Story-Hoard

Album: 70's Style

Cover art:
concept-driven,
playful, somewhat mysterious,
often literary.

Interior art:
the artist's portrait,
informal and yet pensive,
often black-and-white.


Looking back, the sheer sameness, the simple paradigm, the artifice meant to signal sincerity, well, it's all so much easier to see with a bit of perspective.  Time the Leveler.  The struggle to represent a vision, to play it cool without seeming to try too hard, and to have a bit of fun as well . . . .  

What's-the-Story?

Story: characters in action in a setting through time.

That's how I process everything.

Give me a poem, any poem, and I look for the story in the lines, behind the lines, and/or after the lines. Give me a photo, and where some see a static tablieau, I see dynamism, before-and-after, presence-and-absence. Give me a problem, personal or societal, and I look for the story in the same way.

On the upside, I look for motivation and context and nuance. On the downside, some people think I am wasting my--or their--time with this approach, with my concern for accuracy and understanding of plot, POV, and narrative shading.

I'll be 59 soon, but that mostly means I've had a lot of practice with stories and story-telling; I think I am (still) in tune most of the time. Yet I know I may be wrong in my emphasis in certain circumstances and with certain texts, and that encourages me to be humble, which is always good.

Still, what's the story is my favorite question.

SIP FWP

I have run out of cream.

(But I always use the fun scissors when I need to shift the filter from pot- to mug-size.)

Wordsworth's "I Wandered Lonely As a Cloud"

William Wordsworth's famous poem may speak to us these days.

A quintessential English Romantic poem:
Nature, vivid description, musical patterning, individual subjectivity for the sake of universal feeling, memory and its healing power when harnessed with nature, and art for the sake of the soul.

(I disliked the poem as an undergraduate, but have come to appreciate its artful simplicity and application. I have a greater appreciation for thousands of flowers dancing in the sun and breeze too.)


I WANDERED LONELY AS A CLOUD

I wandered lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.

Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.

The waves beside them danced; but they
Out-did the sparkling waves in glee:
A poet could not but be gay,
In such a jocund company:
I gazed—and gazed—but little thought
What wealth the show to me had brought:

For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.

--William Wordsworth

The Telling

The telling.

That's what I like best about anything: stories, essays, novels, plays, epics.  That's what I love.

How the makers create meaning sentence by sentence, phrase by phrase, word by word, and sometimes morpheme by morpheme.  There's a wonderfully erotic ee cummings poem about bodies that has the phrase "I like its hows" and I'd apply that to every story, every essay, ever offered up to its readers.

The hows.  The telling.

I only wish I'd figured out in grad school how to craft that focus into an appropriate project.

Some might find that a shallow approach to literature, but there's a world of interest in that surface interface between teller and told, between player and audience, between maker and you.  

If you want to dive deep, you have to start at the surface and return to the surface.  There's more there there than we are often taught to understand and appreciate.  (And, frankly, most misreadings arise from lack of attention to detail, to the foundation, to the surface interface I'm calling attention to, to the there.)

Luckily, teaching intro to literature and intro to non-fiction at a community college allows me to delve so much into the telling on a daily basis.

Mask on a Mollusk: Musings

Friend:  'Splain, please.

Me:      I don't know if I can.  

I like putting my clay--pottery and sculpture--out in nature, especially water--and taking photos, aiming to capture something evocative or expressive.  Sometimes I have very specific artistic goals; sometimes I'm goofing or experimenting.  The results have ranged from the silly to the sublime--as you can see if you examine the many such shots I've included in this blog--and sometimes I've wanted the silly or the sublime, depending on mood and interest.  My main approach is intuitive.

("The Door" or "The Drowned Man" series are among the most successful postings, I think.)

Art involves expression and exploration, and these pieces allow me to experiment.  My recent "Frog-Man II" captures loss and longing, I'd argue, in the juxtaposition of the situation I placed my sculpture in, that natural setting ten feet beneath the surface, with the specific features and expression I'd sculpted into that particular clay-face, that specific clay-head.

I think about displacement.  Artist Jay Trinidad wrote to me about how art works:

"Art works by displacing.  I think displacement is an essential element.  It needs to pitch you out of your own experience."

JT works more ethically, more in the veins of social justice and sheer beauty, than I do, but one element of my work would have to be displacement, surprising you with the clay, the worked clay, in the natural settings.  Perhaps that surprise catches you -- makes your footing just a bit uneven, makes you laugh at the absurdity or boneheadedness of what I do --catches you enough to slip inside, to spur or spark a reaction or a recognition in the face of oddity or silliness or some deeper emotion.  Sometimes, my pieces are illustrative, meant to tell a story, sure, but also to highlight the natural environment, and my clay contribution would subside in terms of attention.  Other times, I am seeking an emotional recognition.  Many of my pieces are sad, I think, for grief is one of the deepest feelings I know.  Others are enhanced, made better, by the watery environment.  A bowl in a stream is just clay in water, but it is also, perhaps, an offering to beauty, to the muses.  A mask on a mollusk is a slightly different offering.

And there are nine muses, each with a different temper and temperment.

I try to please each and every one of them.

Visage:
Silverstone clay;
Oribe & Abalone glazes;
leather cord--
and assorted kelp forest denizens.

Sam Hamill: "Ars Poetica"

PREFACE: ARS POETICA

Some say the poem's
best made from natural speech
from the inner life.
I say, That is sometimes true.
The poem's a natural thing.

Some say the poem
should rise into purest song,
a formality,
articulate expression
achieved through complex structures

derived from classics--
which also is true enough.
Let the song arise
as it will.  Learn to revise
the life.  Beware.  Disguises

rise up everywhere:
most dangerously, self-in-
fatuation.  "More
poets fail," Pound declared,
"from lack of character than

from lack of talent."
Some insist the poem is
heaven-sent, claiming
angelic heirs.  The poem,
I believe, is a failure

elevated in-
to triumph, a form of truth
wrought from mortal flesh
and blood that will soon perish,
but which--for one brief moment

or an hour--reveals
the tragic human spirit
in the very act
of imagining itself
cured of the sickness of self.

The poem cannot,
finally, be explained nor
defined.  The true gift
poetry bestows begins
and ends with humility

before the task.  All
the suffering of this world
can be truly felt,
absorbed adn transcended, just
by the act of listening

to that deepest voice
speaking from within.  Forget
hagiography.
All the great masters are dead.
Forget rime and irony.

Forget words, meter,
diction, whole syllabaries--
the literary.
The heart by way of the ear.
What's that you wanted to say?

--SAM HAMILL



from Gratitude,
BOA Editions, Ltd.
Rochester, NY  1998


(This one is for Eric, a very welcome house-guest)

Mental Models

Take your pick, right?

Chesterton: "Very Big Ideas in Very Small Spaces"

On art and limitation and "very big ideas in very small spaces":

"Meanwhile the philosophy of toy theatres is worth any one's consideration. All the essential morals which modern men need to learn could be deduced from this toy. Artistically considered, it reminds us of the main principle of art, the principle which is in most danger of being forgotten in our time. I mean the fact that art consists of limitation; the fact that art is limitation. Art does not consist in expanding things. Art consists of cutting things down, as I cut down with a pair of scissors my very ugly figures of St. George and the Dragon. Plato, who liked definite ideas, would like my cardboard dragon; for though the creature has few other artistic merits he is at least dragonish. The modern philosopher, who likes infinity, is quite welcome to a sheet of the plain cardboard. . . . .

"This especially is true of the toy theatre; that, by reducing the scale of events it can introduce much larger events. Because it is small it could easily represent the earthquake in Jamaica. Because it is small it could easily represent the Day of Judgment. Exactly in so far as it is limited, so far it could play easily with falling cities or with falling stars. Meanwhile the big theatres are obliged to be economical because they are big. When we have understood this fact we shall have understood something of the reason why the world has always been first inspired by small nationalities. The vast Greek philosophy could fit easier into the small city of Athens than into the immense Empire of Persia. In the narrow streets of Florence Dante felt that there was room for Purgatory and Heaven and Hell. He would have been stifled by the British Empire. Great empires are necessarily prosaic; for it is beyond human power to act a great poem upon so great a scale. You can only represent very big ideas in very small spaces. My toy theatre is as philosophical as the drama of Athens."

--G.K. Chesterton,
     --from his essay "The Toy Theatre" from Tremendous Trifles

The Clay Waits

The clay waits
Life-mask
Death-mask
The sculptor can't decide
Drawing ragged breaths
This broken morning
Fixing memory in pieces
Mixing temerity with mortality
. . . .
The clay waits.

There was a crooked man
Who climbed a crooked hill
Who had been a broken child
Bound to a broken will . . . .
. . . .
Pottery unfired
Bowls unthrown . . .
The clay waits.

There is a frayed man
On a frayed course . . .
. . . .
Threadbare nerves
Nightmare curves
Vertiginous horse
Sweltering source
Fevered fear
Galloping near . . .
. . . .
The frayed man wakes . . .

The clay wakes.

--MD

slightly revised: 7/8/18
and again: 3/21/20
and again: 4/13/20

Kelp and Wire: Old Art

Hungry for Story

Hungry for story
I open the book
To any page
And read again
And again and again
Until I feel full
Only to begin
Again and again
The next day
And the next-next
Each day
Every day
Hungry again.

--MD

Louise Gluck's "Dawn"

DAWN

1

Child waking up in a dark room
screaming I want my duck back, I want my duck back

in a language nobody understands in the least —

There is no duck.

But the dog, all upholstered in white plush —
the dog is right there in the crib next to him.

Years and years — that’s how much time passes.
All in a dream. But the duck —
no one knows what happened to that.

2

They’ve  just met, now
they’re sleeping near an open window.

Partly to wake them, to assure them
that what they remember of  the night is correct,
now light needs to enter the room,

also to show them the context in which this occurred:
socks half  hidden under a dirty mat,
quilt decorated with green leaves —

the sunlight specifying
these but not other objects,
setting boundaries, sure of  itself, not arbitrary,

then lingering, describing
each thing in detail,
fastidious, like a composition in English,
even a little blood on the sheets —

3

Afterward, they separate for the day.
Even later, at a desk, in the market,
the manager not satisfied with the figures he’s given,
the berries moldy under the topmost layer —

so that one withdraws from the world
even as one continues to take action in it —

You get home, that’s when you notice the mold.
Too late, in other words.

As though the sun blinded you for a moment.

--LOUISE GLUCK


(Thank you, AB, for the gift of the collected works!)

"When the Ancients Speak"

In a lecture given at Oxford, Wilamowitz said: 'To make the ancients speak, we must feed them with our own blood.' When the ancients speak, they do not merely tell us about themselves. They tell us about us. They do that in every case in which they can be made to speak, because they tell us who we are. That is, of course, the most general point of our attempts to make them speak. They can tell us not just who we are, but who we are not: they can denounce the falsity or the partiality or the limitations of our images of ourselves. I believe they can do this for our ideas of human agency, responsibility, regret, and necessity, among others.

--Bernard Williams
from Shame and Necessity (pages 19-20)

Here's the link to the book itself from UC Press.

Louise Gluck's "The Mountain"

THE MOUNTAIN

My students look at me expectantly.
I explain to them that the life of art is a life
of endless labor. Their expressions
hardly change; they need to know
a little more about endless labor.
So I tell them the story of Sisyphus,
how he was doomed to push
a rock up a mountain, knowing nothing
would come of this effort
but that he would repeat it
indefinitely. I tell them
there is joy in this, in the artist’s life,
that one eludes
judgment, and as I speak
I am secretly pushing a rock myself,
slyly pushing it up the steep
face of a mountain. Why do I lie
to these children? They aren’t listening,
they aren’t deceived, their fingers
tapping at the wooden desks—
So I retract
the myth; I tell them it occurs
in hell, and that the artist lies
because he is obsessed with attainment,
that he perceives the summit
as that place where he will live forever,
a place about to be
transformed by his burden: with every breath,
I am standing at the top of the mountain.
Both my hands are free. And the rock has added
height to the mountain.

--Louise Gluck


Thank you, AB, for the gift.

Body English: Musings on the Beautiful and Sublime

Let's quote Edmund Burke on "Gradual Variation":

BUT as perfectly beautiful bodies are not composed of angular parts, so their parts never continue long in the same right line.  They vary their direction every moment, and they change under the eye by a deviation continually carrying on, but for whose beginning or end you will find it difficult to ascertain a point. The view of a beautiful bird will illustrate this observation. Here we see the head increasing insensibly to the middle, from whence it lessens gradually until it mixes with the neck; the neck loses itself in larger swell, which continues to the middle of the body, when the whole decreases again to the tail; the tail takes a new direction; but it soon varies its new course: it blends again with the other parts; and the line is perpetually changing, above, below, upon every side.  In this description I have before me the idea of a dove; it agrees very well with most of the conditions of beauty. It is smooth and downy; its parts are (to use that expression) melted into one another; you are presented with no sudden protuberance through the whole, and yet the whole is continually changing. 

Observe that part of a beautiful woman where she is perhaps the most beautiful, about the neck and breasts; the smoothness; the softness; the easy and insensible swell; the variety of the surface, which is never for the smallest space the same; the deceitful maze, through which the unsteady eye slides giddily, without knowing where to fix or whither it is carried. Is not this a demonstration of that change of surface, continual, and yet hardly perceptible at any point, which forms one of the great constituents of beauty? 


Selections from A Philosophical Inquiry into the Origin of Our ideas of the Sublime and Beautiful.
-- from Part II: Section XV, in particular

Edmund Burke, 1757.

Clay Vessels

Or, I need to find a summer studio, you know?

The Adventures of Kelpman

Close-up: Kelpman in the surge.

Kelpman:
chicken wire figure (1996);
kelpflesh (2015).
Bodega Bay surge channel.

Revisiting: The Merman's Head

The Merman's Head:
sculpture mix;
copper carbonite oxide;
matte white glaze.

This must have been the third of the four or five full-sized heads I have sculpted.