Wednesday, February 29, 2012

Poetry: Rita Dove's "I have been a stranger in a strange land"


Rita Dove writes with lyricism and beauty. Her subjects range and are not easily typified. Not only did she win the Pulitzer Prize for Poetry for her collection titled Thomas and Beulah, Dove was named US Poet Laureate in 1993. At the time of her appointment, she was only 40 years old and was the youngest poet ever elected to the position. She was also the first African American to hold the title. Gwendolyn Brooks had been named Consultant in Poetry to the Library of Congress in 1985. Currently, she is a Commonwealth Professor of English at the University of Virginia in Charlottesville. Please savor "I have been a stranger in a strange land."

“I have been a stranger in a strange land”
BY RITA DOVE

Life's spell is so exquisite, everything conspires to break it.
Emily Dickinson

It wasn't bliss. What was bliss
but the ordinary life? She'd spend hours
in patter, moving through whole days
touching, sniffing, tasting . . . exquisite
housekeeping in a charmed world.
And yet there was always

more of the same, all that happiness,
the aimless Being There.
So she wandered for a while, bush to arbor,
lingered to look through a pond's restive mirror.
He was off cataloging the universe, probably,
pretending he could organize
what was clearly someone else's chaos.

That's when she found the tree,
the dark, crabbed branches
bearing up such speechless bounty,
she knew without being told
this was forbidden. It wasn't
a question of ownership—
who could lay claim to
such maddening perfection?

And there was no voice in her head,
no whispered intelligence lurking
in the leaves—just an ache that grew
until she knew she'd already lost everything
except desire, the red heft of it
warming her outstretched palm.

Tuesday, February 28, 2012

Artist: Auguste Rodin



Auguste Rodin envisioned "The Gates of Hell" as the portal to a museum that was never built. His inspiration was Dante's great work, The Inferno. Rodin's sculpture was criticized during his lifetime because his work was not decorative, symbolic, and formulaic. He never intended to openly rebel against the predominant thinking of his era, his aesthetic was just more of a natural style. While the sculpture of his time period drew heavily from sculpture of the Middle Ages through the Renaissance, the sculpture of the time had become derivative. Rodin looked to such sculptors as Michangelo. He once traveled to Italy and studied the works of Michelangelo. It was a revelation.



Rodin's sculptures "The Kiss" and "The Thinker" are amongst the most famous sculptures in the world. Strength and fluidity flow in the bronze. One can feel the passion of the kiss and the concentration of the man sitting and contemplating great thoughts.



Rodin's work reinvigorated sculpture and his style set the tone for modern sculpture. Amongst Rodin's works he sculpted an elderly man from his neighborhood. Rather than striving for an exact representation of the gentleman, he captured the personality of his subject. The work was criticized for being only a partial sculpture of the man's whole head-- he didn't sculpt the back half of the skull. Another sculpture was of a spear bearer, "The Age of Bronze," he removed the spear and made the sculpture infinitely more ambiguous and meaningful to a country that had experienced the Franco-Prussian War. When I see Rodin's work, the energy of the subjects, the power of living flesh, and the embodiment of thought and emotion are displayed before me. His work stills me.

Monday, February 27, 2012

Music: Walk Off the Earth


Normally this would be a six sentence story Monday. Tonight I am not feeling well and cannot put six coherent sentences together. So in lieu of a six sentence story, I would like to pass on the YouTube videos for a band that was recommended to me a couple weeks ago. Please give a listen to Walk Off the Earth.

This first link is for the Gotye song "Somebody That I Used to Know." All the members of the band play one guitar!

http://www.youtube.com/watch?v=d9NF2edxy-M

This second link is for the Adele song "Someone Like You." Watch for the ukele catches!

http://www.youtube.com/watch?v=2U0NFgoNI7s

This third link is for a cover of Radiohead's "Karma Police" that is sung by Gianni and Sarah.

http://www.youtube.com/watch?v=yE2kANx8WdA&feature=relmfu

This last link is for an original song by Walk Off the Earth titled "Corner of Queen."

http://www.youtube.com/watch?v=IWl-qpjBcho&feature=relmfu

Sunday, February 26, 2012

Sunday Writing Discussion #9: What's Entertainment?

Over the last several years, I have had many discussions with many other writers about fiction. Some writers will say that they are writing to entertain. When I hear this, this always makes me nervous because what usually follows is the author defending their work by saying that they are writing what they would like to read. Often at this juncture they also really do not want to examine their own writing for its merits and what might need to be worked on more. While I applaud their conviction and belief in their work, many times this conversation comes up in the context of them talking about trying and failing at getting published.

In my opinion it is a foregone conclusion that we as writers are writing to entertain. It needs to be kept central to what we are doing as authors, but it doesn't need to be stated. While I don't think we should slavishly follow trends and try to write with these trends in mind, I do believe that it is important to remember that we are writing for an audience. Further, I am an optimist deep in my soul. I believe that people are intelligent and feeling, want to be challenged, and desire to have their hearts touched. I think to entertain means to keep challenging the reader.

When a person is learning a new skill, there needs to be the right blend of familiar and predictable and risk. Books that are memorable and great books follow this in some ways. There are characters whose lives and reactions to events the reader can relate to, but there is enough courage in the portrayal, logical and surprising events, humor, or whatever that the reader wants to keep turning pages. There is the blend of familiar and unknown.

I was speaking with a fellow writer earlier today and I was exploring some of the ideas of what could be classified as "entertaining" fiction. By this, books that really are a good, light read. Something that one takes on an airplane or to the beach. I began thinking about novels that I think were written solely for entertainment. As I began to analyze them, it occurred to me that they weren't merely pieces of shallow entertainment. At least the memorable ones that I liked enough that they stood out in my memory. It wasn't so simple. They were not that flat. For example in Kim Harrison's Hollows books, genetically modified tomatoes brought about a plague that killed swathes of humans. This dying off of a portion of humanity not only caused all the pizza parlors to be owned by vampires, but it also meant that witches, fairies, and other beings could come out of hiding. Harrison did not employ just goofy writing to convey her fantasy world, she riffed on our reality, took the fear of genetically modified vegetables to a state of hyperbole, and ran with it. This adds dimension to what I consider a popcorn read. Jim Butcher in his Dresden Files books portrays a wizard turned detective who is decidedly both powerful and uncomfortable with his place amongst humans and other wizards. Dresden is a very human character that the reader can relate to despite being a wizard. To add to this, Butcher pulls from pop culture to enhance his novels and make them comedic. So when the purple demonic monkeys are chasing Dresden, throwing flaming poo at him, and suddenly come together to form a giant demonic, purple, monkeytron every reader who ever raced home to watch Voltron after school blinks and busts out laughing. It is this brilliant combination of the expected and the unexpected that makes the books rich and entertaining.

The ability to create fiction and tell a story is a very powerful thing. Fiction must first and foremost be entertaining, but this is not so simple in and of itself. Further, fiction can evoke a sense of pathos for the characters of a story and cause the reader to contemplate their own situation in light of the ideas and themes raised in the fiction. Because fiction touches the hearts of readers, it has a unique ability to influence their minds and thoughts.

If one wants to put forth an idea, the most straight forward way to do this is in non-fiction form. A persuasive, argumentative essay can be written with passion and conviction to influence people and politics. Most journalistic articles begin with a human example that sets the stage for what the writer wants to present. Non-fiction can be written with humor and feeling. All this being said, there are historical examples of fiction that caused social change and altered history. One example would be Harriet Beecher Stowe's Uncle Tom's Cabin. Uncle Tom's Cabin was influential in spreading the Abolitionist movement. While Charles Dickens wrote as a journalist, his novels such as Oliver Twist were influential in bringing about child labor laws that restricted children under the age of 12 from going into the coal mines and from working sun up to sun down in work houses. Fiction can influence thought as readily as non-fiction and perhaps has more power to do so because the things that people connect with with their heart hold more meaning.

Does writing fiction that holds a powerful message mean that it is not entertaining? I believe fiction that has deep meaning to it can be expansive, gripping, and entertaining. J.D. Salinger's The Catcher in the Rye is a book frequently listed as one of the books that is considered a favorite by people. It is not a light read and Holden Caufield's journey speaks to young adults coming of age. Harper Lee's To Kill A Mockingbird talks about rape, racial prejudice, and the loss of innocence. It often has a profound effect on readers. These books are entertaining and meaningful because they challenge people's beliefs and preconceptions.

I am still working out my thinking about all of this and what I write tonight might be amended in a few years time. In my opinion, in writing stories and novels that are entertaining, challenging, and meaningful, I think the writer has to follow a few guidelines.

1. They must on some level write what they know. This doesn't mean that writers are limited to writing only what they know, but on an emotional level they need to be able to slip into the skins of their characters. The author needs to very authetically and fearlessly write from a place that is emotionally close to what their character might experience. This is necessary because if a writer is going to challenge a reader's ideas, they must give the reader a place of universal emotional familiarity to reach out from.

2. No soap boxes. Soap boxes are offensive. If a writer wants to convey their ideas in such a straight forward way, they should write a non-fiction essay. To imbue fiction with powerful meaning, the ambiguities must be explored. The characters via the action of the story should show the different sides of issues and whatever idea is being presented or explored. One fellow writer that I know suggests that if an author wants to write issues driven fiction, their point of view character should have views or do actions that are opposite to the stance of the writer to resist making the story a soap box.

3. Keep in mind that people will come away from a piece of fiction with their own meaning. If the author has done what he or she intended and raised a particular issue to explore, they have done what they set out to do. People are wonderful and unique individuals and they create their own meaning. Hopefully the meaning that the writer intended is what the reader comes away with, but often it is good enough that the author stirred thoughts and challenged the reader. Because the author wrote about and raised whatever theme, issue, or idea that was raised, it tickled the readers' consciousnesses and made them aware to think about these themes, issues, and ideas. This is a huge accomplishment.

Entertainment is not just escapist and flat, a written work really has to capture the reader's attention, heart and imagination.

A Writer Has to Eat: Carrot-Fennel-Leek Soup

This soup is wonderfully easy to make and very tasty. It requires little seasoning because the vegetables and their full flavors carry the soup.

Carrot-Fennel-Leek Soup

Ingredients



4 tablespoons olive oil
2 pounds of carrots, washed, peeled, and diced
1 medium fennel bulb, washed and diced (use the whole bulb- base to fringe!)
3 leeks, washed, cut, and separated into 1/8 inch rings
6 stalks of celery, washed and diced
1 tablespoon garlic
2 32 ounce cartons of vegetable broth
2 15 ounce cans of white kidney beans/cannelini beans or 3 cups prepared dried white beans
salt and pepper to taste

1. Pour the vegetable broth into a deep pot. Add the beans and begin to simmer over gentle heat to warm.

2. Pour the olive oil into a large deep frying pan or dutch oven. Add the carrots, fennel bulb, leeks, and celery. Saute until the carrots begin to soften. Add the garlic, salt, and pepper and saute for 2 minutes more.



3. Add the vegetables into the large stew pot. Allow the soup to simmer, stirring occasionally for about 30 minutes for flavors to blend.

4. Enjoy with bread and cheese for a delicious meal or allow this soup to be the introduction to a superb multi-course meal.

A Writer Has to Eat: High Altitude Gluten Free Ginger Cookies

If you love to bake and love a challenge, move to the mountains. Living at high altitude makes you reassess all of your assumptions about the various ingredients that go into any baked good. You have to relearn what feels like the correct amounts and be willing to experiment. For instance often leavening agents will make a baked rise fast and fall and so you have to have extra flour, but on the other hand the air is drier at high altitude and you have to consider how much liquid goes into your recipe. It can all be a bit tricky and take time to sort out.

And then if you want a real challenge, try gluten free baking. Gluten holds baked goods together. It takes a very experiments to figure out how much guar gum is necessary to make the baked good anything other than a gooey mess on the pan.


So with all of that stated up front, I present...

High Altitude Gluten Free Ginger Cookies



Ingredients
1 1/2 cups rice flour
3/4 cup tapioca flour
3/4 cup corn starch
1/4 teaspoon salt
2 teaspoons baking soda
1/2 teaspoon guar gum
2 teaspoons ground ginger powder
1 teaspoon ground cinnamon
1/2 teaspoon ground cloves
1 cup sugar
3/4 cup vegetable shortening
1/2 cup dark molasses
1 egg

1. Preheat the oven to 350 degrees Fahrenheit. Place baking parchment on the cookie sheets.

2. In a bowl mix with a whisk the rice flour, tapioca flour, corn starch, salt, baking soda, guar gum, ginger, cinnamon, and cloves. Set the bowl aside.

3. In a separate bowl, mix the sugar and vegetable shortening together until thoroughly mixed. Beat the egg and add it to the vegetable shortening/sugar mix and cream thoroughly. Add the molasses and mix until smooth.

4. Add 1 cup of the flour mixture to the sugar/vegetable shortening mixture and combine. Keep adding and mixing the flour mixture into sugar/vegetable mixture until it is all mixed in.

5. Drop the dough by spoonfuls onto the cookie sheet parchment. Typically only 12 cookies will fit on a cookie sheet. The dough will spread out and these cookies come out thin and crispy.

6. Bake the cookies for 10 to 12 minutes until done.

7. Remove the cookie sheets from the oven, take the entire parchment paper with the cookies on it off of the cookie sheet, place the sheet with the cookies on it on the kitchen counter, and allow the cookies to cool.

This recipe makes about 3 dozen cookies.

Dangerous Women: Artemisia Gentileschi


Judith Slaying Holofernes

Artemisia Gentileschi once vowed, "As long as I live, I will have control over my being." This was a bold statement for a woman who was born in Rome in 1593. She was the eldest daughter of Orazio Gentileshi. Orazio was a painter who followed in the Baroque style of Caravaggio. He tried to teach painting to his sons, but it was his daughter who had a genius for drawing, mixing colors, and painting. Artemisia surpassed her father's abilities. Because she was a woman, she could not study in any of the art academies. Orazio hired Agostino Tassi who he was working on a commission with to give his daughter private lessons. Tassi was not a virtuous man. Unbeknownst to Orazio he had been convicted of trying to murder his wife. Tassi attempted to seduce Artemisia and when that was unsuccessful he raped her. Because Artemisia thought that he would marry her she carried on as his sexual partner for several months. It soon came out that he had tried to commit violence on his wife and he attempted to steal a painting from the Gentileschi household. Orazio sought justice. Agostino Tassi was charged with raping Artemisia even though they had a months long affair because he had deflowered her. Justice in the 17th century involved torture techniques from centuries previous. Artemisia was subjected to thumbscrews, a gynecological exam, and lacing of her fingers. Under torture she maintained her story that Tassi had initiated their affair by raping her. Agostino Tassi was sentenced to one year in jail which he never served. Artemisia was married to Pierantonio Stiattesi who was an artist and minor nobleman from Florence. The marriage was a match to bring respectability to Artemisia. The couple moved to Florence where Artemisia bore five children-- a daughter and four sons. Her daughter was the only child to survive to adulthood.


Susanna and the Elders

Because of the rape and trial Artemisia's amazing talent was secondary to her story for a very long time, but her ability to portray her subjects in a naturalistic fashion makes her one of the most important artists of the generation after Caravaggio. In a time period when women were considered to have insufficient intelligence to work and contribute anything of significance to society, Artemisia Gentileschi brought thought and passion to her works. When she was only 17 years old she depicted the sexual assault of Susanna by the Elders as a traumatic event. Much of her work shows violence and stirs with tension. Her painting, Judith Slaying Holofernes, is memorable for violence that it portrays.


Judith and Her Maidservant

Artemisia Gentileschi was recognized within her own time period for her talent. The Medicis, Charles I, and Michelangelo Buonarroti the younger (the nephew of the Michelangelo) all commissioned work from her. She was the first female painter to become a member of the Accademia di Arte del Disegno in Florence. The tone in her paintings of strength and defiance lessened and became more feminine over the years, but she was always a strong women who was freed from the constraints on women of her time period. Roughly 57 of her paintings are known about and of those approximately 94% feature women as protagonists or equal to men. Her paintings depict courageous, powerful women. Artemisia herself was a courageous and powerful woman. She left her husband over money and went back to Rome on her own to set up her studio. In addition to her daughter from her marriage, she had another natural daughter that little is known about. She was friends with scholars and humanists such as Cassiano dal Pozzo and Galileo Galilei. Artemisia Gentileschi was a dangerous woman who expanded the possibilities for women.

Thursday, February 23, 2012

Writing Prompts: Reveal the Naked Truth


There is truth in the naked form because nothing is hidden. All of these prompts have to do with nakedness and revelation.

1. Your point of view character is having sex and at the point of climax is suddenly transferred into the other person's body. What happens? How do they feel? How did this transformation occur? What does the transformation do to their psyche? Do they return to their own body?

2. Your point of view character goes skinny dipping with another person who they notice has a tattoo. While they are having fun in the water your point of view character notices that the tattoo seems to move. What happens next?

3. Your point of view character comes back from an exotic vacation with a mysterious illness. Doctor after doctor cannot cure the point of view character. They notice that laying naked in the sun seems to make them feel better. Why? What condition do they have?

4. Your point of view character is taking a bath, but this bath has significance. Somehow this bath is a ritual and they are washing away something. There is power and magic. Who else might be present? What is being washed away?

5. A telepath realizes that an ancient naked statue in a museum has consciousness. Everyday when people view the statue, it feels things and thinks. The telepath sits and pretends to sketch to hear the statue's thoughts. What is the statue thinking and feeling? What is the story behind the statue? What happens?

Wednesday, February 22, 2012

Poetry: Pablo Neruda's "If You Forget Me"

I have posted poetry by Pablo Neruda in the past. He was a Chilean poet who won the Nobel Prize in literature in 1971. Novelist Gabriel Garcia Marquez once called him "the greatest poet of the 20th century in any language." Neruda wrote many types of poetry-- surrealist, epic, political, and love poems. "If You Forget Me" has been a favorite of mine for a long time. This evening lines from this wonderful poem kept coming unbidden to my mind.

If You Forget Me
by Pablo Neruda

I want you to know
one thing.

You know how this is:
if I look
at the crystal moon, at the red branch
of the slow autumn at my window,
if I touch
near the fire
the impalpable ash
or the wrinkled body of the log,
everything carries me to you,
as if everything that exists,
aromas, light, metals,
were little boats
that sail
toward those isles of yours that wait for me.

Well, now,
if little by little you stop loving me
I shall stop loving you little by little.

If suddenly
you forget me
do not look for me,
for I shall already have forgotten you.

If you think it long and mad,
the wind of banners
that passes through my life,
and you decide
to leave me at the shore
of the heart where I have roots,
remember
that on that day,
at that hour,
I shall lift my arms
and my roots will set off
to seek another land.

But
if each day,
each hour,
you feel that you are destined for me
with implacable sweetness,
if each day a flower
climbs up to your lips to seek me,
ah my love, ah my own,
in me all that fire is repeated,
in me nothing is extinguished or forgotten,
my love feeds on your love, beloved,
and as long as you live it will be in your arms
without leaving mine.

Tuesday, February 21, 2012

Artist: Vasily Kandinsky



Vasily Kandinsky wrote in his book titled Concerning the Spiritual in Art the following: "The harmony of color and form must be based solely upon the principle of the proper contact with the human soul." Kandinsky was an artist who combined intellect, passion, mysticism, and scientific thought to revolutionize art. He was one of the first, if not the very first, artist to break through the representational barrier and move painting into the abstract.

Kandinsky was born in Moscow and studied law and economics at the University of Moscow. After several visits to Paris and seeing an exhibition of French painting in Moscow, Kandinsky turned down a professorship of law and began to pursue the study of art. He moved to Munich which in the 1890's had begun to be one of the most experimental art centers in the world. A brilliant man, he rose to be influential in the city's art community. In 1901 he started the art association Phalanx and opened his own art school. By 1904 he was showing his work in the Paris Salon which was the most influential place that an artist's work could be exhibited. In 1909 Kandinsky rebelled against the established art movements in Munich and formed the Neue Kunstler Vereinigung which also included Franz Marc. In the NKV's second exhibition it had enough weight that it showed the works of such artistic luminaries as Braque, Roualt, Derain, and Picasso.



Kandinsky's moment of inspiration that began his exploration of nonobjective or abstract art that does not take its form from the observed world came when he walked into his studio one day and could not make out any of the subjects in one of his paintings. He then realized that the painting was on its side. Kandinsky left NKV and Franz Marc accompanied him to start Der Blaue Reiter. Der Blaue Reiter was even more influential that NKV and had exhibitions that included not only Kandinsky and Marc, but also August Macke, Munter, Rousseau, Delauney, and Paul Klee.



The work of Kandinsky has influenced many subsequent artists such as Joan Miro and Jackson Pollack. He explored connections between art and music. Because of his desire to disassociate his work from the observed world and to connect the images to the senses, Kandinsky named his paintings names that were derived from music such as "Composition," "Improvisation," and "Impression." He did whole series of painting that were titled with these titles and numbered. Kandinsky's artistic compositions often revolved around conflict and renewal. Conflict and renewal were also expressed in his constant exploration of artistic ideals, formation of new movements, and pushing art forward into a modern era that he was one of the architects of. Kandinsky was a revolutionary artist who made people think beyond the ordinary into the extraordinary.

Monday, February 20, 2012

Reaching One's Personal Best is Rarely an Individual Effort

Recently I had the good fortune to participate in a think tank about coaching, in particular about coaching teachers. We were asked to read an essay by Atul Gawande titled "Personal Best" that had appeared in The New Yorker. Dr. Gawande who is a very talented surgeon came to the conclusion that he wanted to improve his surgical skills. He had the opportunity to hire a tennis professional and in the short lesson with the tennis pro improved his serve and his game. This inspired him to ask a former medical professor to observe him during his surgeries and give him feedback. Dr. Gawande talks in the essay about how his former professor was able to watch him and take notes. The professor made suggestions about small things that could improve the surgeries and Dr. Gawande saw his complication rates edge downwards. He also talked about how by opening up to this type of coaching he made himself vulnerable and how people questioned his competence if he was bringing in a coach.

I have been an artist and a writer for over 25 years. A great deal of learning how to do visual arts or writing simply comes with actually doing the work. Over time one learns how small amounts of bright primary colors can lead the eye across a painting, how to create surface movement with line and contrast, how to create subtext with the minimalist amount of specific details, how to use one character as a foil for another and highlight themes and conflict, or any of the other hundred elements that can make or break a piece. All of this is not enough. No one can look at their own work entirely objectively. It takes time for an artist or a writer's inner critic to develop and out of necessity the process must include other people.

When a writer or artist first begins to pursue their craft, words and images come quickly and easily. It is all a great deal of fun, but those first critiques of one's work can feel brutal. While critiques should not be personal and should be about the work, sometimes at first they do feel personal. One's baby and talent are being scrutinized at the same time. It can be hard to take and an artist or writer needs to find a teacher, class, or critique group that they feel comfortable in and trust. Creating art or writing is a risk taking endeavor and trust is essential. Trust has to be built up first in what the teacher or critique group says so that it can be used to learn and guide the production of new and better pieces. With this feedback from other people, eventually over time one's own internal critic learns criteria to be able judge the work and the artist or writer learns to trust their inner voice. The inner critic must be trained to do this and other people are needed to make this happen.

Even after an artist or a writer has been creating their work for awhile, there is always room for improvement. Humbling oneself, making oneself vulnerable, and asking for feedback is a way to push one's work farther and make it better. Artists and writers mainly do their work in isolation but they need community if their work is to become their personal best. This does not make them entirely subject to the opinions of those that are giving them feedback, it gives the artist or writer information to think about and to base decisions on. Writing and the creation of art are thoughtful acts and the decisions to be made about where to take a piece are those of the creator. Just because a teacher or a critique group says that something should be done a particular way does not mean that it must be done that way. It is information to be analyzed and the decision is the writer or artist's to make. Critiquing can be a dialogue meant to spur thought and discussion. The community of artists that were known as the Impressionists would not have created the movement that they did if they had not had all of the members contributing their individual thoughts and commentary on one another's work, general philosophy, and techniques.

Whether a person does art, writes, races bicycles, teaches small children, etc. all of us need other people to reach our personal, individual best.

Sunday, February 19, 2012

A Writer Has to Eat: Red Curry Coconut Milk Soup

I love the variations that can all fall into the category of "curry." In Thailand families have traditional curry recipes for the various types of curry. These recipes are often closely guarded secrets. I have been experimenting with concocting my own red curry paste. I like very flavorful food, but I typically go easy on the spiciness. This soup is made with one of my red curry paste incarnations.

Red Curry Coconut Milk Soup



Ingredients

4-6 tablespoons vegetable oil
1/4 teaspoon cayenne pepper
4 teaspoons paprika
1 teaspoon cumin
1 teaspoon lemon grass paste or 3 stalks finely chopped lemon grass
1 1/2 teaspoon minced ginger or ginger paste
1 tablespoon garlic
1 medium onion, minced
1 large sweet potato, peeled and diced
1 small eggplant, peeled and cubed
1 sweet pepper, diced
8 ounces shiitake mushrooms
1 pound green beans, stemmed and cut into 1 inch pieces
8 ounces baked tofu, cut into cubes
3 13.5 ounce cans lite coconut milk
salt to taste

1. Heat the oil in the bottom of a deep, large frying pan or dutch oven. Add the cayenne pepper, paprika, cumin, lemon grass, ginger, and garlic. Stir to a paste and heat for a few minutes.



2. Add the minced onion, diced sweet potato, and cubed eggplant to the pan. Cook for 5-7 minutes, stirring constantly.



3. Add the diced sweet pepper, shiitake mushrooms, green beans, and baked tofu cubes. Cook 5 minutes, stirring constantly.

4. Add the coconut milk, stir, and simmer. Salt to taste.



5. Enjoy! Yum!

Saturday, February 18, 2012

Dangerous Women: Rosie the Riveter



Rosie the Riveter has been a symbol of women's rights for decades. She first appeared in a popular song that was released in 1942. Sung by numerous artists, including Kay Kyser the Ol' Professor of Swing and his big band, it became a national hit. The lyrics described a woman working in a factory to do her patriotic part during World War II.

"All the day long,
Whether rain or shine
She’s part of the assembly line.
She’s making history,
Working for victory
Rosie the Riveter"

During World War II the American government campaigned to get women to work in the defense and munitions factories with the expectation that once the men came back from the war, the women would leave the factory jobs. One government advertisement said "Can you use an electric mixer? If so, you can learn to operate a drill." Between 1940 and 1944 the number of working women increased from 12 million to 20 million. Although Rosie the Riveter immortalized the riveters, welders, and factory workers, the working women in reality filled jobs in every sector of the economy. Women taking these positions and doing them well proved that women could do the same jobs as men. Black women took many of these jobs and whites and blacks worked side by side during the war effort. This great equalizing moment in the history of the American workforce set the groundwork for not only the modern feminist movement but contributed to the Civil Rights Movement. The Civil Rights organizers could point to the war effort-- how people worked together in the factories to defeat the Nazis and the Nazi ideal of white supremacy.

Work in the factories was not easy. Conditions were harsh, the shifts were long, and the women did not get paid the same amount as men who worked with them. The average woman made about $31.50 per week while the average male wartime factory worker made $54.65 per week. The "We Can Do It!" posters that are typically associated with Rosie the Riveter were originally created to boost morale in the Westinghouse plants in the Midwest. The posters only appeared during World War II for a few weeks and then they disappeared. During that time, the poster was not seen as the image of Rosie. The artwork was rediscovered during the 1980's and then associated with Rosie the Riveter and the feminist movement. The original Rosie the Riveter that inspired the song was Rosalind P. Walter who worked the night shift building the F4U Corsair fighter. Rosie the Riveter later became most closely associated with Rose Will Monroe who was a riveter at the Willow Run Aircraft Factory in Ypsilanti, Michigan. She worked building B-29 and B-24 bombers when the song was extremely popular. Because she so closely resembled the character of the song, she was asked to appear in posters and films to promote women to join the war effort.

While the number of women working in the American workforce did not return to the World War II levels until the 1970's, Rosie the Riveter changed the perception of what was possible. A woman could do a man's job. A woman could wield a rivet gun, operate a turret lathe, or weld with a welding torch. People of all colors could work side by side and were capable of doing the same work. Rosie the Riveter was a woman who changed the world.

Thursday, February 16, 2012

Writing Prompts: Moon as Muse


"The moon is a different thing to each of us." Frank Borman, Apollo VIII Astronaut

The moon has been a source of inspiration for millennia. All of this writing prompts are in honor of the moon.

1. Write a story that incorporates not the dangers of the full moon, but rather of the new moon when the sky is void of the moon's light. The dark moon was associated with nefarious acts by the Canaanites and Babylonians. What darkness could walk the earth when the moon's light was not there to touch it?

2. I am not certain what mythology the idea comes from but I remember reading the idea that the crescent moon was a boat that ferried the souls of the dead to their afterlife. How could this be used in a story?

3. The West African Niger believe that the Great Moon Mother sends the Moon Bird to earth to deliver babies. What if in modern times the descent of the Moon Bird to deliver a baby was witnessed by a group of people? What would this portent? What would happen?

4. What if in a chunk of lunar ice the remains of some form of life were found? What would this mean?

5. Write a story where two characters interact while drinking coco-cola, eating moon pies, and watching meteor showers under the light of the moon. What is the relationship between the characters? What does the moon mean to them?

6. A farmer wants to harvest the biggest pumpkin possible. He plants his seeds by the light of the full moon and feeds the vines sweet milk and honey. By this magic what happens?

7. In the far future the moon becomes a space station where spaceships dock to shuttle goods to earth. What would the station look like? What would it be like to be on the moon as a regular person working on such a cargo ship?

8. The moon is associated with intuition. What if during the full moon the point of view character discovers he/she can read thoughts?

What does the moon mean to you? What do you see bathing in moonbeams and dancing in its aura?

Wednesday, February 15, 2012

Poetry: Christina Rossetti's "Who Has Seen the Wind?," "An Apple Gathering," and "The Goblin Market"



Christina Rosetti is one of the fabulous Victorian poets. Her poetry is full of spiritual considerations and intense emotion. Her long narrative poem "The Goblin Market" is considered to be one of the earliest clearly fantastical pieces in the modern sense. It was published in 1862 and written in 1858 at the time George MacDonald published his fantasy novels, The Princess and the Goblin and Phantastes. "The Goblin Market" concerns two sisters who live alone, Laura and Lizzie. Everyday they fetch water from a stream, Laura is seduced into buying some of the goblin men's fruits and begins to waste away after a frenzy of indulgence. Lizzie goes to buy the fruit to save her sister and is pummeled with the fruit by the goblin men who realize she wants to buy the fruit with money. The poem is full of sexual allusion and has been analyzed as a piece of proto-feminist literature. Rossetti originally told her publisher it had adult themes and was not intended for children. Later the poem was stated as being for children. The illustration at the top of this post was one that Rossetti's brother, Dante Gabriel Rossetti, created for the poem.

"The Goblin Market" is a very long narrative poem. I have included it here because I think everyone who is interested in poetry should read it. It is a tour de force. Also please enjoy 2 of Rossetti's shorter poems, "Who Has Seen the Wind?" and "An Apple Gathering."

Who Has Seen the Wind?
by Christina Rossetti

Who has seen the wind?
Neither I nor you.
But when the leaves hang trembling,
The wind is passing through.
Who has seen the wind?
Neither you nor I.
But when the trees bow down their heads,
The wind is passing by.

An Apple Gathering
by Christina Rossetti

I plucked pink blossoms from mine apple-tree
And wore them all that evening in my hair:
Then in due season when I went to see
I found no apples there.

With dangling basket all along the grass
As I had come I went the selfsame track:
My neighbours mocked me while they saw me pass
So empty-handed back.

Lilian and Lilias smiled in trudging by,
Their heaped-up basket teased me like a jeer;
Sweet-voiced they sang beneath the sunset sky,
Their mother's home was near.

Plump Gertrude passed me with her basket full,
A stronger hand than hers helped it along;
A voice talked with her through the shadows cool
More sweet to me than song.

Ah Willie, Willie, was my love less worth
Than apples with their green leaves piled above?
I counted rosiest apples on the earth
Of far less worth than love.

So once it was with me you stooped to talk
Laughing and listening in this very lane:
To think that by this way we used to walk
We shall not walk again!

I let me neighbours pass me, ones and twos
And groups; the latest said the night grew chill,
And hastened: but I loitered, while the dews
Fell fast I loitered still.

The Goblin Market
by Christina Rossetti


Morning and evening
Maids heard the goblins cry:
"Come buy our orchard fruits,
Come buy, come buy:
Apples and quinces,
Lemons and oranges,
Plump unpecked cherries-
Melons and raspberries,
Bloom-down-cheeked peaches,
Swart-headed mulberries,
Wild free-born cranberries,
Crab-apples, dewberries,
Pine-apples, blackberries,
Apricots, strawberries--
All ripe together
In summer weather--
Morns that pass by,
Fair eves that fly;
Come buy, come buy;
Our grapes fresh from the vine,
Pomegranates full and fine,
Dates and sharp bullaces,
Rare pears and greengages,
Damsons and bilberries,
Taste them and try:
Currants and gooseberries,
Bright-fire-like barberries,
Figs to fill your mouth,
Citrons from the South,
Sweet to tongue and sound to eye,
Come buy, come buy."
Evening by evening
Among the brookside rushes,
Laura bowed her head to hear,
Lizzie veiled her blushes:
Crouching close together
In the cooling weather,
With clasping arms and cautioning lips,
With tingling cheeks and finger-tips.
"Lie close," Laura said,
Pricking up her golden head:
We must not look at goblin men,
We must not buy their fruits:
Who knows upon what soil they fed
Their hungry thirsty roots?"
"Come buy," call the goblins
Hobbling down the glen.
"O! cried Lizzie, Laura, Laura,
You should not peep at goblin men."
Lizzie covered up her eyes
Covered close lest they should look;
Laura reared her glossy head,
And whispered like the restless brook:
"Look, Lizzie, look, Lizzie,
Down the glen tramp little men.
One hauls a basket,
One bears a plate,
One lugs a golden dish
Of many pounds' weight.
How fair the vine must grow
Whose grapes are so luscious;
How warm the wind must blow
Through those fruit bushes."
"No," said Lizzie, "no, no, no;
Their offers should not charm us,
Their evil gifts would harm us."
She thrust a dimpled finger
In each ear, shut eyes and ran:
Curious Laura chose to linger
Wondering at each merchant man.
One had a cat's face,
One whisked a tail,
One tramped at a rat's pace,
One crawled like a snail,
One like a wombat prowled obtuse and furry,
One like a ratel tumbled hurry-scurry.
Lizzie heard a voice like voice of doves
Cooing all together:
They sounded kind and full of loves
In the pleasant weather.

Laura stretched her gleaming neck
Like a rush-imbedded swan,
Like a lily from the beck,
Like a moonlit poplar branch,
Like a vessel at the launch
When its last restraint is gone.

Backwards up the mossy glen
Turned and trooped the goblin men,
With their shrill repeated cry,
"Come buy, come buy."
When they reached where Laura was
They stood stock still upon the moss,
Leering at each other,
Brother with queer brother;
Signalling each other,
Brother with sly brother.
One set his basket down,
One reared his plate;
One began to weave a crown
Of tendrils, leaves, and rough nuts brown
(Men sell not such in any town);
One heaved the golden weight
Of dish and fruit to offer her:
"Come buy, come buy," was still their cry.
Laura stared but did not stir,
Longed but had no money:
The whisk-tailed merchant bade her taste
In tones as smooth as honey,
The cat-faced purr'd,
The rat-paced spoke a word
Of welcome, and the snail-paced even was heard;
One parrot-voiced and jolly
Cried "Pretty Goblin" still for "Pretty Polly";
One whistled like a bird.

But sweet-tooth Laura spoke in haste:
"Good folk, I have no coin;
To take were to purloin:
I have no copper in my purse,
I have no silver either,
And all my gold is on the furze
That shakes in windy weather
Above the rusty heather."
"You have much gold upon your head,"
They answered altogether:
"Buy from us with a golden curl."
She clipped a precious golden lock,
She dropped a tear more rare than pearl,
Then sucked their fruit globes fair or red:
Sweeter than honey from the rock,
Stronger than man-rejoicing wine,
Clearer than water flowed that juice;
She never tasted such before,
How should it cloy with length of use?
She sucked and sucked and sucked the more
Fruits which that unknown orchard bore,
She sucked until her lips were sore;
Then flung the emptied rinds away,
But gathered up one kernel stone,
And knew not was it night or day
As she turned home alone.

Lizzie met her at the gate
Full of wise upbraidings:
"Dear, you should not stay so late,
Twilight is not good for maidens;
Should not loiter in the glen
In the haunts of goblin men.
Do you not remember Jeanie,
How she met them in the moonlight,
Took their gifts both choice and many,
Ate their fruits and wore their flowers
Plucked from bowers
Where summer ripens at all hours?
But ever in the moonlight
She pined and pined away;
Sought them by night and day,
Found them no more, but dwindled and grew gray;
Then fell with the first snow,
While to this day no grass will grow
Where she lies low:
I planted daisies there a year ago
That never blow.
You should not loiter so."
"Nay hush," said Laura.
"Nay hush, my sister:
I ate and ate my fill,
Yet my mouth waters still;
To-morrow night I will
Buy more," and kissed her.
"Have done with sorrow;
I'll bring you plums to-morrow
Fresh on their mother twigs,
Cherries worth getting;
You cannot think what figs
My teeth have met in,
What melons, icy-cold
Piled on a dish of gold
Too huge for me to hold,
What peaches with a velvet nap,
Pellucid grapes without one seed:
Odorous indeed must be the mead
Whereon they grow, and pure the wave they drink,
With lilies at the brink,
And sugar-sweet their sap."

Golden head by golden head,
Like two pigeons in one nest
Folded in each other's wings,
They lay down, in their curtained bed:
Like two blossoms on one stem,
Like two flakes of new-fallen snow,
Like two wands of ivory
Tipped with gold for awful kings.
Moon and stars beamed in at them,
Wind sang to them lullaby,
Lumbering owls forbore to fly,
Not a bat flapped to and fro
Round their rest:
Cheek to cheek and breast to breast
Locked together in one nest.

Early in the morning
When the first cock crowed his warning,
Neat like bees, as sweet and busy,
Laura rose with Lizzie:
Fetched in honey, milked the cows,
Aired and set to rights the house,
Kneaded cakes of whitest wheat,
Cakes for dainty mouths to eat,
Next churned butter, whipped up cream,
Fed their poultry, sat and sewed;
Talked as modest maidens should
Lizzie with an open heart,
Laura in an absent dream,
One content, one sick in part;
One warbling for the mere bright day's delight,
One longing for the night.

At length slow evening came--
They went with pitchers to the reedy brook;
Lizzie most placid in her look,
Laura most like a leaping flame.
They drew the gurgling water from its deep
Lizzie plucked purple and rich golden flags,
Then turning homeward said: "The sunset flushes
Those furthest loftiest crags;
Come, Laura, not another maiden lags,
No wilful squirrel wags,
The beasts and birds are fast asleep."
But Laura loitered still among the rushes
And said the bank was steep.

And said the hour was early still,
The dew not fallen, the wind not chill:
Listening ever, but not catching
The customary cry,
"Come buy, come buy,"
With its iterated jingle
Of sugar-baited words:
Not for all her watching
Once discerning even one goblin
Racing, whisking, tumbling, hobbling;
Let alone the herds
That used to tramp along the glen,
In groups or single,
Of brisk fruit-merchant men.

Till Lizzie urged, "O Laura, come,
I hear the fruit-call, but I dare not look:
You should not loiter longer at this brook:
Come with me home.
The stars rise, the moon bends her arc,
Each glow-worm winks her spark,
Let us get home before the night grows dark;
For clouds may gather even
Though this is summer weather,
Put out the lights and drench us through;
Then if we lost our way what should we do?"

Laura turned cold as stone
To find her sister heard that cry alone,
That goblin cry,
"Come buy our fruits, come buy."
Must she then buy no more such dainty fruit?
Must she no more such succous pasture find,
Gone deaf and blind?
Her tree of life drooped from the root:
She said not one word in her heart's sore ache;
But peering thro' the dimness, naught discerning,
Trudged home, her pitcher dripping all the way;
So crept to bed, and lay
Silent 'til Lizzie slept;
Then sat up in a passionate yearning,
And gnashed her teeth for balked desire, and wept
As if her heart would break.

Day after day, night after night,
Laura kept watch in vain,
In sullen silence of exceeding pain.
She never caught again the goblin cry:
"Come buy, come buy,"
She never spied the goblin men
Hawking their fruits along the glen:
But when the noon waxed bright
Her hair grew thin and gray;
She dwindled, as the fair full moon doth turn
To swift decay, and burn
Her fire away.

One day remembering her kernel-stone
She set it by a wall that faced the south;
Dewed it with tears, hoped for a root,
Watched for a waxing shoot,
But there came none;
It never saw the sun,
It never felt the trickling moisture run:
While with sunk eyes and faded mouth
She dreamed of melons, as a traveller sees
False waves in desert drouth
With shade of leaf-crowned trees,
And burns the thirstier in the sandful breeze.

She no more swept the house,
Tended the fowls or cows,
Fetched honey, kneaded cakes of wheat,
Brought water from the brook:
But sat down listless in the chimney-nook
And would not eat.

Tender Lizzie could not bear
To watch her sister's cankerous care,
Yet not to share.
She night and morning
Caught the goblins' cry:
"Come buy our orchard fruits,
Come buy, come buy."
Beside the brook, along the glen
She heard the tramp of goblin men,
The voice and stir
Poor Laura could not hear;
Longed to buy fruit to comfort her,
But feared to pay too dear,

She thought of Jeanie in her grave,
Who should have been a bride;
But who for joys brides hope to have
Fell sick and died
In her gay prime,
In earliest winter-time,
With the first glazing rime,
With the first snow-fall of crisp winter-time.

Till Laura, dwindling,
Seemed knocking at Death's door:
Then Lizzie weighed no more
Better and worse,
But put a silver penny in her purse,
Kissed Laura, crossed the heath with clumps of furze
At twilight, halted by the brook,
And for the first time in her life
Began to listen and look.

Laughed every goblin
When they spied her peeping:
Came towards her hobbling,
Flying, running, leaping,
Puffing and blowing,
Chuckling, clapping, crowing,
Clucking and gobbling,
Mopping and mowing,
Full of airs and graces,
Pulling wry faces,
Demure grimaces,
Cat-like and rat-like,
Ratel and wombat-like,
Snail-paced in a hurry,
Parrot-voiced and whistler,
Helter-skelter, hurry-skurry,
Chattering like magpies,
Fluttering like pigeons,
Gliding like fishes, --
Hugged her and kissed her;
Squeezed and caressed her;
Stretched up their dishes,
Panniers and plates:
"Look at our apples
Russet and dun,
Bob at our cherries
Bite at our peaches,
Citrons and dates,
Grapes for the asking,
Pears red with basking
Out in the sun,
Plums on their twigs;
Pluck them and suck them,
Pomegranates, figs."

"Good folk," said Lizzie,
Mindful of Jeanie,
"Give me much and many"; --
Held out her apron,
Tossed them her penny.
"Nay, take a seat with us,
Honor and eat with us,"
They answered grinning;
"Our feast is but beginning.
Night yet is early,
Warm and dew-pearly,
Wakeful and starry:
Such fruits as these
No man can carry;
Half their bloom would fly,
Half their dew would dry,
Half their flavor would pass by.
Sit down and feast with us,
Be welcome guest with us,
Cheer you and rest with us."
"Thank you," said Lizzie; "but one waits
At home alone for me:
So, without further parleying,
If you will not sell me any
Of your fruits though much and many,
Give me back my silver penny
I tossed you for a fee."
They began to scratch their pates,
No longer wagging, purring,
But visibly demurring,
Grunting and snarling.
One called her proud,
Cross-grained, uncivil;
Their tones waxed loud,
Their looks were evil.
Lashing their tails
They trod and hustled her,
Elbowed and jostled her,
Clawed with their nails,
Barking, mewing, hissing, mocking,
Tore her gown and soiled her stocking,
Twitched her hair out by the roots,
Stamped upon her tender feet,
Held her hands and squeezed their fruits
Against her mouth to make her eat.

White and golden Lizzie stood,
Like a lily in a flood,
Like a rock of blue-veined stone
Lashed by tides obstreperously, --
Like a beacon left alone
In a hoary roaring sea,
Sending up a golden fire, --
Like a fruit-crowned orange-tree
White with blossoms honey-sweet
Sore beset by wasp and bee, --
Like a royal virgin town
Topped with gilded dome and spire
Close beleaguered by a fleet
Mad to tear her standard down.

One may lead a horse to water,
Twenty cannot make him drink.
Though the goblins cuffed and caught her,
Coaxed and fought her,
Bullied and besought her,
Scratched her, pinched her black as ink,
Kicked and knocked her,
Mauled and mocked her,
Lizzie uttered not a word;
Would not open lip from lip
Lest they should cram a mouthful in;
But laughed in heart to feel the drip
Of juice that syruped all her face,
And lodged in dimples of her chin,
And streaked her neck which quaked like curd.
At last the evil people,
Worn out by her resistance,
Flung back her penny, kicked their fruit
Along whichever road they took,
Not leaving root or stone or shoot.
Some writhed into the ground,
Some dived into the brook
With ring and ripple.
Some scudded on the gale without a sound,
Some vanished in the distance.

In a smart, ache, tingle,
Lizzie went her way;
Knew not was it night or day;
Sprang up the bank, tore through the furze,
Threaded copse and dingle,
And heard her penny jingle
Bouncing in her purse, --
Its bounce was music to her ear.
She ran and ran
As if she feared some goblin man
Dogged her with gibe or curse
Or something worse:
But not one goblin skurried after,
Nor was she pricked by fear;
The kind heart made her windy-paced
That urged her home quite out of breath with haste
And inward laughter.

She cried "Laura," up the garden,
"Did you miss me ?
Come and kiss me.
Never mind my bruises,
Hug me, kiss me, suck my juices
Squeezed from goblin fruits for you,
Goblin pulp and goblin dew.
Eat me, drink me, love me;
Laura, make much of me:
For your sake I have braved the glen
And had to do with goblin merchant men."

Laura started from her chair,
Flung her arms up in the air,
Clutched her hair:
"Lizzie, Lizzie, have you tasted
For my sake the fruit forbidden?
Must your light like mine be hidden,
Your young life like mine be wasted,
Undone in mine undoing,
And ruined in my ruin;
Thirsty, cankered, goblin-ridden?"
She clung about her sister,
Kissed and kissed and kissed her:
Tears once again
Refreshed her shrunken eyes,
Dropping like rain
After long sultry drouth;
Shaking with aguish fear, and pain,
She kissed and kissed her with a hungry mouth.

Her lips began to scorch,
That juice was wormwood to her tongue,
She loathed the feast:
Writhing as one possessed she leaped and sung,
Rent all her robe, and wrung
Her hands in lamentable haste,
And beat her breast.
Her locks streamed like the torch
Borne by a racer at full speed,
Or like the mane of horses in their flight,
Or like an eagle when she stems the light
Straight toward the sun,
Or like a caged thing freed,
Or like a flying flag when armies run.

Swift fire spread through her veins, knocked at her heart,
Met the fire smouldering there
And overbore its lesser flame,
She gorged on bitterness without a name:
Ah! fool, to choose such part
Of soul-consuming care!
Sense failed in the mortal strife:
Like the watch-tower of a town
Which an earthquake shatters down,
Like a lightning-stricken mast,
Like a wind-uprooted tree
Spun about,
Like a foam-topped water-spout
Cast down headlong in the sea,
She fell at last;
Pleasure past and anguish past,
Is it death or is it life ?

Life out of death.
That night long Lizzie watched by her,
Counted her pulse's flagging stir,
Felt for her breath,
Held water to her lips, and cooled her face
With tears and fanning leaves:
But when the first birds chirped about their eaves,
And early reapers plodded to the place
Of golden sheaves,
And dew-wet grass
Bowed in the morning winds so brisk to pass,
And new buds with new day
Opened of cup-like lilies on the stream,
Laura awoke as from a dream,
Laughed in the innocent old way,
Hugged Lizzie but not twice or thrice;
Her gleaming locks showed not one thread of gray,
Her breath was sweet as May,
And light danced in her eyes.

Days, weeks, months,years
Afterwards, when both were wives
With children of their own;
Their mother-hearts beset with fears,
Their lives bound up in tender lives;
Laura would call the little ones
And tell them of her early prime,
Those pleasant days long gone
Of not-returning time:
Would talk about the haunted glen,
The wicked, quaint fruit-merchant men,
Their fruits like honey to the throat,
But poison in the blood;
(Men sell not such in any town;)
Would tell them how her sister stood
In deadly peril to do her good,
And win the fiery antidote:
Then joining hands to little hands
Would bid them cling together,
"For there is no friend like a sister,
In calm or stormy weather,
To cheer one on the tedious way,
To fetch one if one goes astray,
To lift one if one totters down,
To strengthen whilst one stands."

Tuesday, February 14, 2012

Artist: Peter Max


Peter Max's iconic style is the epitome of psychedelic art from the 1960's and 1970's. The German born Jewish-American artist fled Germany with his parents in 1938. The family lived in Shanghai for ten years where the young Max learned to use a paint brush in the manner of Chinese calligraphy. After living in Shanghai, the Max family lived in Israel for 2 years where he discovered his lifelong love of astronomy and then went on to Paris. While Peter Max was in Paris his appreciation for art deepened and he took art classes at the Louvre. In 1956 Max began his art training at the Art Students League of New York in Manhattan.

Peter Max, along with partners Tom Daly and Don Rubbo, did graphic illustration and advertising in the 1960's. Through out the 1960's and 1970's, Max's work was printed on posters, a line of art clocks for General Electric, postage stamps, and more. His work was commissioned by more than 72 corporations. Posters displaying his work were a standard dorm room feature. Max also worked with Lee Iacocca on organizing the restoration of the Statue of Liberty and he has painted the Statue of Liberty's image every year since.



Peter Max is an environmentalist and a defender of all species rights. In 2002 Max made headlines when he offered to donate $180,000 worth of his art to benefit the local Society for the Prevention of Cruelty to Animals because a cow named Cinci Freedom escaped from an Ohio slaughterhouse. The cow leapt over a six-foot fence and eluded capture for eleven days. "This little girl's will—facing the end of her life, being so frightened, then taking the risk of all risks to live, to be free—touched me so deeply," Max was quoted as saying, "It was so inspiring. I knew I had to try to preserve that wonderful spirit." Max ensured her a long life of peace at Farm Sanctuary in Watkins Glen, New York with his act of generosity.



Peter Max's work is distinguished by vibrant colors, strong geometric elements, and uplifting subject matter. His method of combining colors on a four color ink press he referred to "playing a printing press like an electric piano." Max is still alive and lives with his wife Mary in New York. His official website where there is more biographical information about him, photographs of many of his paintings, and an online store where prints of his posters and more can be purchased can be found at: http://www.petermax.com/ Let a little sunshine into your life and check out the work of Peter Max!

Monday, February 13, 2012

Six Sentence Story Monday



Here is another six sentence story:

In those moments before the winning numbers were announced, Beth dreamed of Paris. She imagined visiting the Lourve, walking the Champs-Elysees, and seeing the Eifel Tower. She thought of erasing the debt of friends so that their burdens would be lighter. She envisioned bestowing scientific grants to eradicate diseases. As the numbers were called out on the television screen, she used her pen to encircle those that matched. In the end, she smiled, tucked the lottery ticket in her pocket, and went to take the order from the couple who sat in the back booth in her section.

Sunday, February 12, 2012

Sunday Writing Discussion #7: Conflict-- The Fuel of Fiction



Stories need certain elements in them to make them complete. A story must have characters, a setting, a plot, central ideas or a theme, and conflict. If there are characters, but nothing else, it isn't really a story. It might be a character sketch. A plot without conflict is boring.

Conflicts can be of two main types-- internal conflicts or external conflicts. Internal conflicts are conflicts that occur in the psyche of one of the characters. It could be something like wrestling with the guilt of murdering another person as in Dostoyevsky's novel Crime and Punishment. External conflicts occur outside of the mind of a character. External conflicts can be a disagreement between two characters, a struggle against a situation, a fight against an organization, etc.

Often in stories there both of these two types of conflict and they are intertwined. There is a conflict that is internal to the main character and an external conflict that the main character is caught up in. To give you an example, in the Iliad Achilles' internal conflict was whether or not to give his allegiance to Agamemnon and to fight in the Trojan War. If he fought in the war he would achieve glory, which was what he wanted, but he would die. If he avoided the war, he would never achieve fame but he would be happy and live a long life. The internal conflict erupted into external disagreements with Agamemnon that resulted in Patroclus donning Achilles' armor and being killed. The conflict then evolved into an external conflict with Hector that was central to the war and Achilles' fame was achieved as well as his eventual death as prophesied. His internal conflict was resolved with a meshing of interests with the external conflict of the story. This kind of intertwining of conflicts is desirable because it illustrates characters' motivations and resulting actions that move the plot forward.

There are types of conflict problems that can arise in stories. A problem can be something like the characters involvement with the conflict doesn't seem logical, but this is really more a problem with the characterization of the characters. Typically stories are lackluster if there is just not enough conflict. Sometimes when an author is creating a story they begin to like the characters that they have created. The author writes the quintessential sympathetic character and begins to have empathy for their creation. But this does not work! If the conflict is just plain old lame and has a really easy resolution that leaves readers wondering why the main character didn't just figure this out right away and not put themselves through the drama, the fiction falls flat. Writing fiction means that you really have to put the screws to your character and when things get bad for your main character, you have to make them worse. A formula in regards to plot and conflict for a three act story is as follows:
1. the characters and conflict are introduced and the plot gets slightly worse (hopefully because of the actions of the main character);
2. the main character tries to problem solve and resolve their conflict and things get even worse;
3. the main character again works to problem solve the conflict, things get very dark and even more terrible, and the climax occurs;
4. the conflict is resolved.

There is no room for easing off the tension!

Another type of conflict problem has to do with the intensity of the central conflicts as well. The second type of intensity conflict problem is the insurmountable, overwhelming conflict. A challenging conflict is a good thing. It should be a challenge and worthy of writing a story about, but if it is too insurmountable it often leads to an ending that is flat because the writer has to resort to fiction magic, i.e. deus ex machina. This is infuriating for many readers.

Another type of conflict to be wary of while writing fiction is "Issues" with a capital "I." Issues are big problems that the characters encounter such as drug addiction, domestic violence, rape, and incest. Yes, these are big conflicts and worthy of stories, but if an author is going to take one of these issues and make it part of their story, the issue should not be incidental. These issues are not good things to play with lightly in the hope of making a character's motivations immediately understood or to make the character sympathetic. If you are going to write about one of these issues, know what you are talking about and give it the serious treatment that it deserves. Do not use these issues in an attempt to elevate your fiction, the only things that will improve your fiction is thought and good writing. Using these types of serious issues simply for dramatic effect and not giving them the respect they deserve actual cheapens your writing and makes the faults jump out.

How can you fuel the fire of your story and turn up the heat? Conflict! Use it well!

A Writer Has to Eat: Spicy Hot Chocolate with a Kick

Hot chocolate is wonderful on its own. This version has extra spices that heat it up with flavor. Spices like cardamom and cayenne pepper. This does not use instant hot chocolate powder. It is the real deal!



Spiced Hot Chocolate Ingredients

2 1 ounce unsweetened baker's chocolate squares
1 cup white sugar
1/4 teaspoon cardamom
4 teaspoons cinnamon
1/8 teaspoon cayenne pepper
1/2 teaspoon nutmeg
4 cups milk or for richer hot chocolate use half and half



1. Put water in a pot. Place the chocolate squares in a bowl and place the bowl in the pot and float it in the water. Bring the water to a low boil and melt the chocolate squares in the bowl.

2. When the chocolate squares are melted, using a spatula transfer the chocolate to a sauce pan.

3. Whisk in the sugar, spices, and milk. Stir constantly to dissolve all the chocolate, sugar, and spices into the milk. Heat to hot and just boiling. Turn off the heat.





4. Pour the hot chocolate mixture into mugs and top with whipped cream to serve. Yum!

A Writer Has to Eat: A Recipe for Really Tasty Hummus


Hummus is an easy to make yummy source of protein. It can be served with bread or vegetables.

Ingredients

3 cups prepared garbanzo beans
1/2 cup tahini
1/4 cup olive oil
1 teaspoon salt
1/2 teaspoon white pepper
1 teaspoon paprika
2 tablespoons minced fresh garlic
the juice from 1/2 of a lemon

1. Prepare the garbanzo beans. You can either use 2 15 ounce cans of garbanzo beans, drain, and wash them OR you can prepare dried garbanzo beans. To prepare garbanzo beans from dried beans, soak the garbanzos overnight. In the morning drain the legend and rinse the soaked beans. Place 1 cup of garbanzo beans to 4 cups of water in a pan and boil for 15 minutes until the beans are soft.



2. Place the garbanzo beans, tahini, olive oil, salt, pepper, paprika, garlic, and lemon juice in a food processor. Process until smooth. If you do not own a food processor, first mash the garbanzo beans with a fork or a potato masher. Next add the other ingredients and continue to mash and stir until it becomes a consistent paste. This will take a while, but it does work.



Dangerous Women: "The Divine Sarah"



“Life is short, even for those who live a long time, and we must live for the few who know and appreciate us, who judge and absolve us, and for whom we have the same affection and indulgence….We ought to hate very rarely, as it is too fatiguing, remain indifferent a great deal, forgive often and never forget.” -- Sarah Bernhardt

Sarah Bernhardt has been referred to as "the most famous actress the world has ever known." Famous and infamous, Bernhardt made a name for herself on the stages of France in the 1870's. Her personal life read like something from the modern day tabloids and she was the lover of princes, noblemen, artists, and writers.

Alexander Dumas called her a notorious liar because she exagerrated and distorted the truth. Disputes over her early life and familial ancestry arose from the various fictions that she told about her family and ancestry. Her birth records were lost in a fire in 1871. In order to prove French citizenship, she created false birth records that listed stated she was the daughter of "Judith van Hard" and "Edouard Bernardt" from Le Havre. At various times she said that her father was a law student, an accountant, or a naval officer. It is believed in actuality that her mother was a Parisian courtesan named Julie Bernardt who was known as "Youle" and her father was never identified.

Bernhardt stage career began at the tender age of thirteen while she was a student at the Comedie-Francaise. Her performance did not garner much interest. She soon left Paris. She tried an unsuccessful stint in burlesque and became a courtesan in Belgium. While she was in Belgium she became the mistress to Henri, Prince de Ligne whose son she bore in 1864. After her son Maurice's birth, the prince proposed marriage to her but his family forbade the marriage. The Prince de Ligne was not the only prince that she became involved with. She also had an affair with King Edward VII while he was still the Prince of Wales.



In 1865 Bernhardt acquired her famous coffin. As a young child one of Bernhardt's sister died of tuberculosis and it has been debated whether or not she too was afflicted with the disease. She was frequently sick when she was young and this lead to a fascination with death. She often slept in the coffin. The coffin went with her on tour and became part of the Sarah Bernhardt legend. Bernhardt seemed to enjoy the intriguing presentation that she offered to the public. As it was she didn't need her coffin until she was 79 years old. She made all of her own funeral arrangements before her death.

Bernhardt was passionate about performing. Jumping from a parapet she injured her leg. The leg continued to give her pain and remained swollen. Her physician had a cast applied. When the cast was removed it was discovered that sepsis had set in and the leg had to be amputated. This occurred in 1915 when she was 70 years old and after she had performed at the front lines during World War I. The loss of her leg never slowed her for a minute. While she found that using a wooden prosthetic leg was painful, she performed in a wheel chair and looked for roles that she could perform while seated.

Perhaps because death was such a triviality to this vibrant women, she continued to act up until her death. Her last profect was a film titled "La Voyante" where she played a fortune teller. In addition to the difficulties with her leg, Sarah Bernhardt developed kidney problems later in life. She left the set of "La Voyante" to never return again to acting. Her son Maurice sat with her at her bedside. When she was informed of the multitude of papparazzi outside her house that were waiting for the announcement of her death, she said, "All my life reporters have tormented me enough. I can tease them now a little by making them cool their heels." She died the next day, March 26, 1923 from uremia.

Sarah Bernhardt is buried in Paris in the Pere Lachaise Cemetary. Her unofficial funeral procession took over the streets of Paris and stopped briefly in front of her theatre to pay homage to the most famous actress that the world has ever known.

Thursday, February 9, 2012

Writing Prompts: A Picture is Worth a Thousand Words


I was thinking about my camera this evening. I am hoping to go snowshoeing one afternoon this weekend and take some pictures so I came up with a set of writing prompts that have to do with either cameras or photographs. Have fun writing!

1. The point of view character buys a camera in an antique shop. They fix it up and try it out. The point of view character discovers that the camera doesn't take a picture of the person or thing it sees in its lens. A different image appears on the film. What is that image of?

2. The point of view character moves into a new house and takes photographs to post on facebook. They discover that there are gruesome images in the backgrounds of all the photographs. What are these images?

3. A class composite in the hallway of a high school has fading photographs. The point of view character goes back to visit the high school and realizes that all the faded photos are of classmates that have died. Why are the photographs fading?

4. A photographer is a sought out portraitist because they have the ability to make their subjects look better than real life. Where do they derive their power from?

5. A wildlife photographer has the ability to take photos of animals and the animals are then resistant to death. How does this come about? How does the photographer use their ability?

Wednesday, February 8, 2012

A Poem for St. Valentine's Day: Derek Walcott's "Love After Love"



Love After Love
by Derek Walcott

The time will come
when, with elation
you will greet yourself arriving
at your own door, in your own mirror
and each will smile at the other's welcome,

and say, sit here. Eat.
You will love again the stranger who was your self.
Give wine. Give bread. Give back your heart
to itself, to the stranger who has loved you

all your life, whom you ignored
for another, who knows you by heart.
Take down the love letters from the bookshelf,

the photographs, the desperate notes,
peel your own image from the mirror.
Sit. Feast on your life.