Forget-Me-Nots for the Dodo Bird


"The beauty and genius of a work of art may be reconceived, though its first material expression be destroyed; a vanished harmony may yet again inspire the composer; but when the last individual of a race of living beings breathes no more, another heaven and another earth must pass before such a one can be again."
                                                                        ~  William Beebe


(With thanks to Bob Bills for the quote above.)

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An Animated Animal Dream

    When a child, I had extremely vivid and usually rather frightening dreams. I suspect many of you have had likewise (and I would love to hear them). It seems to come with the creative realm, somehow. I wrote some of mine down; others have remained impressed upon me with no external help.
    The first two most striking dreams I recall came to me when I was very young indeed, I would guess four or five years old. 
    The  very first was quite charming: I dreamt that I was swallowed by an animated Dragon -- I mean a dragon drawn and painted like an early Disney film. It was an Asian looking Dragon. Inside the Dragon I found all sorts of other living animals, including an enormous rooster, all appearing as in an animated movie. Very colorful. We all wanted a way out of the Dragon’s belly, and at the end of the dream, I was inside the Dragon’s mouth, looking at the inside of its neatly drawn, tightly closed teeth, and wondering how we would escape.
    At that point, the great mouth opened, and I saw, behind and below the Dragon’s Disney fangs, my mother reaching up from the bed and holding the creature’s mouth open with one hand.  My mother and the bed were photographic, ‘real-life’ images, while the Dragon’s teeth were still drawn and painted, forming a frame around my ‘real’ mother. Really pretty wonderful. I’d like to have more dreams like that, but as far as can recollect, I never have.

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A Curious New Dream about an Old Dark Dream

    The second dream I remember from that earliest time was far darker; perhaps for all its simplicity it could be called nightmare. This one reappeared, within a new dream, a night ago.
    In the original vision, I was a child underground in a long, very long tunnel. It was of damp stone, ancient, low and rectangular, stretching away into darkness behind and before. There was no visible source of light; it was a blackness in which I could yet see.  Far, far ahead of me, and drawing steadily away, was a tall black figure, whom I knew to be my mother. She was remote, and vanishing, and did not know that I was there. 
    I do not now remember whether I stood and watched her dwindle, knowing there was no hope, or whether I moved forward. But soon I heard a slow and regular drip, drip.  I saw to my right and ahead a bucket by the wall of the tunnel. Above the bucket, hanging from a hook by its white, white hair, was a paper-white and severed head, dripping, drop by drop its wine red blood, the only color present in that black-gray realm. It was a solemn and strangely meditative head, oval, almost stylized, rather like the head of a Buddha. Detached, you might say, in more ways than one.
    Nonetheless it woke me.
    This has always been to me The Dream of the White Head. It was one of those which impress beyond the telling, by an atmosphere not conveyable. It has come back to mind, for obvious reasons, since my mother’s death last year.
    A night ago, I dreamt that someone showed me a drawing, in black ink. At first it made little sense. Turning the paper, I saw that it was of a tunnel. Looking longer, holding it up, it shifted in a vertiginous moment like an M. C. Escher image, gaining real, sinking perspective of a sudden, and I saw it resembled The Tunnel, where the White Head hangs. At once upon this thought I also perceived the Head, with its bucket, a tiny scribble in black, but most definitely there.
    Whereupon, I woke again.

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Charles Batte! A Guest Artist


'Mephisto," by Charles Batte, of ChasBatte Studio
Click on the image above to visit ChasBatteStudio.com
. Don't miss Charles' fabulous collection of Hallowe'en figures!

Friends, I've finally got an honored Guest Artist for my decrepit Guests & Links page. May I present the one and only Charles Batte: (a certain photograph should go here, but given its striking nature, permission must be obtained first...)
Now, having enjoyed that excellent program Inside the Actors Studio, and being particularly entertained by James Lipton's adaptation of Proust's Questionnaire, I've ventured to concoct my own version, Forest's Pseudo-Proustian Artist Questionnaire.  Charles has answered my queries with irresistible Batte charm and wit, not to mention patience. Excerpts below:

Forest:    What quality do you value most in your own art?
Charles Batte:  Insight, when and if it should come.

F:    What quality in a new artist’s work do you find most encouraging?
CB:  A willingness to explore new things rather than repeating the tried and true.

 F:    What alternative typographical symbols best express the foul word you use most during your artistic process?
CB:  My favorite foul word doesn't even require symbols:   PIFFLE!

F:    What piece of art are you most proud of?
CB:  The one I am going to do next.

F:    What is the most absurd object you’ve ever created?
CB:  Slipcovers for Apollo's feet.

F:    In Babette’s Feast by Isak Dinesen, Babette quotes Achille Papin: "Throughout the world sounds one long cry from the heart of the artist, 'Give me the chance to do my very best.' "
What is your cry? (It’s ok to steal Babette's, if she and Papin are right.)
CB:  I am afraid she is right. What else is there?

F:    If  you were about to be irrevocably changed into a mythological, fairy tale, or fictional critter or character, what/whom would you most want to be?
CB:  A phoenix.

And, what would you most likely be?  Really?
CB:  A house elf (Dobbie, and I would never get that darn sock)

F:    If  your visual art were transformed into literature, what genre, author or style would it be?
CB:  French Neo-Classic Tragedy, with 5 Acts in rhymed couplets.

 F:    If you feel misplaced in time, in what era would you feel most at home (setting aside dentistry, plagues, horrid social injustices, etc.)?
CB:  Eighteenth century Venice.

F:    What is the very first piece of art that moved you deeply? Can you explain why?
CB:  A portrait by Andrew Wyeth of an old African-American gentleman.

F:     Assuming you arrive at the Pearly Gates (and not elsewhere), what would you like to hear God say about your art?
CB:  Welcome. We have put you in the room next to Michaelangelo.

F:    And if it is the Devil:
CB:  Welcome. We have put you in the room next to Bosch.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
That last question was added by Charles himself, and what a fine one it is. It shall be known as the Charles Question. You can read the rest of our questions on the guests page, Unexpected Figures, or much better yet, go see Charles himself: ChasBatteStudio.com

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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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