Me and Baba Yaga

Birdie and I will probably spend our first night in 'our' house this evening. I suspect Baba Yaga dwells there too. It is a very small house -- you could almost call it a Hut if it were made more of sticks and bones and less of lumber and paint.  Most strikingly, it hides low amidst trees grown amok. Though it's right in town on a civilized little street, it does lie in the lap of the foothills, and my mother created not a yard but a miniature wildwood. The trees call over rooftops to their wild mountain cousins, and bears come looking for tidbits. There are mad-grown junipers whose cragged shaggy arms stretch for wee plump children passing on the sidewalk. These witch-trees were summoned some forty years ago by my Granny, herself a close associate of all famous folktale Crones. My mother and I together planted some now towering pines and well grown spruce, blue and dark. Tiny blue-purple wildflowers linger. Lichenous stones lure one to sit and wait in green shadow for...

Altogether, perhaps a better place to make magic than I had credited when last I lived here -- ghosts of dread and mundane things (like high school) obscured my vision.

We shall see.

    
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In the very midst...

...of the move from Rhode Island back to Colorado. Confusing, indeed.  I'm at a Kinko's computer at this moment, dwelling the mover's Twilight Zone, my own computer traveling over the midwest about now.

So,  more when I exist again!

Meantime, thank you for your patient visits, friends, and many thanks to the kind friends without whom all this would've sucked me and my bird into the vortex long ago!

My best, anon,
Forest and Birdie

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Tuesday, August 26, 2008 at 04:40 PM

Friends, Kind  and Patient:
I am  embroiled in the horrid process of moving... back from Rhode Island to Colorado, again. A strange year indeed, going on two strange years.  More when my brain does surface. I trust it will... it has gone into  hiding. Meantime, a thought from one of my favorite writers of strange stories:

"I care about the literary art, and I know exactly what the Ancients meant by 'the promptings of the Muse'. The stories which I consider to be my most successful came to me as if dictated...  The true ghost story is akin to poetry:  only in part is it a conscious construction, and when the Muse does not speak, you cannot write it."
                              ~  "An Essay" by Robert Aickman  1914 - 1981

To my mind, Robert Aickman was one of the very few writers to capture the genuine strangeness of dream;  insinuating, inevitable and obscure.

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The Odd things...

...that squeeze the heart:  I was sorting all manner of things today, and found a loose, bright orange 'post-it' note wandering the drifts of paper.  Upon it my departed mother had written, in capital letters:
GLOBULOUS GRAY BEING.

What the label was for, I know not. But that was the mark of my mother, and no mistake. We'll see if I come across the Being, as well.

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To do the deed at hand.

“To cast aside regret and fear. To do the deed at hand.”
                            ~ J. R. R. Tolkien, The Two Towers, Gandalf 

    Regret and fear: these two I have wrestled with throughout this last year. One’s world being shaken sufficiently, basilisks rise from the crevasse of memory to fix the mind in a glare of paralyzing hindsight. Up rear blunders of omission, blind unkindnesses, losses through ignorance. A terrible falling short. It is one’s own errors that are hardest to forgive, in the end, and hindsight produces the most weary breed of sorrow, surely.
    What then of doing the deed at hand? I think that therein lies one of the uses of humility, if I understand that virtue at all: to relinquish the desire, or the torment of the failed desire, to have done and been right, in the interest of doing right now and in future. Or as much ‘right’ as one is capable of perceiving. Releasing the tendrils of regret to follow, as best one may, the thread of fresh insight.

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Hell and High Water

    It is my observation that it is rarely Hell or High Water; these two have a penchant for arriving simultaneously. I say this fresh from an emergency root-canal. Now fitted out with a bottle of Vicodin & a massive jar of Ibuprofen, I return to a great and incredibly belated mailing of NIADA Souvenir dolls.       
    Musing on the dark yet somehow charming sense of the absurd frequently demonstrated by the Universe, I’m reminded of my languishing Memoirs. This magnificent opus consists largely of chapter headings at present. But oh, such fine ones:

FRUIT SCENTED SQUID: Who Can Resist Posterity?
NEVER HIRE A TIPSY SCAFFOLD BUILDER
GRANNY’S AX: Remember, You Need the Ice Pick
and the Hammer
HE HAD A DREAM: Full Basement, with Urinals
HOW MY PARROT SAVED MY HONOR
FIRST, AN OOGLY MASH: Meditations on the Creative Process

More anon, sweet Friends.

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Sculpture of Mother Pauline von Mallinckrodt


Friends, I'm posting this image (already in the "Liturgical Work" gallery at left) for a certain visitor this morning.  This sculpture -- about four feet tall and 300 pounds of plasticine -- was created while working with the Rohn liturgical arts company of Pittsburgh, more than twenty years ago. It represents the Blessed Mother Pauline.  She's standing with a blind child, one of those for whom this German nun was advocate and protector. I was fortunate not only to create this piece but to travel to Rome with some hundred and eighty Sisters for the beatification ceremonies. Truly a rare adventure; many a tale connected there, to be sure.

I must run about headless chicken-wise now, but I will share a rather charming coincidence later, perhaps this evening. 

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A Tale of Three Artists, told Mother's Day 2008

Long ago...

My mother, Lou Ponder Rogers, Artist, and me.

I will tell you a tale, the one that stands at my beginning.
     My mother was the only child of a woman called Granny. Granny had virtues, but like many witches in tales she was not easy to live with, and tended to eat people right up, if they let her. Especially little children, especially the only one who was hers.  Granny had perhaps already eaten her husband. No one is sure.
     So rather than be eaten up, my mother as a young girl took to dwelling in the wild wood within. She painted what she saw there:

     She had not the eyes for the world as most know it, and little understood what most learn early, and was wise in ways most never see. She thought she would dwell alone within forever. But then one day a bright thing happened. In a gallery of her paintings she saw someone looking who understood. He was a painter, he loved Van Gogh. Sometimes he painted portraits of himself:

     He was warm, and reached into her world, and held her heart in his hands. He asked her to come live with him in a house he had built in the woods by a river, and be his bride. And she did. It was a new thing, entirely.
     Yet there were things she did not know (as in every true tale).  She did not know that he was drawn down, sometimes, into sorrow. Down into the Underworld where no one could follow.


     But he did not stay long there, and it happened only once in a while, and no one told her anything about it. So she thought all was well, and that her life had blossomed, and that the story would stay the same story to the end. 
     She and he painted together, and did other things, and soon she was round and full and there were to be three of them. She did strange, small real things she had not anticipated, like cook and change diapers. She was not sure she was good at it, but she wanted it. One day in January, she and he went out and took pictures of themselves with their baby, handing the camera back and forth between them. 


     Happiness was present, in that moment, there.
     But, the dark below began to call him. Things began to crawl up. The things that beset painters, that whisper at three in the morning asking how you are going to live, with your new wife and your new baby, on paintings. Things also from darker places that we can but guess at.
     She found him crying.
     They had an old shotgun, though they never used it. Now she had to wrestle it away from him. She made him lie down to rest. She did not know what to do. She did her best. At last, he fell asleep.
     Because she needed to think, and because the forest was her own world, she went to walk there. When she came back, he was gone. Her baby lay in its crib, staring silent at the ceiling. No one knows what it was thinking. Or whether he whispered anything to his child before he went.
     She looked everywhere, and did not find him. Everyone looked everywhere. At last the police were called. They came with bloodhounds. The bloodhounds led down to the edge of the river.
     For two weeks she searched in the woods where he had painted. She hoped  and thought what she might do to make things well, and how she had failed, how she might understand him better, how she should not have gone for that walk that night, how if there were yet time she could fix it. She could not throw away the clippings of his hair, swept up. At the end of two weeks, a fisherman found his body on the water. It was a day in May. 
     So we were set on a rough sea in a lifeboat two alone, she and I. Through all the years of my life she was there, unfailing, though often the stars were covered over, and there was little to steer by. 
     She found a safe and wild harbor a year ago in June, when I closed her eyes with my hand.

     Amidst the broken edges of the world that slice the heart, may we find solace, dear friends. Our work is love.


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