Stovetop Stories

I am not an expert cook, though I’ve learned a lot in kitchens. Like, how to make visitors feel welcome when all you have to share is spare.

Standing over my stovetop in late spring 2009, I wondered how a depression era woman might approach my problem. I’d been fired a third time for about the same reasons. It wasn’t me, and it was. At least as far as they were concerned.

The soup in front of me bore resemblance to my condition. Cobbled together from a career worth of leftovers. Nutritious but bland. Enough and not much. Over qualified, uninspired.

Shoulder width away in time, a certain cameraderie arose in my heart. Wise women whispered — the power of stew in a pot. How many families had one soup nourished? Whose hearts were healed by a dish handed over a threshold. How many gooses got cooked in those precedent (and prescient) kitchens.

Not the usual cozy metaphors. Baked tarts? More like changed hearts. Those nearby values fostered in the confines of an abode.

Humble courage developed in the days ahead. Intuitive stumbles. Rambles and gambles. Gambits when two or three bits fit. Slowly knitting parts into a whole, having moved the metaphor to my sitting room on the first floor.

Circles of unmatched chairs suited the odd fellows there. We all knew it was rare. Art is-is when other people are present. We-we circles out from that sacred center.

The Washington Writers Retreat was born in that kitchen collective. A convection to make creative liberty cost effective.

Social Tender

My father’s lifelong postcard collection lines one wall of our shared home office in Tempe, Arizona. Arranged in notebooks stationed on uniform wooden shelves acquired for exactly this purpose. Benignly neglected precisely the amount of time for them to become useful again.

This time to me.

He was a 5-year-old rabbling around a crowd of kids, playing street corner baseball in Cambridge, Massachusetts. Trading baseball cards at first, a social tender among the young guys whose parents had dragged them here from Kansas, or somewhere else. Soon it became postcards, a collectible literature of the places he’d already seen and was getting to know.

This peripatetic paper trail now right in front of me, with Mister 88 still chatting out parental wisdom and political philosophy from his comfy corner chair. As he would (and often does) say, “Well, what now?”

Also, is there any ice cream? Can I have a coke? Where is the remote?

He is still and very definitely human. I am, too. But to have these two angelic intelligences paired together again in pursuit of such folly as a lifetime of postcards. Who wouldn’t?

Over time, the postcard collection swelled far beyond the bounds of his family, professional, and worldly travels. He missed certain places and has filled in those spaces with small paper pallettes that carry not the weight of memory but of desire, curiosity, and vicarious adventure.

Social tender, a tencil term that ties me to my father’s early trades. He worked his way into new circles of friends, different family units, and collegial communities as his young life followed alongside his father’s faculty positions. Eventually, Dad’s profession would take him across political aisles and well beyond the boundaries of polite society once or twice.

What is key to me is the social materiality of his early exchanges. Before dimes, or even dollars, he had those postcards as a way of trading introductions, information, stories, and alliances (White Sox and KU basketball, for Dad). That social practice is the DNA of his professional reputation, leading to outcomes far greater than the substantial exchanges of public funding he accomplished.

I’ve thought to monetize Dad’s postcards outright to the marketplace. Piece out his shop at the end of its run. But what a shame to miss the more glorious values available in there. Traveling through it together, all the places we have and have not been. As a collection, it’s an elegant and relevant cultural relic, too.

Timely and timeless, neatly tucked into plastic pockets. A family wealth stacked and bound, ignored and found laying about eighty-some years later. What does this paternal past have to do with picture-perfect Phoenix today? Plenty. Some of these postcards tell that story, too.

Hanging around with Dad and his collection is like sitting next to a living time machine. His mind is so fluid now, we can easy skip from his childhood to his career. Life loops back on itself. Time is slower, and less orderly. He loves to meander through memories. I like to absorb those histories. In the meantime, we sort postcards, laying down stacks of size, subject, and sentiment that takeover the available tabletops.

He played cards with his father when he was young. So did I, and here we are again.

My Love Affair with the Circle

Pardon the existential pun, but I don’t know where my love affair with the circle started. Some of my visual artworks are linear landscapes. Even those are created through simple cycles of breath. An in/out circular process that lets my mind and heart loop as I set down each colorful horizontal line.

My college thesis was an amalgamation of circular poetry and images, a philosophical work that dared to challenge the primacy of academic prose and rationality in favor of softer and rounder ambiguities. The work narrowly passed for credit and only under the cover of a forgiving oral defense.

I was just beginning to find visual languages to get closer to my own philosophical renderings. Ubuntu, togetherness, completion — some concepts can’t be made well without circular shapes.

I was grappling with dichotomies at the time, deep in study with Judith Butler’s writing and enthralled with Canadian and French feminists lacunae and silences. Ying/yang and infiniti symbols gave me a way to account for flows of power. Visually, I could better illustrate such polarities inside their discursive bonds, binds, and flips.

Three-dimensional globes appeared as I began to study particular domains and discourses. Leadership, culture, art, nature — intersecting orbs and bubbles adhered to one another in unusual combinations. I began to visualize the language domains in a diverse room or the way city cultures overlap and intrude on each other.

Deleuze’s rhizomatics helped me apply asymmetry, movement, and change to my visual models. Suddenly, a circle shape became a tunnel and a tuber. Sadly, also a tumor. Circlular movements shouldn’t be mistaken for cuddly kindness. Circles famously exclude, too.

Theories of teamwork, community, and advocacy are well-served by rounded edges, thinking in loopings, and widening the circle to unique voices and contributions. Embrace of the earth, folds in time, my own rhythmic bobbing — each come with centering qualities to locate my place in each moment and make a stone’s ripple in our time.