HOPSCOTCH REMEMBERED

THE SUN CAME OUT this morning, so Laura and Hannah were out in the driveway. Hannah was drawing on the concrete with big chalk. I walked down and was drawn into the chalk drawing. Hannah lay down so I could trace her outline. This was so fine that Laura lay down and had hers done. I laid down but rather than flat-on-back, arms-outspread, I tried a lying-on-side profile. When I drew a cross for my eyes, the driveway became a crime scene. Naturally Laura insisted on her own crime-scene profile, which she got. I did two cross-eyes for this but it disturbed Laura considerably and she tried to wash out the "dead eyes" because, she said, "this is beginning to look sick."

She took the kabosh off our crime scene by drawing a familiar figure farther out in the driveway: a hopscotch matrix – one, two, three, double, six, double, nine, heaven. We showed Hannah how it was done. She refused to get into the racket but demanded that we continue.

I returned to my studio (proclaiming my intention to "use the potty," since Hannah is in the midst of intense potty training, big girl pants, &c) and looked down at the hopscotch matrix. What a familiar figure and how evocative! It was probably a game played when Gilgamesh was king. Of course it was a girls' game. I can't remember the play or the scoring and refused myself the time for Googling "hopscotch." It made me consider the flow of time, yet again this week.

When I began seriously fooling around with computers the industrial design studio with which I worked in Providence, RI, had a memory hard drive with a 2 GB capacity, a larger drive than I'd ever seen. We thought this amount of 0's and 1's was extraordinary, amazing, who could use so much? Sitting next to my keyboard presently is a SanDisk thumb-drive as big as a French fry with a memory storage capacity of 4 GB. I bought a pack of three at CostCo for under $30. Things change.

My first commercial flight was aboard a DC-4. The service of the “stewardess” was attentive and pleasant. We walked out onto the tarmac to board via a rolling set of steps. Our friends came to see us off (we were flying from Pittsburgh, Pennsylvania, to Tampa, Florida, by way of Atlanta, because Wheeling had no commercial airport). A 5’ chain-link fence separated the onlookers from the runway. In the air I got ear-popping gum as a matter of course. Later a meal was served handsomely with airline-monogrammed silverware. Each diner had tiny salt and pepper shakers. I was invited to look at the cockpit. It was more impressive than contemporary cockpits because radial engines need more complex monitoring than jets, require a "flight engineer" and have close to a hundred dials. The cockpit door was open most of the time. No one had highjacked an airplane. What a crazy idea. They'd know where you were going, right? You couldn't get away with it. What kind of a nut would highjack an airplane?

I'm proud to say that I received Flying Wings as a bona fide flight passenger when we reached Tampa.

I flew the week after 9-11 (I had lost a friend, Anne Judge, in the Pentagon crash that day) but haven’t flown since exploding underwear came into vogue, so I don’t know the drill of not covering one’s lap, drinking liquids or humming “The Battle Hymn of the Republic” during the last half hour of flight. One crazed Islamicist attempts to light his sneakers and millions of Americans take off their shoes. One supposes that next year we’ll be flying naked with a mood probe up our ass.

I’m one of those people who remembers early-childhood experiences, like the texture of the cast-iron crib at my grandparent’s summer place in the West Virginia mountains, or the sound of cars passing on the dirt road directly in front of that cottage, or the smell of the green, slightly translucent wallpaper cleaning dough my mother used at our house on Wheeling Island, or the smell of the pineapple-flavored rum my gramma and grampa brought back from Cuba. I remember the gritty feel and stony smell of Lava soap, always beside the sink because my grandfather, father and uncles worked in the shop. I liked the smell of Jergen’s Lotion, Lifebuoy soap, and my father’s green Mennen’s Aftershave. That was his smell. I loved spaghetti, partly because (in our Wonder Bread world) it was so exotic.

We sometimes took road trips with my Uncle Charlie and Aunt Mary. One of the trips brought us to Washington, DC. The Smithsonian was wonderful. I put my nose into the tiny porthole of the Explorer II high altitude gondola, a black and white sphere sent manned into the actual stratosphere by the National Geographic Society. The old, uncirculated air smelled musty and dry. There were two sets of drinking fountains; it was disappointing that the fountains under the “COLORED” sign offered plain, uncolored water. At the National Zoo the keeper at the primate house showed us that the monkeys ate well, breaking off a dense, sweet cornbread made with honey, bran, seeds and vitamins, fed to the chimps. When he took a bite my mother, who was definitely a delicate creature, almost fainted. When I took a bite from the keeper before she could stop me, she was forced to sit down and recover. It was delicious. I wish I had a piece right now.

Things change. My G-4 Mac computer is now, ahem, "old." The notion of air travel as an elegant way to go is antique. Presently it's a feedlot experience. I’m an old guy now. Thank God for stents, Zoloft and Viagra. And also, thank God for the beautiful sun that burned through the rain and fog at last. Maybe I'll Google "hopscotch" tomorrow.

BRAXINOSO SPEAKS

Childhood memories are odd artifacts. One wonders if they're honest. Things Adkins' grandson Max has said seem to reflect the long labor of his birth as a memory of his mother "trying and trying to get me out." Still, I must be aware that Himself can grow morose with too many memories. Looking back too earnestly ensures a stumble in the present.

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.