Showing posts with label art. Show all posts
Showing posts with label art. Show all posts

Friday, November 4, 2011

AUTUMN GHOSTS



GHOSTS

I see ghosts. Not everywhere
But here and there. I know them
By their peculiarly beseeching
Watch – eyes longing for the
Familiar, the aura pulse of
Warmth in the air around
Children, the crystals of
Laughter around young
Women.

Wednesday morning, the corner
Of my eye caught a ghost
Grasping the chainlinks around
Corte Madera’s tennis courts.
Looking in, longing, watching
The yellow-green blur of
Life flying from racquet to
Racquet. He is a recurring
Ectoplasm, a Senior who can’t
Afford the forty dollar key to
Tennis playground, but always
Hopes to hit a few with players
Whose partners are stuck in
101 traffic, just a few rallies,
A bit of rhythm between the two
Sets of taut strings. Longing for
Connection.

I have been a ghost
And will be again, longing
For connection.

I am a Senior by Actual Count,
Experiencing the tidal suck
Of life from old marrow, the
Invisibility and inconsequential
Station accorded by the young
To creatures from the dark ages
Before Universal Access and
iPhone intrusion in toilet
Stalls and crosstown busses.
We invented youth! Sixties’ hippies,
Trust no one over thirties,
We declared holy the noble
Naïf, unspoiled by ancient letters
Dusty romance, pro patria poems.
We cooked insouciance
With a side dish of Scorn.
Now we antic, pacifist warriors are
Over Thirty and we see ourselves.
It is us, grasping the
Chain links of years, looking,
Longing, into the playground,
Wheedling connection, response,
Rhythm, a few rallies. At length
We recognize how dead we’ve
Become. Marley’s Ghost, did he
Wander familiar streets unseen?
Sit too deep in familiar chairs?
Weep dry tears as the living
Passed unseeing? Did his
Agent never call, his lovers
Forget his scent, his children
Refigure their lives without
Reference to Marley?

We ghosts cobble up our own
Walhalla, where the young, straight
Men of the tribe come to our tents
To seek wisdom and poetry,
Advice on taxes and women,
To hear elders discuss with
Authority the game paths and
Planting cycles, to plan
Intelligently, soberly, with the
Stabilizing feathers near the
Arrow’s nock, giving the tribe
Its wise spin of continuum.

Like all Walhallas, ours is a
Fraud, a coffee klatch of
Old men complaining in
Comfortable lies.
Ghosts stay until
Transparency becomes
Tedious, then fade
Gladly like dew in
Sunshine.




BRAXINOSO SPEAKS

Himself is not fading. He's between books, eating compulsively, exercising infrequently, looking for a consort without fangs, and generally making a nuisance of himself. But there is a slight up-tick in his demeanor, a few new stories, and some hope for his heart, even as the light dims too, too early. This is a dangerous season for the old Depressive. I'll be attentive.

Tuesday, April 27, 2010

CHICKEN ART

My dear old friend Dean Torges, whom I met when I was about twelve, is a master woodworker, a philosopher, one of the most intelligent and most thoughtful men I've ever met. He's a world-famous bowyer, and (this is a compliment from the era of Theodore Roosevelt) a woodsman and hunter of consummate skill. But presently he's building a chicken house. It's a mobile chicken house. A chicken's need for new vistas is something I simply never considered. Still, Dean knows chickens. He's raised them on his little Ohio farmlet for donkey's years and enjoys his own eggs, broilers, and smoked whole chickens. I suppose he knows chickens better than most and if a mobile chicken house will help his fowl, who am I to quibble? He's even built mobile outbuildings, mesh-covered bomb-shelter frames that roll on old lawnmower wheels to keep his chicks out of hawks' talons. Fowlopolis.

He's endured a large ration of kidding about the time he's spent with his elaborate, over-built, fanciful main chicken house. It's a wonder, the Colossus For Rhode Island Reds. I admit to being part of the ridicule: I designed an elaborate windvane for a mythical cupola, as a joke. The cupola is in place and he's cutting the windvane out of sheet-copper presently.

After all the jokes and fun, I find that Dean's chicken house approaches the sublime. I would enjoy sitting on his porch and simply watching his busy Fowlopolis. As an antidote to the ribbing he's getting, I sent him this post:


Dean:

There are burghers and builders who would criticize and even ridicule you for occupying weeks of work with this project. Your project would delight them as an opportunity to prove their superiority in the only game they know: appropriate response. Your response is impractical, disproportionate, questionable because it could be done so much simpler and with less expense. Buy a Home Depot shed, have it delivered, cut some holes, you're done. All this farting around with special shingles and overbuilt framing … who needs it? Get 'er done! Don't sweat the small stuff, and don't try for some high-falutin perfect solution because chickens is chickens and they just don't matter that much. And do the chickens care? Hell, no. This Torges guy is just showing off, making a mountain out of a molehill.

I, for one, admire any wizard who can make a mountain out of a molehill. It's not just a great trick, it's Art. Let's admit right up front that the Sistine Ceiling could have been done with rollers and a nice Benjamin Moore bone white in a sliver of the time it took that greaseball to tart up the place. Who looks at ceilings, anyway? They keep the rain off and there's an end to it.

Some folks would call your chicken house as a quixotic task, but that would be a misuse of the word's original sense. What our jolly wild-and-crazy-guy era doesn't recall is that Don Quixote was a psychopath. He was mad, delusionary, senile. The beauty of the Don was that, even in his madness, he saw goodness and beauty around him. The heroes of that story were Sancho Panza, for sticking with the old fellah and caring for him, about him, and the son-in-law, for going to such lengths to bring the old guy home. You're not mad, Dean. You don't hear the chickens talking to you. (Is there something you're not telling me?) You're not creating a portal in time or constructing an elaborate reliquary. You're building something just-so. My hero, Mr. Rogers, reassured his audience of children that it was fine to "take your time and do it the way you want to." You're expressing the essence of art, Dean: choices beyond practicality that address larger, subtler, sometimes indefinable issues. Your chicken house is not practical but, damn, it will be interesting and in its inimitable way, beautiful.

You know I don't have much truck with organized religions but recently I've been reviewing my peevish, self-obsessed elitism about the church. Like the burghers and builders criticizing your chicken house, I've using bits and bobs of religion to prove my own superiority: I pretend that I'm the logical thinker, the spiritually practical guy, and God loves me more because I don't bullshit Him. But the (broad, many-factioned) church has cherished our myths and stories, has maintained our spiritual culture, and for all its pedophiles and anti-intellectual Bible-thumpers and derelict Popes, it's kept our cultural heritage of love and forgiveness as ideals alive. These aren't practical values. They don't get 'er done when we're assailed by bad guys. They're dangerously impractical ideals. At a glance we might say they've been ignored more often than practiced. They've been subverted thousands of times, marginalized, and redefined to suit. Even so, they're still with us. Not even Dirty Harry could blow them away. The church has, probably unwittingly, been a culturally integrating force.

Now that I have Max and Luc to consider, I wonder how I can frame a set of ideals and values so they can carry them early and make them part of their character later. One oversimplified, gross solution is to say that God wants them to be good, and this is what we think is good. Why? Because God told us. Honestly, one can't sell love and forgiveness on practical grounds. They're like your chicken house: who would buy them? They're too costly and too quirky and they don't fit the observed data. The only way to sell them might be magic thinking, which I avoid. "Why?" Because God said so, that's why.

It's a beginning. And it's a continuum. "We hold these truths to be self-evident …" Do we? Is truth self-evident? Was independence self-evident as anything more than personal convenience for our Founding Fathers? It's an article of faith with us that truth is simple and understandable but this isn't always a workable assumption. I suppose that's the catch with ideals: they often confute practicality.

What good accrued to the Samaritan who comforted the waylaid traveler in the parable? Nothing practical. He lost money on the deal and went on his way. The Samaritan's ideals – impractical chicken houses of the heart – obliged him to act in an unexpected, illogical, impractical manner. Qui bono? The waylaid traveler. The Samaritan received, we hope, some thanks but not even bragging rights.

Bless your ridiculous chicken house, Dean. It's impractical and a massive waste of time. But it's just so. It's a work of art like one of those kinetic sculptures at Boston's Logan Airport: they endlessly lift tennis balls to a height and let them follow a rolling random course down a mechanically changeable path. What does it do? Nuthin'. It beguiles. Those sculptures have given me hours of pleasure and contemplation. Bless you and the kinetic sculpture guy and your chicken house and all who sail in her.

BRAXINOSO SPEAKS

I worry when Himself waxes poetic about impracticality. It's like an habitual gambler extolling the graphic and mathematical beauty of poker or craps. His connection to the practical world is already too tenuous. Would I recommend that he tilt at even more windmills with the mad Don? I think not.

Friday, March 19, 2010

NIGHT STUFF

My naps are precious to me: gourmet sleep. Yesterday I had one of my best naps. This flu cycles on and on like World War I, control ebbing and flowing between my macrophages and the viri, so I’m mostly tired. Having completed a piece for WoodenBoat I took my little fleece blanket and walked into the Big House backyard. I rolled into the rope hammock at the far end of the yard, tucked the blanket up under my head, covered my eyes with my battered Panama hat, and slept for an hour in the gently swinging hammock. The air was like wine, the temperature perfect, and breeze light, and the sun was filtered through leaves. God smiled on me and I slept as peacefully as a boy.

This morning I was awakened by the hardest working piece of local equipment I know of – a little John Deere six-wheeled, motorized utility cart owned by Maragus Stables across the road. The Hispanic ostler is up and working before sunrise. I heard him this morning at 0530h and put on my glasses to watch the lights of the cart scuttle around the paddocks. I opened the window by the bed to hear the ragged purring of its engine. He was giving the horses their morning flakes of green-flecked alfalfa hay.

Sometimes they wake at night in their standing sleep and kick the backs of their stalls or ring the galvanized pipe fencing with their iron shoes, peevish for some equine reason. Humph, “reason” isn’t a quality I associate with horses; they’re not intelligent animals like a dog or a dolphin but herd creatures bound by strict codes of behavior. A few of them have been trained against their herd instincts to be useful in ways, and any riding horse has had its natural balance (usually on the forefeet) readjusted to carry weight on four legs. They can be domesticated but not brought into real communication. So I don’t attribute high-jinks in horses to cleverness or spite but merely to herd protocol reasserting itself in some obscure way.

The cart made its dark rounds, and it’s making it day rounds in the full sunlight now, the day-guy picking up horseapples with his plastic mucking rake and tossing the rich, hardly processed dung in the cart’s tipping back. He’ll run it 150 yards up Wildwood Lane and vector off to the north side of the Lane where at least a hundred tons of horse manure – what must be an obscure fortune in nutrient – age. The Maragus property is a long slice from the road to the edge of the woods where the manure heaps are, just where the hills begin mounting abruptly to the ridge behind us, in our southwest. That’s the ridge that separates Novato from Lucas Valley; George Lucas’ Skywalker Ranch is just over the long, descending spine stepping down to 101.

The time before sunrise, before that magical time the Prudent Mariner knows as “nautical twilight,” is dangerous territory for reflection. For a person like me with odd sleep habits – and maybe old guys’ sleep habits are always odd – seeing the lights of any job activity actually underscores the alienation of night dwellers like me. It often backs me into acknowledging just how far outside the mainstream of life I am, how little I share with my fellow citizens. If anyone at the bank or the grocery could see my life written on my forehead I suppose they’d be mildly shocked that I’m not one of them. I don’t have a job, per se, but a self-marketing profession with remarkably little paperwork. Much less, I’m sure, than the bank and the IRS would advise. I have digital trails of iteration and reiteration of my designs and my texts as progressive digital files. There’s a big cardboard folder of original pencil drawings that have been scanned as working files to be wrangled with PhotoShop and Illustrator into products. Much of the production work has been done long past the bedtime of sensible citizens who prepare themselves for sleep an hour or two before midnight.

Occasionally at the end of a late session I walk outside and look at the stars. I’ve turned the movement-activated light outside my door off so I’m not greeted with a nasty flash, and I know how far I can walk up or down the side-drive before the backyard lights or the garage front lights see my heat signature and flash on. For some reason I can almost always see Orion in the celestial lane above the black line of roof to my northeast and the ragged line of poplars to my southwest. I’d go farther and even walk down the road but I’m fenced in like the horses by the danger of a disappointing, intrusive, rude glare of suspicion from the who-are-you front lights.

It’s dangerous to feel so alien and hemmed in and uncollegial. I should live in a village where the grocer and hardware clerk know me and anchor me to life with small talk. I think I’d enjoy having a payroll clerk deduct taxes from my paycheck, and have folks tell me what we were doing. I believe I’d look forward to lunches with various people and to jokes and to family news.

The time before nautical twilight reminds me that at my age, at my level of skill, in my profession/s, I’m unemployable in any practical sense. My collegial time is used up. I’ve become a troll keeping odd hours and wondering about other alienated souls in the dark.

My friend Pat Gavin, the cop, habitually preferred solitary night shifts. His view of humanity was a bit jaundiced: he said that after one in the morning a cop seldom meets anyone who isn’t drunk. In DC I often saw him going on shift or coming off. When I hugged him – he was a very dear friend and one of the best men I’ve known – I’d feel the stiffness of his Kevlar bulletproof vest under his uniform shirt. He’d been shot before, almost fatally, and you could expect that Kevlar as part of his hug.

It would be useful to have some “on-line now” notice on e-mail or some social web program, to know how many of one’s friends – cops, painters, writers, designers – were up and about, someone who might enjoy a chat or even a cuppa.

Carl Sandburg captured night people very well in one of my favorite poems, “Psalm Of Those Who Go Forth Before Daylight.”

THE POLICEMAN buys shoes slow and careful;
the teamster buys gloves slow and careful;
they take care of their feet and hands;
they live on their feet and hands.

The milkman never argues;
he works alone and no one speaks to him;
the city is asleep when he is on the job;
he puts a bottle on six hundred porches and calls it a day’s work;
he climbs two hundred wooden stairways;
two horses are company for him;
he never argues.

The rolling-mill men and the sheet-steel men are brothers of cinders;
they empty cinders out of their shoes after the day’s work;
they ask their wives to fix burnt holes in the knees of their trousers;
their necks and ears are covered with a smut;
they scour their necks and ears;
they are brothers of cinders.


CARL SANDBURG, Cornhuskers, 1918

BRAXINOSO SPEAKS

Himself is several kinds of fool, as soft-hearted and well-meaning as he is. He should get to bed and get his life into synchronus with life and people. He should get out and avoid reflections on alienation. We're all alone on our own iceberg. It does little good to emphasize that fate.

Wednesday, February 24, 2010

BIG OCEAN

When we taped the promo sequence of our Childrens Public Broadcasting hopeful, "Ahoy Archimedes," I signed off with an antique sailing farewell, "Fair winds, a flowing tide, and following seas". This is a farewell in the original sense of “fare thee well.”

Fair winds are those blowing in the direction you’re bound. A “flowing tide” is the fortunate opposite of a “foul tide” (current against you). Following seas lift and seem to carry you – anyone who has tried to make headway in a “head sea” (waves opposing your course) knows what a buffeting, frantic, frustrating experience it can be.

The tide might seem a mega-force acting over enormous areas that has little application to tiny boats on its surface. At sea, yes. Onshore, it is to larf. When enormous areas of water attempt to empty from or fill up smaller areas of water, the resulting water pressure and consequent current can be shocking. Tidal bores in France and in China regularly set up six-foot to eight-foot walls of water moving at the speed of a bus up tidal rivers. The wicked “holes” between Buzzards Bay and the Vineyard and Nantucket Sounds see current twice a day that challenges the bladder control of staunch, experienced skippers. In one of them, Woods Hole, steel ocean buoys six and eight feet in diameter, weighing several tons, whip back and forth in the full flow, appearing at the surface only at one limit of their heavy mooring chains, emerging in a boil of water like sportive dolphins, sucked down again to make the next circuit and rear up at the other chain-limit. Tidal current fills and empties the Bay of Fundy inside Nova Scotia, making a waterfall that reverses directions twice daily, and giving ports at the head of the Bay a tidefall of (a flabbergasting) forty-five feet. To put this in perspective, the tide there would cover and uncover a four-story building twice a day.

When the tidal current runs against the wind, it sets up an unholy chop. At the mouth of the Cape Cod Canal, where the six knot SW current meets a steady twenty knot “smoky sou’wester,” standing waves of eight and ten feet set up in the channel off the Canal’s protective breakwater into Buzzards Bay. Watching a fifty-foot yacht expose half of her bottom, from forefoot to keel, before she crashes into the trough is impressive from shore but truly breathtaking from the deck.

One of the explanations I was making to Kai, a delightful kid who was part of our taping, is that a wave isn't what it seems. A wave is an energy pulse that travels through the water, while any given molecule of water stays pretty much in the same area, moving up, forward and back in a circular or elliptic motion. The water stays put (except for current effects) while the physical disturbance of the water travels on. The wicked surf on many beaches is an amplification phenomenon – the energy of the pulse rebounding from the shallowing bottom when the depth is less than a certain proportion of the waves’ height and period (length or time between crests). The rebounding energy increases the height of the waves without affecting the period, so the amplitude (height) of the wave is multiplied and, eventually, can’t support itself structurally and “breaks” – surf. There are tremendous waves at sea that can be very impressive from a small boat. It's not uncommon in, say, the Roaring Forties (40° south latitude) for seas to reach a regular height of forty feet and their crests, blown by wind, break in “combers.” Breaking waves like this are called “graybeards” in respect and awe. But the period of these graybeards, the length between crests, is dictated by wave physics uncomplicated by bottom amplification and can be a quarter or even half a mile.

In the vast fetch of the sea (“fetch” is the distance over which waves travel and grow) the waves around you may be generated by more than one factor. A storm working up the sea a thousand miles away can send its waves to you, and this “train” of waves (a long set of energy peaks) meeting your local waves at an angle can amplify, diminish, or alter the frequency of your wave conditions. It can be tricky to steer in a “confused sea” like this because the pattern of amplifications and diminutions seems random (which it ain’t).

Traditional oceanography was pleased with its wave theory until recently. Water is, after all, a relatively uniform fluid, so physical laws apply uniformly. Obedient wave equations had been built and confirmed. You seen one wave, you seen ‘em all. Professional bluewater sailors disagreed. Many have faced the phenomenon of “rogue waves,” which were considered folklore until sober reports from supertankers, research vessels, and sea-measuring radar satellites confirmed their existence. It’s now considered likely that, at any given moment, ten mountainous rogue waves are alive and rushing across the World Ocean for hours at a time, some in excess of a hundred feet. In 1943, for instance, the celebrated liner RMS Queen Mary had been pressed into service as a troop ship. She was capable of such extraordinary speed that she needed no conventional convoy escorts but she was sometimes accompanied by fast-moving, sub-killing Navy blimps. The Queen Mary met a a pair of rogue waves, startlingly larger than the “normal” storm waves around it. One wave was photographed from a blimp breaking OVER HER BRIDGE, ninety-three feet above her waterline. Bridge windows were stove in, the bridge flooded, and the Queen Mary, among the largest ships afloat, nearly went down in the battering. She listed 52° for several minutes before she righted herself and continued.

There are mysterious places – the Agulhaus Current off the Cape of Good Hope is one – that also produce rogue troughs, “holes in the sea.” A British warship encountered one in the 50’s, fell into the trough, and kept going down. Lost with all 600+ hands in a few moments.

A tsunami is not a rogue wave. Indeed, the energy pulse of a tsunami can pass under a ship without notice. It’s essentially a huge convex disturbance of the surface, of such a scale that a ship wouldn’t be able to detect it. When it reaches the continental shelf off the shore, however, bottom reflection of energy converts it to a giant, lethal wall of water.

The point is that our World Ocean is aqua incognita. It ain’t Kansas. It is an arena in which humanly unimaginable forces dwell daily. We don’t know a great deal about the ocean, so far, and haven’t devised a way to live securely on or in it. Bits and pieces of information drift in like flotsam to the shore. Space Travel? Captain Kirk and the Enterprise? Puh-lease. We’ve got places a few miles offshore where no man has gone before.

NOTE: SAILOR FOLKLORE

There is an ancient joke about sailors’ reportage: What’s the difference between a “sea story” and a “fairy story?”

A “fairy story” begins, “Once upon a time…” A “sea story” begins, “Now this ain’t no shit…”

Readers are assured that, within the limits of good-faith research and suppression of poetic license, the above ain't no shit.

BRAXINOSO SPEAKS

As Himself has often said, "No one can love the sea." It's too cold and cruel and unfeeling and dangerous. But it's difficult for a thinking person not to be fascinated or even obsessed by the sea. The cowboys say, "The outside of a horse is good for the inside of a man," and the hayseeds may be right. But ocean fascination and being on the water is good for the heart and mind. Neither Adkins nor I have any pretensions of mastery or even professional knowledge of the ocean. We're shoreside dabblers, coastal sailors with occasional leaps across blue water. I'm glad that neither of us has false courage about the water. One is especially pleased that a romantic like Himself still has a healthy fear of setting out on the face of the mighty deep, even when it's shallow. Fear is a much-underrated virtue.

Tuesday, February 16, 2010

CLINKER-BUILT

Every Tuesday evening at the Dolphin Club we give the pulling boats some care – repairing, sanding, varnishing, rebuilding. After we work three hours or so, we all eat together in the boat house at long tables.

A big crowd tonight, but not because it's Fat Tuesday and one of the members has made jambalaya. Big doings in the shop. Word has gone out that the Club's boatwright, Jon Belinski, is installing five new ribs in one of the older pulling boats. This is a rare demonstration of antique skills and methods, requiring teamwork, timing, speed and finesse. It's more than woodworking.

The ribs begin as tough locust staves. To bend this adamant wood into the fair curve of a rib, it must be cut to its cross-section and steamed in a long, closed, hissing iron pipe for half an hour. The locust ribs emerge at 200°F+ as limp as noodles. Limp for only moments. We will pluck ribs out one at a time with thick gloves and push them into the boat's inner shape, working feverishly before the inner heat dissipates and the locust stubbornness revives.

Contemporary sport boats are, in the old Massachusetts boatyard phrase, "built by the mile and cut off to suit." They're mass produced. You won't see ribs being steamed unless you haunt a cranky New England shipwright's shop peopled with wood-heads devoted to traditional (read "lavishly expensive") wooden boats built more carefully than a Hermann Miller coffee table.

We walk through the steps we will take in dumb-show first, noting where our feet will go, what will be in the way, who must step back, who must come forward. Everyone must work fast and in close concert, because the locust will be flexible from the steam box for less than a minute.

We take special care of these exquisite craft but they endure. Some are older than any of the people who work on them. And because why, mate? Because these 'ere boats is clinker-built, as light as eggshells but tough as pigs' noses. They are San Francisco variations on the Whitehall model. This means that they are rowing boats with a distinct and delicately cupped shaped, a "wineglass" transom (aft end), and that they're very light for their size, built in the ancient "clinker" construction.

"Clinker" is an Old English cognate of "clencher," which indicates that the boat is constructed of thin, overlapping planks of a light, flexible wood (in this case, white cedar) "clenched" to thin ribs with copper rivets. This fastening mode is a very old usage that binds more tightly than nails and more securely than screws. Indeed, nails and screws wouldn't have much to "grab" because the stock is so thin. The soft-as-cheese cedar is milled thin, not much thicker than 1/4" and about three inches wide. The ribs are only 5/8" wide and about 1/2" thick. While they're still whippy and hot, we will drill through and secure a rib, the lower part of an overlapping cedar strake (one of the curving horizontal planks) and the upper part of the next strake.

Now. A rib is whisked out of the steam pipe, slammed into the boat, bent against the soft interior curve of the strakes and forced under some of the boat's inner structure. Held hard, holes are immediately drilled, time management and tool quickness.

As soon as the holes are made a copper riveting nail is tapped through them. The "nail" is square in section to grip the wood more tightly. A round copper washer – called a "burr" – is forced over the square nail with a special riveting tool; it's like a chisel with a flat, blunt end drilled with a hole for the nail to occuply, so that whacking the burr down onto the nail forces the rib and strakes together. When the riveting tool is taken away, the nail is snipped off just above the burr and, while one partner "bucks" (holds a heavy iron on the nailhead end to prevent it from being driven away), the other shapes the soft copper with a small ball-peen hammer. This is the hammer with one flat head and one round head, made specifically for work like this – shaping the "mushroom" with the round head is called "peening". The copper is so malleable that it mushrooms over the burr and each stroke of the shaping ball-peen tightens the assembly.

It seems like intolerably fussy and unnecessary complication but it's the only thing that will bind these whisper-thin planks and light ribs into a remarkably rigid, nearly monocoque hull. It's historic, it's ancient methodology, very cool to watch and do.

Jay and I work as a team. Half the time I'm above the boat, tapping the rivets home, shaping the mushroomed-over heads in the soft copper. Half the time I'm under the boat, lying on the shop floor, holding the heavy bucking iron against the nail head. The shaping is a more focused task, it requires more care, but holding the bucking iron is heavier work.

There are compensations for that heavy work. Lying beneath the boat's lyric curves I see each strake describing a separate curved plane with a strake-thickness separating it from the next plane – graceful lines paralleling and harmonizing, the color of the varnished white cedar glowing golden and varying with the glare from every work light, shading from dark umber in the shadows to chrome yellow in the light. Beautiful.

The locust wood ribs emerging from the steam box smell bitter and damp. The drilled cedar smells like incense. The tapping and the calling between three or four sets of partners – two sets riveting, two sets placing new ribs – has a discernible rhythm and order.

The work had a sensible urgency and a splendid, strong outcome. What do we do in our lives that gives us much of that?

BRAXINOSO SPEAKS

Himself needs more physical work and more contact with working people. The abstract life of a writer and illustrator can be barren, like a room decorated with B&W print-outs of reports. A room and a life need color and a bit of mayhem.

Friday, February 12, 2010

MINE CANARIES

CREATIVE PEOPLE have always lived in the thin ends of the bell curve, out on the fringe, scuttling about and picking at the table scraps of big money. The exhibits I've had a hand in designing, the books I've created, the articles I've written, the films with which I've worked – they've all been secondary fruits of "loose money" freed up for social projects by embarrassingly large profits. When profits dip, artists are the mine canaries of capital flow: we fall dead off our perches before the big guys can feel the pinch. Looking around me I see a lot of empty perches. And there's a bit of a rasp in my throat, as well.

What follows is part of a reply to the director of the Bay Area Discovery Museum, a lovely place for little guys. I proposed we collaborate on some exhibits and he, graciously and reluctantly, confessed that the BADM didn't have the funding to pursue anything new in this crunch. I replied:

Yes, the economy is harsh, but I can’t imagine any other result from our global adventuring. As Shackleton said, “Adventure is a sign of incompetence.” We don’t seem to manufacture anything in the hardware store, now. Many of our best young men and women are scattered across the world fighting and dying for folks who don’t want us there. We’re fouling our nest but can’t seem to stop. The rolling juggernaut of corporate America more or less ignores all our objections and cries. Yet we DO live in a favored land, and our culture IS strong, has a work ethic, and has good roots. The problem could be that our leaders don’t demand much of us, or much more than merely spending. The children you and I try to encourage will reap the whirlwind, and that right soon.


My current book project is Black Bonfire, about the end of cheap oil. It’s inevitable, calamitous, and much, much closer than I imagined when I began the book. The book is directed at young adults, giving them an overview of energy as they enter adulthood, as they become citizens. When you want to do an exhibit on just how deeply oil has become the warp and woof of life, give a shout. If you’re sitting inside, everything you see – from wood paneling to steel shelves to plastic pens – is or was put together by oil. Oil that we won’t have.


So how do we, as creative workers, survive the present economy? Dunno. We’ve always been on the fringe, depending on an upstream flow from the largesse of wealthy patrons, not too far removed from Cosimo de Medici. I suppose we can hope that the wealthy will always be wealthy. I’m not sure that will be borne out in the cultural upheaval. I don’t want to sound apocalyptic but major institutions will change. The hoary dictum, “What good for USSteel is good for the country” isn’t quite so true.


Perhaps we’ll survive like that marvelous soul William Kamkwamba, who built a windmill in his yard from junk and electrified his African village. What do we need with the Incredible Hulk and Batman when we have Kamkwamba? Perhaps we’ll build our exhibits out of local junk, building from the midden pile of Marin society. Our work could come to resemble the ancient trade of the storytellers who traveled from village to village, sitting under trees and eaves to spin out tales that amazed and informed.


[Jon Steward interviews Kamkwamba at http://www.thedailyshow.com/watch/wed-october-7-2009/william-kamkwamba]

Artists. We're all canaries trying to survive this oppressive atmosphere, clinging to our wobbly little perches with our feeble claws, and still singing brightly. How many friends do you have who are paralyzed by dread and frustration? On the other side, how many artists do you know who are doing jes' fine? If it weren't for Zoloft, we'd have a mass suicide of artists (something like M. Night Shyamalian's The Happening) and the balance of the population would say, "Whatinhell have they got to complain about? All they do is sing and swing."

BRAXINOSO SPEAKS


What Himself neglects to acknowledge is that living on the fringes is a choice, not a profession. I could be demonizing the victim by bracing him thusly, but living on the fringes is inherently dangerous and unstable. The deep, strong current is where the action is, not the back eddies in the reeds. It's artistic hubris to assume the world will pull you triumphant from the edges and proclaim you its darling. Himself has a task: get into the mainstream or perish. This is harsh advice but so is the economy.