Beautiful

 

 

Rumors of War

"I'm working on something, and you're going to love it, and it belongs in Richmond, Virginia."

Honestly, I'm not so sure about the point that Rumors of War actually "outflanks" discussion of removing monuments bought and paid for toward a racist political and social agenda. I hope that the idea of removing such so-called monuments (to insurrectionists who rebelled against the United States and lost) isn't just *over*. But I do appreciate the strategy, and not least because this is the most breathtaking kind of  art.

Side note ... given how lazy/racist it is to use chocolate and coffee imagery in describing characters of color in fiction, how do we feel about the "silky, dark patina" comment from a white journalist? Hmm.

Collection

Here is a plot bunny giant enough and strong enough for me to want to saddle it up and gall-hop away: on "crones" in sci fi. YES, PLEASE.

(N)o person inherently deserves to have a larger psychological piece of the universe than another person

I would add: or physical piece. Walk like a man, talk like a man - get crashed into by men, my friend! This phenomenon is the WORST in grocery stores, and it's always white men.

the brittle tedium of being yourself in a foreign place

This is an exhibit I might have to visit, Hopper and hotels. (Initially, I used the term "go see" in that first sentence, but changed it to "visit" ... both because my brain insists upon certain rhythms - but also because it seems, in the dingy gradation of color words have for me, a better choice for the picture.) What Sebastian Smee reviews as problems are part of what I see as the strengths in Hopper. The unfinished stories these pieces evoke. The "clunkiness" of his female figures strike me as, in fact, similarly honest to the rest of his images; celebrating bodies which are not artistically or aesthetically perfect. The strands of hair, the skin tones and shadow are impeccable. I can see muscles and bones where Smee apparently cannot.

Collection

I have been in this room, but we were with Cicero, not Spock. An elegiac, good read. "The logic of mercy" ... yes ...

It's not news to me that the fashion industry produces a massive amount of the garbage we create, but ten percent is still an eye opening figure. Also, just a bit more for my TBR pile; thanks, Nature!

Speaking of fashion ... it's been some time since I linked an American Duchess piece, but how about - oh, sixteen pieces? Looking at the capsule wardrobe. Love the "just one black frock" image!

History which, not only did they fail to teach this in my schools, I literally have never even heard of these HUNDREDS of takeovers, or the IAT, before now. It seems like that's burial. It seems like that is colonial power and prejudice, still alive and well.

(T)rans joy is real

What a beautiful essay. Go click and be blessed

Collection

That backpack could be saying “I’m about to trek through the jungle for a Louis Vuitton photoshoot” but it could also be “could I get my cappuccino with oat milk and the WiFi password?”

MY NEW FAVORITE BLOG - it has Trek, it has Teh Funnay, it has the subtle joy of yaaaassss-queenisms. It has Picard. It even has the click beyond.

Beautiful photography in Appalachian Ohio. It's not the part of Ohio where I spent so much of my life. It's not where my dad came from either. But Ohio means a lot to me; and some of these are still and perfect and small and exquisite.

How have I never heard of Sapphire and Steel before? Terribly intrigued. DVRing some episodes, I'll report back if it's fantastic.

Paradise, Sugar, summer, and X-ness

The time was gone when we'd actually sit in someone's family room and watch MTV, but Paradise City's images still made up a big part of listening to that song. We knew Axl was a jerk, but the *song* was still summertime. That was the year we cruised DMV drive.

Val had taken me to Grace Street before, and I was used to venues, dating my rock star at college, going to gig after gig with him and all our musician friends. So cruising really seemed pointless to me, just driving around a wide block, traffic at a standstill, and only one stretch of it really populated. It was usually impossible to get a spot on that stretch; so you'd crawl through the crowded, merc-lit street, and then it was half an hour around a boring circuit to get back again. If you *could* get a spot, though ... it was a fun way to blow an hour before actually going somewhere.

That year, it was Paradise City - Axl in his white jeans; the ageless avatar of Slash stripped out of black and hat, actually sexy under there - and Pour Some Sugar On Me. Every idiot with a too-large spoiler and giant speakers rigged in a hatchback serenaded the entirety of the cruising audience, and I can't remember a single other track that dominated. Those two songs were THAT. SUMMER.

Valerie died to the strains of Paradise City. And Def Leppard was her favorite band.

It is my punishment, and my poignancy, that Axl's damned white jeans will make me cry forevermore.

I miss my girl. She was my sister. Her husband, now - I guess he's my brother.


The orangey light outside the huge HQ building for the Division of Motor Vehicles. Me and Val being cute and using fake names. I was Sabrina because I'd liked that cartoon as a kid, and the name seemed exotic to me. Valerie used Penelope.

Sometimes, now, loving on my dog Penelope, it's not just her I am hugging. She's my girl too.

I never did know why she used Penelope - just, it amused her. It was so unlikely. And boys. Boys trying anything will believe anything. I mean - Sabrina? We both dared 'em to disbelieve. They never bothered to; honesty beside the point, when you are cruising.

Pour Some Sugar On Me.

Both the songs are anthemic, and impossibly catchy. Cryin' is playing at me right now - and we loved us some Aerosmith. (Val had a story about being a groupie and chewing gum.) But Sugar and Paradise, that was all anyone ever heard. When your car was inching forward, and the heated dark breeze of a Richmond summer night carried the distant strains of either of those songs back to us on the long slog through the boring 75% of the circuit - that was the promise. "You're almost there." Almost to the relevant part. The part that is lit, and full of people (boys) and music. The interesting bit.

Scent of hot asphalt hanging in the air, and not a little exhaust, including diesel. Voices, shouting, unrestrained singing. That kid on the skateboard, the first person I ever TOLD I was named Sabrina.

Valerie's laughter.

My girl.

We'd make a few turns. Or park, if we could. Then the lateral move, more parking, more crowded blocks, and The Jade Elephant, or Newgate Prison (hilariously, a dive bar unbeloved by Virginia Commonwealth University Police - now their headquarters - I guess they won). Dirt Woman sitting on his porch. "You can get the dirt off Donnie, but you can't get Donnie off the Dirt!" The Lee X theater, I think defunct already by the early 90s. Grassy scrub lots. The 7-11, maybe convenient for some, but impossibly distant and useless for those of us in heels.

That guy who made his friends drive him around in an old limo. He was cute. He'd give us rides to our cars. Every boy Val ever dated, or was thinking about it. The night I brought The Elfin One, and she laughs to this day about how I zeroed in on someone and said, "I want THAT one" and got his attention. It's all in the wrist - you just pick the one who appeals and is most likely *to* pay you some attention. He was tall. Dilliest smile you ever saw. He was ... unfortunate. Sigh.

My Val.

It's funny. Since she died, I talk to her - "Vally" I call her. I NEVER called her this in life. Some part of it is necessary now, and some part of it almost offends me for being unprecedented. Too cutesy, perhaps. But she's so dear. She was so damned small, in her hospital beds. I miss her.

Summer nights.

Right now, it's so humid in Richmond you just feel WET. Even walking the dog at 6:45 a.m., the humiture is intense. Even at ten o'clock at night, letting her out for the last time, dark - maybe even breezy - it is HOT outside.

Summer used to be what my dad called "soft" nights. Oh, it was still warm, even back then. But it didn't seem punishing. Maybe nothing does when you're half the age I am now, healthy, and ignorant of the future. Not that our future was bad. Val found the best husband she ever could have had. She had joy and SO much love. She and he knew what could come, and agreed.

No regrets.

That summer. Not regrettable. Not even a guilty-pleasure memory. I'm not ashamed we were hair-band chicks, into that kind of guy, brash, loud, laughing. As much as Val's laugh still rings, I never ever faded beside her. Neither of us ever did second-fiddle. We were the Cinderella twins from their old videos. We were catty, and open, and good in our skin, and interested and interesting. We were the 80s. We were the 90s. We were good with it all (and, no - neither of us was ever into the big-hair thing for *ourselves*).

The one time V ever faded into the background around me.

She was with me when I met Mr. X. It actually took about a year or two, that meeting.

It was the crack of the new millennium, and as an 80s throwback we went up to a bar in Springfield, to see the Bullet Boys, who sucked and had ZERO crowd. It wasn't even any fun for making fun of those who'd never gotten the memo that the 80s were over, because almost nobody was there. One other table - us two girls, maybe three guys. I don't remember most of them, because a *CLICK* happened. Mike. It wasn't sexual, but I've rarely experienced chemistry like that. He was fun to talk to, we stayed in touch on email and by phone, tried dating ever so briefly, then he met his wonderful, gorgeous, immensely generous wife.

November, 2002. I've just broken up with the "should be good on paper" guy with the SOUL PATCH (good grief, I though I was getting old at 34, and shouldn't be "picky"), and Mike's band is playing that same club, opening for - I think - Blind Guardian. The line this time wrapped around the building, and it. was. cold. Val and I get out of the car and end up in an alley around back, walking by hundreds along our way, wondering why the doors haven't opened, and hearing lots of grumbles. Only one attractive guy in the whole lot, and he's probably way too young. We take our places. And wait. And wait. I actually sent her back to the car at one point, to get my big wool coat. I hadn't wanted to wear it in the bar, but out here, waiting interminably, a little plastic jacket is not doing the job. The cold stabs from below. Val and I are shivering, miserable.

It turns out, BG's equipment was not compatible with American electrical systems. Which one might have thought could have been solved before several hundred people ended up stranded in the cold, but so-eth these things go-eth. Once we are inside, I go to touch up my face, and find the blackberry lipgloss in frozen shards, bleeding, and recalcitrant about remediation. I feel annoyed and Of Constrained Attractiveness for the rest of the night. And just as well, for the most part I can't find that hot guy anyway. We hang with Mike and the lovely (seriously - she gave me a FOOT MASSAGE, that wonderful woman) Mrs. Mike, and the night ends up being a lot of fun. Good company goes a long way.

At the end, coming out of the venue itself, there is an outer bar. Pool tables, flourescent lighting for my already not-so-flossy-feeling self, and ...Val pulls on me, "Diane, get a load" - and it's that guy. Definitely too young.

I dither and linger, Val takes a bathroom break, I'm on my own by some pool table, make eye contact, smile. He still doesn't come over. When she comes back, I grab her and make a beeline because it is late and we've got a hundred miles to go.

And, not being but so selfish, I leave the opportunities (between chicks hitting on him) open. "We just have to know. Are you single?"

"Sure!" he says.

And, Val told me, she might as well not have been there. "He lit up." "He was only looking at you."

I got his email and we booked it.

That's how I met Mr. X. Who turned out not to be 25 after all. What his age *was*, relative to my 34 at that time, we shall not discuss, because he's a coy one. But I won't say I wasn't glad he wasn't a baby.



Ahh, my Vally.

She was fun.

Collection

The older I get, the more interplanetary sciences strike chords with my faith. On the ancient waters we - and our planets - are made of.

Best. Advent. Caledar. Ever. Will you check back? I will! Stunning, stunning, stunning.

I have been a bit full of woe (when I've troubled to blog at all) this year, so how about an observation of what seems to be an uptick of heartening news in terms of our material history?

It feels like there are more stories of repatriation of artifacts - not just one behemoth, say, like The British Museum, investigating shady deals or sending cultural art and items home, but a wider movement. Take a look at just a few recent pages of The History Blog, and see how often looted and alien-"discovered" pieces are returning to their contexts. Or national treasures kept at home. These stories, along with rescues and restorations, are good for the soul and sometimes kind of fun.

Merry Christmas to all ... not everything is falling apart!

Edited to add this ... sometimes, we do have to let certain pieces of the past go. And that's okay too.






And, yes. The eagle-eared might catch A Certain Connection which is interesting, if only on a personal level.

Getting the hang of Thursdays

Publishing late because ... that's how writing (even a blog) goes at times like this ...


Before me lies a sea of irritations. The thing I see is that they all ebb and flow in three currents, and all of these currents sway and merge, and the three are related.

On Tuesday morning, one of my oldest friends died. She has been there for me in situations where no other fried, not even Mr. X, could stand behind me. She has been quietly present, she has been raucously beside me, she has been kind and crazy and tolerant and irrepressible. She died with a hundred health issues, a good husband, a heart of gold, still fizzing electrically even after, really, our girl was gone from us.

Yesterday, I donned mourning - for a girl who loved Hallowe'en, I put on my looks-like-a-comic-character-makeup, and changed the dress to black. It was a hard day, but leavened by good people all around me (it will never stop being a blessing, how overwhelmingly human my colleagues and employer are), a good meal with my mom, and trick-or-treaters.

Today was harder.

Reaching the point, by 2:30, where I could not comprehend that the day was moving so slowly, I could barely pick up another envelope to open it. It took me all day long to open the incoming pile. Something far beyond "fatigue" pressed down on me, and I succumbed, I let it press. Exhausting and torturous. And it's strange, because last night and the night before, I have slept. Going to bed pretty early, indeed, and not getting up at the crack of 5:40.

I was putting off calling one of my guys. I knew he wanted to put me on a new project, and at the same time I was fighting off some niggling persnicketude from our "Services" center, and - did I mention about that succumbing thing?

My boss needed me to set up a call, so I toddled to his office, and the few steps that took, the conversation with a human, woke me up a little bit. So I called the guy back, and ... it turns out that he's fighting some niggling persnicketude from our "Services" center.

And a month ago, I was fighting a very related form of? Niggling persnicketude from our "Services" center.



Is it weird, that talking with my frustrated guy out in Texas, telling him that this is an "opportunity" for Operations wasn't even me taking a bullet or making a joke?

There is a sea of irritations, and there are three currents, and the currents are swirling in niggling persnicketude. And I can, perhaps - at least learn enough about the niggles to begin to deal with them.



I was in the hospital with V and her husband W two and a half weeks ago, when it looked like she might be dying. That afternoon, they "saved her life." She was transferred to a new hospital after that, maybe-diagnosed and then not diagnosed with yet another shockingly rare and dangerously mortal disease. They found a surgical complication we knew was a problem was worse than previously known. More surgery. More life support.

Really, though, no more *life*.

On Tuesday barely after four a.m., W called me and I caromed around my bedroom putting some clothes on my body and thinking what I would need at the hospital. I got there at five. And we sat. Watched the sun rise. Family and friends came.

It was the first I have been with V in too long. All these hospital visits; I have been a poor friend over the past year. And it is too late. Except to be there for her family, for W.

She died with music playing.



I still can't believe she is gone.

I still can't believe she is gone ...

Collection

The epic *advice* of Gilgamesh.

My day is made, I have encountered the word excrementitious, which actually strikes me as one of those "probably a mellifluously beautiful word, if you don't know what it means" coinages ... Also: scatalogical archaeology! Always fun. Thanks, The History Blog.

Brace yourselves: this is me, not even trying to be clever. Just click. The world's most beautiful libraries. You're welcome. (The click beyond.)

Ahhh, the tedium of FASHION as opposed to style. We all know it's not just clothes, or at least in the form of textiles.

Remember when book covers were done by artists? Remember when all too many of them became photos of headless women? (Remember when we laughed at salads?) Apparently the current trend in cover design is flowers. This seems to surprise some people, but the development seems obvious to me, especially timed after November 2016, when stock photo libraries, advertising, entertainment, and so many visual aspects of the cultural landscape finally began to show women in active contexts, not strictly as pretty presentation objects. We were all sick of the ubiquity of book covers featuring decapitated women and sexualized women (the latter not being mutually exclusive of the former, which: ew). What's the next best sexual image? Flowers. Duh.

DRAG, the Series: Costume

I have decided to leave this series of posts, intentionally, in a very draft form. This owes to the upheaval of the past month of my personal life, yes ... but it also feels fitting, as the entire point of this discussion of drag is about construction and challenging assumptions. To smooth it all into coherent, long prose might obscure the various parts, and thoughts, I have put into this, and they perhaps should stand out starkly. In honesty, much of what I say is just intros to the links embedded. And so, here is this series. Unfinished. Challenging - to me, in one sense, and to the audience in another. Seems right ...


We began sewing at least 50,000 years ago. Clothing and textile ever since have been used not only for practical purposes, but symbolic ... and, if you think you are not dressed symbolically, even if you're reading this in your jammies, think again. LOOK again.

Most of us choose our symbols out of prefabricated options, sometimes with more consideration than others. But think about a drag queen; as often as not, she has created her own "look" - not merely in terms of painted features, but also in costume. A queen is a seamstress, a model, a performer - wearing a thousand themes through a thousand nights, and generally conceiving and creating every aspect of a look and a performance all on their own. A queen is inspired to a theme, but also has to look to practicals - is the piece I'm making utilitarian for me to sing, or lip synch, or dance, or all of the above? What are the optical principles in presentation - in a dark hall or bar, in front of this crowd or that, in front of dozens - or hundreds - or thousands?

Dressing outlandishly is an art. Indeed, *many* arts. From design to performance, from choosing materials to deploying them, drag is head-to-toe ... inflatables, headpieces, shoes, unexpected materials. There is engineering to consider - will this prosthetic makeup hold up to the movement of my face, will the paper gown survive sitting down, or a long meet-and-greet with fans?


Makeup AND costume



fashion history and what's old is new again ... The study of the history of costume is the study of history itself, and perhaps a more insightful one than strictly reading direct sources. Looking at modes and methods of dress can tell the story of social priorities - even scandals - and deepens our understanding of the times in which surviving textiles or portraits were made. Oh MY!


what is appropriate to wear where. Clothing as instruction: this is for girls, this is for boys ... the eye it takes not just to see these distortions, but then to parlay them into art, beauty, and commentary.

Our culture is about choosing an identity and sticking with it so people can market shit to you
--RuPaul Charles

You hear often that drag is an "armor." The thing is, this is true for everyone, every day. The importance of costume exists for EVERYBODY, even those who think they're not doing it, not paying attention. If you dress yourself at all - and if you don't (there is no escape, Major Major) - we present ourselves to the world, even when we're not dressing up for other people. Even when all we present is what we prepared just to manage the physical act of living.

If humanity as a whole is constantly evoking, demolishing, reimagining, and retrieving our fashions, even as we feel the need to just-as-constantly make fun of what is old. Sometimes, those among us creating the real rules by which we actually live are those of us destroying what, ideally, we might like to be the rules. Drag is destruction, and simultaneously it is creation. That's a hellaciously difficult magic trick, and it is one of the keys of beauty itself.

Self-decoration is older than homo sapiens itself; in the ochre of ancient hominid burials, we see the urge to beauty - to self-presentation - in the deepest history of what we are. It is tied to religion and death, and without it there is no culture, no society at all.
............ "The only thing I didn't like was the makeup" ... "You don't need makeup"


"Fake it till you make it" ...

Grand Guignol
We use exposure to our fears to get over our fears, but also for the *thrill* of the fear.


Not long ago, I was watching an episode of "Lucifer" in which an immortal character is costumed in a completely innocuous sweater with a peter-pan collar. She's in no way presented with fantasy color or extreme style, but her sweater is embroidered with dozens of bees. It wasn't a design choice 99% of viewers would even register, but for the very few who would, it was meaningful - and quietly gratifying.

All our clothing is projection. Drag is projection. Projection of wishes, projection of feelings, projection of fears - thrilling, and inuring. And beautiful

DRAG, the Series: Beauty

I have decided to leave this series of posts, intentionally, in a very draft form. This owes to the upheaval of the past month of my personal life, yes ... but it also feels fitting, as the entire point of this discussion of drag is about construction and challenging assumptions. To smooth it all into coherent, long prose might obscure the various parts, and thoughts, I have put into this, and they perhaps should stand out starkly. In honesty, much of what I say is just intros to the links embedded. And so, here is this series. Unfinished. Challenging - to me, in one sense, and to the audience in another. Seems right ...

The only thing I didn't like was the makeup.

On its opening weekend, I went to see A Wrinkle in Time with a group of people, most of them new to me, and one of the most interesting counterpoints to the diversity and inclusion celebrated by the film was the quote above. Stated by someone I suspect would consider their liberal cred to be beyond reproach, the idea was that The Mrs. Ws' fantastical appearances set a bad example for little girls by way of cosmetics.

This was said to me at a time I had my hair jacked up to Jesus, was wearing all metallics, and my eyeshadow was silver and not at all subtle. Also, I have blue hair for pete's sakes.

The lady opining did not join us after the movie, but I have been stuck with her restrictive liberal ideals in the same way I've been struck and confounded by prescriptivist liberality before. The way I really hate.

If feminism is about choice, what feminist is to say it is INVALID right on its face (and do pardon the pun, please) for a woman to wear makeup? Or a man? And if makeup is an evil tool of the conformity-enforcing Evil Beauty Industry, out to subjugate women into narrow beauty ideals ... where is it bedazzled eyebrows and green glitter eyeshadow fit in to this narrow, cis, white ideal?

As I have said before. Sometimes, makeup is not about remediation. It's special effects. And nobody - man, woman, or anyone else - gets to prescribe for me what is limiting, or to limit me by "setting me free" from it either.



silhouette - of period clothing, of presumed gender-conforming bodies, of nonconforming bodies

corsetry jewelry

cleavage, highlight/shadow ("The champagne glass") - controlling light itself, synthesizing it for illusion

erasing the face to repaint stereotypical femininity, or owning one's own features to challenge the binary (bald queens, eyebrows) ... Kevyn Aucoin's erasure art, queens who emphasize their own - amplification versus obliteration ... the BEAT face



Self-decoration predates anatomically modern humanity itself. We have been decorating ourselves since before "we" WERE "ourselves" - ochre and seashell jewelry, religion, trade, and art reach as far back as our current understanding takes us. Pre-human, prehistoric. Cro magnon and Neanderthal man created beauty as well as tools, and the tools of beauty and art date back over 160,000 years.



Advent of "I can draw what I want" marketing and autonomy over rigid fashion - STYLE over fashion ... still an industry, but emphasis affected by people's needs. How much can commercial interests still command people reshaping themselves? How much has the narrow beauty standard *really* changed? Really at the point where individuals are using the beauty industry, or still beholden to beauty standards?



As with most things, the alterations we perform to create beauty can pass into The Uncanny Valley, where synthesizing the suppleness of youth with plumpers and tightening becomes ghastly. Pop culture obsesses, at times, on hatred of this tendency - making fun of everyone from always-a-target Jocelyn Wildenstein to the Jenners/Kardashians for "overdoing it" ... and this both happens in drag, and is played-with in drag. Not a few queens proudly name their alterations, and it's difficult not to suspect that many who do it do so less for ideals of beauty than for the exaggeration of those ideals - for intentional effect. Special effects.

Drag USES the Uncanny Valley, gooses it - can transform it from challenge into a new definition of beauty.

I always listen to Eubie Blake on his birthday

Collection

Ooh - has *anyone* here been reading my blather long enough to remember mere exposure? Well, fair enough, to be honest, I'd forgotten the phrase myself, or at least failed to use it in a long time. Still, seeing it again in this look at remote work dynamics at The Atlantic brings to mind other ways mere exposure affects us. So often, "normalization" was a phrase we heard during the campaign (and since). What "normalization" is is mere exposure.

Also, what "fake news" is is propaganda. I'm all for allowing the evolution of language, but this is not evolution, it is distortion and misdirection. As well as stupid. It is one glossing-over too far, at a time when misdirection is literally dangerous, and terrifyingly successful.

Anyway, I know someone who's heavy into the Agile model (mmmm - scrummy!), so - neato. Now go make with the clicky above.

Awrighty then, in other news (or not) ...

In my entire life, I have never been excited about the choice of a presidential portraitist, but the upcoming work from Kehinde Wiley has me all but squeeing. The first time I ever heard of Mr. Wiley was on a museum legend at Virginia Museum of Fine Arts, next to one of his portraits. I was GOBSMACKED, and fell in love with everything about the painting, not least simply its appearance. It is glorious, and beautiful, and what it has to say is poetry and joy. Cannot. Wait. to see this new work.

Interestingly, there was a "declined to comment" in regard to whether the woman artist painting Mrs. Obama will be paid equally to Mr. Wiley, to which I say "sigh" - but it is so predictable that there would be inequity that the unspoken answer is exactly no surprise. Double consciousness.

The Washington Post has one of the most uplifting things I have read in a long time. It's not a new article, in fact it dates back just a hair more than one year. But it's in-depth reporting on a redemptive tale that is splendidly worth reading. On the heir of Stormfront .. and how he renounced "white nationalism" - not just as an ism, but even as a phrase. Perhaps even better than that simple headline: the way this came about is wonderful to read.

Viking-Arabic textile design? I'm skeptical. But The Atlantic raises enters the dialogue of medievalism, racism, and today's socio-political climate - I am thinking of you, Jeff Sypeck!

Voyager's Golden Record

Have you ever heard it?

Because talk about a click beyond. Please take this trip.

It is record of the gloriousness of our very planet, and the finest accomplishment of which humanity is capable. Not merely the sounds - all of which share some piece of Earth's magnificence - but the Voyagers, the record, the images. Sharing life.

Here, the official tracks, courtesy of the Jet Propulsion Laboratory archive (not created by JPL).





Also, we need to make t-shirts that say, "Out there, our concepts of velocity become provincial." (Meanwhile, every sound on the record is provincial! Though some might disagree about The Laughing Man.)

Here is MIT's unofficial copy; for those of you who know what HiFi means, it brings with it the enjoyable pops and cracks of the albums we played on those. Which has an Earthling charm of its own.

PBS's as-usual wonderful special on the 40-year-old Voyager twins.

Collection

Donna Everhart celebrates making it halfway through a WIP. I very, very literally have no idea what that is like - because I don't know when it is.

"(B)limey, what's that?" Simultaneously cool and creepy, BBC shows us one of the creative innovations in security, as the global definition and even concept of privacy leeches away. "The ability to choose when and how to divulge information about ourselves is one of the things that make us human, argues graphic designer Leon Baauw"

Also at BBC online, this piece of art and science history took my breath away, but do be warned, for the squeamish there exists the possibility this could take your lunch away. Have you ever heard of dissectable "Venus" waxworks? The art is incredible - but, for a historical novelist like me, the look into the psychology of another age, the attitudes, is INVALUABLE. These sculptures are eerie and undeniably lovely.

More RULES for writers! Y'all know how I love those. Still, analyses like these do yield some intriguing data. Such as: the average published author relies on about 1/4th as many exclamation points as the average amateur writer. (I am not published, but if I had ten exclamation points in both my novels combined, I'd be surprised.)

Ever since learning what vocal fry is, I have become fascinated by the science of speech. Here is a GREAT piece on hating women's voices:





"[By] propagating ideologically inspired amoral theories, business schools have actively freed their students from any sense of moral responsibility." Depressing, but certainly true. Take a look at Newsweek's in-depth piece about the ascendancy of the shareholder - a pretty good history of Wall Street and business education over the past generation.

Have you ever been to a marketplace where haggling is common? Many Americans have not, but I have smiling memories of "special for you!" pricing on a vacation or two. The Atlantic analyses some of the history - and the future - of the way we shop. Hmmmmm.

Collection

For my costume or textile loving readers, Luciakaku has a beautiful post about her collection of kimono - well worth a click if only for the luscious photos. The peacock one is my favorite! ("Of course," says everyone, with indulgent rolling of eyes.)

Believe me, they feel your indifference.

Food for a very great deal of thought here. In the past, I once said of a woman who married an unrepentant bastard that I knew (not an abuser - that I know of, but a greedy, narcissistic, cheating sociopath), "She signed up for it." This woman knew what he was, and she married the jerk. But this link ... Well. As my oldest friend and I used to say: "It is to sigh." It's never as easy as that. And it isn't as funny as this. So read this link, please read it - and take it to the final paragraph, which is incredibly important.

Have a while to get lost in a beautiful, detailed tree-style map of the history of world languages? Sure you do! So enjoy. It's gorgeous.

Fröhliche Geburtstag, Herr Professor Doktor Einstein

My grandfathers were not close by in my childhood. One died when I was seven, and the other became very ill for some years. So it was that I adopted Einstein as my granddaddy. He was always there; just above the couch. I'd lie on it, feet up along the backrest, my back twisted along the seat, looking up at him in our cool, shadowed family room.

Portrait of the Old Man by an Artist

 

The painting was done by a student of my father's. He was from Malaysia, and once went home to visit his family. When he came back to school, he brought gifts. I still have the shells he gave me, one thick with mother of pearl, pink-veined and shaped like a fan. The other is a delicate, spiny spiral.

We got close to a number of dad's students when we were kids. I remember some of them so vividly, though none of them have I seen for twenty-five years - and many far, far longer. We had wonderful picnics at our house, volleyball, and hot dogs on the brick grill dad built, too many sweets, and cases of soda from a specialty place called The Poppe Shoppe (I think it was spelled so).

The artist who painted the above piece was one of the early ones. I would have been three or four at his advent. Memory of him is hazy; and yet, I have always been grateful for his kindnesses. So distinct, they still mean something to a toddling moppet near half a century on. And his great talent. The portrait was painted in mere hours, part of an art class he took because he wanted to be well-rounded. It is glorious, and was the great gift my father left me when he died. We discussed it when he was ill; my brother would get the pocketwatch, I the portrait. Nothing - no *thing* - could have meant much more to me, from him. We all love the painting; my mom has wished from time to time that she could have it. But, though I try to be undemanding with her, this I will not give up. It is a very literal legacy.

Dad was a physicist, you see. Einstein was practically a fixture in our family culture, and literally part of the furnishings, in this painting. Dad's students were part of our lives well beyond their graduations; we followed careers, dad received beautiful invitations to important events for them; his university, his colleagues, his advisees and lab assistants were ingrained with us.

The painting is more than a sentimental present, it is the history of our nuclear foursome AND the history of our nuclear understanding in the scientific sense.

The painting is a bold thing, marvelous in its execution, beautiful to look at - formative not only of my philosophy, but very much of my aesthetic. I love its incredibly powerful reds, yellows, negative space. Its seventies mod-ness. Its connection, almost beyond dad, to the *influence* he had in this world, in this place we occupy even now without his presence.

The painting *is* his presence - and it is his absence. That is relativity for you.

A year or so back, I had a contractor out to the house, quoting me a job. As he stood in the front door saying goodbye when he'd inspected the pertinent area of the home, he stopped cold - transfixed. He fell in love with the Einstein portrait instantly, and we ended up talking a good while longer about it, about its presence. Closest I've come to falling in love since Mr. X. I still think about that (the guy didn't get the job in the end, possibly unfortunately).

The presence of the dead can be exquisitely random, and yet it can be predictable. I know every time I go to the dentist, I'll cry - not because I've been hurt, but because the guy I go to was one of my dad's advisees. And he always has memories - such respect, such almost AWE at my dad's intelligence. His goodness. My dad had an elegant expansiveness; he was more than a marvelous teacher, he was a teacher of marvels, and he cared immensely about the students.

I remember the year he went from being the kid on the physics faculty, to being the oldest. Just the right retirements, a couple new hires - boom, suddenly he was the old war horse. He wore it so well.

The thing about the painting. The thing about the student who painted it. The thing about the guy transfixed by the portrait. The thing about my dentist, and the very books I inherited and the dog he never knew and the dog now years-gone, whom dad did love though she was so hard on his lungs ... the thing about the flotsam and the furniture of my life ... is that dad is part of none of it now - not the way he was. But he is part of all of it - and always will be.

My dad is me. He is my brother. He is my mom. He is the reason, and the question, and the answer, and the causation. He is how I came to be. What I hope *to* be. He IS, even still, a good man.

He gave me Einstein. And so did that student.

And all three of them - though not alone, not by a long shot - taught me gratitude. All these things are me.

And old Albert ... he made a good substitute granddaddy, when I had none left to "give me a little bit of that applesauce" or to love, quietly, while grandma took care.

Happy 138th birthday, Herr Professor Dr. Einstein. And thank you for *our* little corner of relativity.



And how has it always escaped me ... that Einstein's birthday is Pi day?

My Letter to you, Damien Echols

It's hard for me to say for how many years I've followed the story of the West Memphis Three, but fifteen years may be about fair, for paying specific attention and actually seeking reading (and the documentaries) about the tragedy.

For those unfamiliar with the story, I won't link Wikipedia, only provide the simple story. The West Memphis Three were Jessie Misskelly, Damien Echols, and Jason Baldwin. In 1993, amid Satanist panic and public furor, these teenaged boys were convicted of the murder of three young boys in West Memphis Arkansas, in one of the more famous miscarriages of justice in the twentieth century. The details abound, so I will not recount them here, but it is a cruelly fascinating episode, and shameful beyond description.

The most famous, and oldest, of the convicted Three, is Damien Echols. He has become well known both for his past and also for his recovery (I will not use the term rehabilitation), but it is always his writing that clings to me when I look again toward this story. It feels cruel to call it a story, though. Perhaps I should say, look again toward these people.

I wish I had a handful of dust
--Damien Echols

One of the things that always strikes me in the heart about these kids - about this one - is that he reminds me indelibly of two of the three great loves of my life. His melancholy and his coloring are powerfully like Mr. X. And his expression of what a disadvantaged - what a battered - life is like echo sometimes in the communications with my first love, who reappeared almost a year ago, and who still breaks my heart at times (not in the way we once felt, of course).

And, seven years younger than I am, I know he's not a child, but his experience sparks in me something like a maternal outrage. The wish it had been possible to protect him. He was just a boy, barely older than the murder victims themselves really, and so the offense at his wrongful conviction and confinement - on death ROW, no less - is compounded by whatever vestige of protectiveness washing around in my guts.



Humanity is filled with so many who respond so much worse to wounds so much less - or illusory - his is an example of grace.

In recent months, face to face with another kind of grace, reading the link above today was inspirational. And, I will admit it, entertaining. In the sense that art entertains, that great writing does - even as it may elevate, or relieve, or release, or evaporate with no ghost but pleasure had - to understand the experience of solitary, of death row, of imprisonment is ... how to choose a word carefully here ... "stimulating" is accurate, but larded with inaccurate implications ... "educational" is right too, but almost so spare of deeper meaning as to fall short rather than overshoot ...

Enlightening. It lightens the soul to know another soul is not burdened by the worst we can do to one another - or has been set free. And it lightens the world to illuminate corners of it most of us will never see, G-d be praised for it.

Image: Wikipedia

His writing is extraordinary, evocative. The piece linked above reads like engrossing fiction; and the fact that it is not is an outrage. Something beyond poignant, something so much more important.

Certain shade of agony have their own beauty
--Damien Echols

Read his writing at the link. It is life itself.

Let There Be Magnificence

Necessary Art

It has become necessary for me, sometimes, to go visit Angie Brooksby-Arcangioli's paintings. Sometimes, I just need to sit and regard her light.

And then the day can move along.

Breathe. Smile. Peace.

Yes.