judgements I reserve for myself alone. Honestly, I know that few people even really care a whit about how I look. Oh the vanity.

If one were to look at that photo of me with the goat, to follow the just edges of my clothing--the very points where they meet the sky--one might make a dot-to-dot picture that captures the general shape I fill. It is not a shape I recognize. It is not a shape I claim as my own, obviously.

But like the maple on the hill on North Road, there is something in my outlined and foreign shape, something hidden, something special waiting to be seen. There is more to me than what I must appear to be on the outside.

I am in that in-between time of fat and fit. I am embracing the ambiguity as much as I can, feeling the dissonance of feeling healthy but looking heavy. In equal parts I hate and love this sensation of being in flux. I hate this time, knowing my new feelings are hidden. And I love this time, feeling silently willful, knowing that I can make the changes happen, regardless of how I’m perceived or not. It’s as though I have a secret engagement--one to myself--an engagement that only I and a few people know about. I’ll reveal this new relationship with myself eventually, I know, and I will celebrate.

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Inauguration poetry

Inauguration day is almost upon us, and what an exciting ceremony it is bound to be, all of it. In particular, I've been reading with interest about Elizabeth Alexander, the poet chosen to write the inaugural poem for President Obama. 

She is an exciting choice for an inaugural poet. She's an embodiment of connections between multiple disciplines. Not only is she a poet, but also a playwright. She's a professor of African American Studies at Yale. She's written on education, poetry, identity, art. She's taught in many venues, from both high school and college. She knows how to connect the dots. That Mr. Obama chose her shows that he values poetry, that he knows how to connect the dots, too. He "does nuance."

Politics aside, I am thrilled that Obama is including a poet at his inauguration. Ms. Alexander will be only the fourth poet to participate in an inaugural ceremony, a fact that leaves me disappointed, but not surprised.


I'm going to stop here and say that this is the third draft of this post, the others all ending up in a vitriolic snit lamenting that that Americans don't generally read or enjoy poetry. That we have had only four inaugurations with a poet to mark the occasion is a sad thing. But someplace in the second version of this post, I decided that I'm not going to dwell on that (at least not today).

Today I'm going to celebrate that poetry is going to be present tomorrow at the ceremony. Of course, the day is about so very much more; but the presence of a poet says a great deal about the changes that are bound to come.


As way leads to way so often, I recently stumbled across a poem that speaks to the excitement ushered in with the inauguration of another President, in another time not so long ago.

I give you Linda Pastan's "Remembering Frost at Kennedy's Inauguration," from her book, Queen of a Rainy Country

Remembering Frost at Kennedy's Inauguration

Even the flags seemed frozen

to their poles, and the men

stamping their well-shod feet

resembled an army of overcoats.

But we were young and fueled 

by hope, our ardor burned away

the cold. We were the president's,

and briefly the president would be ours.

The old poet stumbled

over his own indelible words,

his breath a wreath around his face:

a kind of prophecy.

--Linda Pastan

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Ho ho hold on a minute

Cue the music: "It's the most wonderful time of the year." And it's one of the craziest. Regardless of how much planning I do, how much ahead of time finding and wrapping and making, I am invariably behind. It's like a rule of nature.

Of all my lists (and there are many), my list of Christmas projects is usually the longest, and the most involved. And every year, I fail to complete about 50% of it.


I should put it on the calendar:
December 19th: Have a small breakdown because today you will realize the "great Christmas list" will not be finished. Feel sad, feel overwhelmed. Worry about how Christmas will not happen because of incompleted (fill in blank here).


I know I'm not alone in feeling the pressure to "make" a good Christmas for our family. The holidays do indeed conjure ghosts of Christmas past, present, and future.

For me, the ghosts of Christmas past seem to urge me to control every element of the whole season with deadly earnestness. As one might guess from my accounts of my own childhood holiday seasons, parts of my childhood were chaotic. Christmas was, for most years, a fun though limited blip on the screen of our family, something to be experienced in its entirety in the space of 36 hours, including the decorating, cooking, and gift-preparation. I am the cliche of the rebellious adult child, and I have shaped my own family life in the mirror image of the compressed holiday. Ours is a lingering, slow experience, with presents or small advent events each day of December. It sounds lovely, and it is. But I've also fooled myself into thinking that the perfect Christmas is a handmade Christmas, from the gifts to the decorations, And it's this misconception that gets me into trouble every single year.

Though I'm not sure you'd know it if you saw me, there is some part of me that shudders with fear at the thought of not making good on all my Christmas plans. Seriously, I quake at the thought of not finishing the stockings for each of us by Christmas eve. Where will Santa put his gifts? Never mind that we do have store-bought stockings that work quite well and look cute. I've dropped the ball--and I'm "ruining" Christmas.

Don't forget the handmade mouse (with babies), the flannel pjs and matching pillowcases, the embroidered felt ornaments for each of the girls, the collaged bookmarks for each of us, the gumdrop chain for the tree, the Santa outfit for Mr. Mouse, the Christmas pjs for Ada's babies, the matching Santa sacks for us to use each year, and the holiday skirt for Ada and the corduroy jumper for Esme. There is much more to add to this list, but I will stop boring you and overwhelming myself with it now.

This is where I stand today, and where I stand on so many Christmases, surveying all of the unfinished things, each in some form of progress, stacked around my studio and serving as reminders of my inadequacy. I just can't do enough.

But wait, I said I had conjured the ghosts of Christmas present and future, and this is what they tell me:
This whole month of December has been full, so full, of beautiful moments for our family. And there are gifts aplenty, even homemade ones, to give to our family. My husband would tell you, as sagely as Dickens' ghosts, that the best present I can give him and myself is to be present. For his ideal image of Christmas, I am calm and with them on Christmas eve, not fussing about the perfect wrapping, shiny bows and the best frosted cookies, etc.

The ghosts of Christmas future will forgive me if I don't finish all the great homemade projects. So will my kids. What they won't forget (or perhaps forgive) is the frantic and manic mommy that emerges on December 19th each year, fitfully aiming for a phantom ideal that eludes her each time.

I have made my lists, and the list is as long this year. But this year is different. This year, I give myself and my family a present of being. Just being, and being enough, too.

I'm signing off now to laze on the couch and watch Grinch with Ada, and then make messy, frosted cookies for Santa.

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A poem for America today

It is a good morning. Here is a poem by Langston Hughes to celebrate the tomorrow that has now arrived.

I, too, sing America

I am the darker brother.

They send me to eat in the kitchen

When company comes,

But I laugh,

And eat well,

And grow strong.

Tomorrow,

I'll be at the table

When company comes.

Nobody'll dare

Say to me,

"Eat in the kitchen,"

Then.

Besides,

They'll see how beautiful I am

And be ashamed--

I, too, am America.

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