Tuesday, June 20, 2017

#SOL17: Courage and the Writing Group

self portrait with iphone (Paris, 2016)


Tonight I will be attending my weekly writer's group and for the first time we will be discussing work I produced. The majority of writers in the group write fiction. Only one other is writing memoir, like me. Last week we met in the bathroom and each confessed a bad case of nerves. 

It's so revealing, I said. There's no place to hide.
I know, she added.  

It's a sizable group--usually about a dozen people. Each week, two works are discussed and everyone around the table says something, often with sharp details about the work, and at the end of the session, the author is given the written comments from each group member.  I have learned a lot the last month listening to others critique work I have read too.  We read differently and there is something rather grand about that. This insight reminds me that we ought to acknowledge and celebrate different interpretations and noticings at school instead of requiring/expecting/celebrating the more homogenous reading of texts.


Since I submitted my work, last week, I have been imagining various responses of those who have read the 15 pages. My worst fears are these:

Stop writing. Just stop.
You shouldn't try to write anymore.
What you have written simply isn't good enough.
It's too depressing.
Can't you write something more cheerful?
What was the point of this?
I was bored reading this.

Now, in my heart I don't think anyone will say this directly, but I do wonder if some might think some of this. What I do think is possible, as I have thought it too, is that some may say that the work meanders and a reader might grow impatient and wonder, what exactly do you want me to feel here? And the answer is that I don't know exactly.  I am one of those who writes to discover.  I am writing a memoir that chronicles Rob's death and the aftermath that comes with living, being a widow, and being a single parent of a high schooler.  Such change.

Crafting a memoir requires me to think about the through lines in the work. What do I need to tug and make more explicit at a structural level? Thematic level?  Figurative level? To help, I am blocking out chunks of time within the narrative and telling the stories that surface and then I will go back to refine the work by asking:

What truths emerge across the pages and across the months? How can I code this?
Are there motifs present in the work? If so, what?
What metaphors are at work? Are any extended?
What lessons seem more important, than merely interesting?
What remains ambivalent? Is that a strength?
What is repetitive and does the repetition advance or likely cause a reader to stumble, lose interest?
How does the mix of prose-poetry style work? Is it coherent? Is art work needed or not?
How does the writing look on the page?
Is the work brave?
Do I feel this? How raw is too raw?
Is there redemption?  Is that necessary?
What surprises me--catches me unaware?
Have I lost my way?

There's much to consider. For now though, I am seeing this sharing of work as courageous.  It's been a year of being courageous. Perhaps that is one of the through lines.

I'll let you know how it went.

Monday, June 19, 2017

Grammar and Vocabulary Resources for Middle School ELA Teachers

from here

In the last month, I have been asked by several middle school ELA teachers for professional text recommendations that they can read in order to strengthen their knowledge of vocabulary and grammar.  Below are books and articles that I have found most helpful.Curious what you think and what additions you might add.

Articles - Grammar

Anderson, Jeff. (2006). Zooming in and zooming out: Putting grammar in context into context. English Journal, 95(5), 28-34. 

Ehrenworth, Mary. (2003). Grammar--comma--a beginning. English Journal, (1), 90-96.

Fearn, Leif & Nancy Farnan. (2007). When is a verb? Using functional grammar to teach writing. Journal of Basic Writing, 26(1), 63-87.

Graham, S., Capizzi, A., Harris, K. R., Hebert, M., & Murphy, P. (2014). Teaching writing to middle school students- A national survey. Reading & Writing- An Interdisciplinary Journal, 27, 1015–1042.

Nunan, Susan Losee. (2005). Forgiving Ourselves and Forging Ahead: Teaching Grammar in a New Millennium. English Journal, 94(4), 70-75.

Saddler, Bruce. (2006). Improving sentences via sentence combining instruction. The Language and Literacy Spectrum, 16, 27-32.

Smagorinsky,Peter,  Wilson, Amy Alexandra and Cynthia Moore. (2011). Teaching grammar and writing: A Beginning teacher's dilemma. English Education, 43(3), 262-292

Weaver, Constance, Carol McNally & Sharon Moerman. (2001). To grammar or not to grammar: That is NOT the question! Voices in the Middle, 8(2), 17-33

Books & Chapters

Crovitz, Darren & Michelle D. Devereaux. (2017). Grammar To Get Things Done: A Practical Guide for Teachers Anchored in Real-World Usage. Urbana IL: NCTE & NY: Routledge.

Noden, Harry. (2011). Image grammar: Teaching grammar as part of t e writing process, 2nd edPortsmouth, NH: Heinemann.

Pinker, Steven. (2014).  "Telling Right from Wrong: How to Make Sense of the Rules of Correct Grammar, Word Choice, and Punctuation." from The Sense of Style. New York: Penguin.

Sadler, Bruce & Kristie Asaro-Sadler. (2010). Writing better sentences: Sentence-Combining instruction in the classroomPreventing School Failure, 54(3), 159–163.

Strunk, William, Jr. (1999). The Elements of Style, 4th ed. Pearson. (free ebook)

Weaver,  Constance. (1996). Teaching grammar in context. Portsmouth, NH: Heinemann.

Weaver, Constance. (2008). Grammar to enrich & enhance writing. Portsmouth, NH: Heinemann.

Williams, James D. (2005). The Teacher's Grammar Book, 2nd Ed.  Mahwah, NJ: Lawrence Erlbaum. (pdf of book)

Zinsser, William. (2016) On Writing Well: The Classic Guide to Writing Nonfiction. New York: Harpers. 

Vocabulary Articles

Baumann, James F. & Michael Graves. (2010). What is academic vocabulary? Journal of Adolescent & Adult Literacy, 54(1), 4-12.

Blachowicz, Camille L.Z., Fisher, Peter J.L., and Donna Ogle. (2006). Vocabulary: Questions from the classroomReading Research Quarterly, (41)4, 524-539.

Bromley, Karen. (2007). Nine things every teacher should know about words and vocabulary instruction. Journal of Adolescent & Adult Literacy, 50(7), 528-537.

Fang, Zhihui. (2007). The language demands of science reading in middle school. International Journal of Science Education, 28(5). 491-520. 

Flanigan, Kevin & Scott Greenwood.(2007). Effective content vocabulary instruction in the middle: Matching students, purposes, words, and strategies.Journal of Adolescent & Adult Literacy, 51(3), 226-238

Flanigan, Kevin, Templeton, Shane & Latisha Hayes. (2012). What's in a word? Using content vocabulary to generate growth in general academic vocabulary knowledgeJournal of Adolescent & Adult Literacy, 56(2), 132-140. 

Kieffer, Michael & Noinie K. Lesaux. (2007). Breaking Down Words to Build
Meaning: Morphology, Vocabulary, and Reading Comprehension in the Urban Classroom. Journal of Adolescent & Adult Literacy, 61(2), 134-144. 

Lesaux, Nonie K., Kieffer, Michael J. & S. Elisabeth Faller. (2010). The Effectiveness and Ease of Implementation of an Academic Vocabulary Intervention for Linguistically Diverse Students in Urban Middle SchoolsReading Research Quarterly, 45(2), 196–228.

Nagy, William & Dianna. Townsend. (2012). Words as tools: Learning academic vocabulary as language acquisition. Reading Research Quarterly, 47(1), 91-108.

Snow, C., Lawrence, J.F., & White, C. (2009). Generating knowledge of academic language among urban middle school students. Journal of Research on Educational Effectiveness, 2(4), 325-344.

Swanson, Elizabeth, Jeanne Wanzek, Lisa McCulley, Stephanie Stillman-Spisak,
Sharon Vaughn, Deborah Simmons, Melissa Fogarty & Angela Hairrell. (2015). Literacy and Text Reading in Middle and High School Social Studies and English Language Arts Classrooms.  Reading & Writing Quarterly: Overcoming Learning Difficulties, 1-24.

Vocabulary Books

Rasinski, Tim, Padak, Nancy, Newton, Rick M. and Evangeline Newton. (2008). Greek and Latin Roots: Keys to Building Vocabulary. Huntington Beach, CA: Shell Education

Robb, Laura. (2014).  Vocabulary is Comprehension: Getting to the Root of Text Complexity. Thousand Oaks, CA: Corwin Literacy. 

Sunday, June 18, 2017

#SOL17: Father's Day

Rob teaching Devon in the Redwood Forest. 
I know more about love now. More about marriage too. It's ironic to have learned so much after Rob's death, but great loss brings clarity. What's important seems to shine more. After the shock and numbness wore off larger spaces formed allowing me a vantage point I had not know prior. I'm like Emily from Our Town who suddenly can see the vastness of life as if it were a movie. The smallest of details takes on weight.

Here is the day we spent in the car traveling from Mississippi to South Dakota, laughing for hours as we listened to David SedarĂ­s reading one book after the next.
Here is an ordinary moment where I read a text from Rob: Just checking in. You got Devon this afternoon?
Here are those sacred weeks after we adopted Dev and love bloomed in ways we each could not have known.
Here is the first start to love: two poets at a poetry festival.
Here is the kitchen in Fort Lee, so tiny and yet we cooked together there more so than in the bigger kitchens we would know.
Here is a Sunday afternoon in fall and Rob is watching his Giants, I am seated near him, reading, and Devon is upstairs.
Here we are at the science fair, overheated in the crowded hallways yet bursting with pride.
Here we are bereft the first weekend Devon went away without us. We missed him so.
Here is the first time we saw a computer Devon built and we wondered how he learned to do so.
Here is when I lost my mom, Rob' father, my dad.
Here we are driving Max home--just 8-weeks-old and Rob would sleep with his hand in the crate all night and a clock ticking next to the best dog in the universe.

Now that I know the ending, looking back is so possible, so necessary, so tragic and so glorious.

Happy Father's Day, Rob. I'd like to think of you in some parallel world--some multiverse--being a dad, a husband, a best friend. Being you and just taking the dog for a walk.

Ordinary love.
Just that. 

Friday, June 16, 2017

Poetry Break: Separation

self portrait (Paris, 2016)


  - W.S. Merwin

Your absence has gone through me
Like thread through a needle. 

Everything I do is stitched with its color.

Wednesday, June 14, 2017

#SOL17: Suck Out all the Marrow

from my art journal. June 2017.

On Sunday, after I went food shopping for the week and came home and used the meat that had been in the refrigerator to make a double batch of chile, adding an extra pound of grass fed beef I had just purchased--and after I set 8 chicken breasts to marinate in a lime mustard marinade in the refrigerator--I then got my brother a can of soda as he requested.

Hey, did you put new cans of soda in the fridge? I asked.
This can should be ice cold and it's kind of lukewarm, I said handing him the can of Pepsi, recalling he had put the cans in the fridge the day before. Only he drinks Pepsi.
Yeah, I noticed that yesterday. How old is the fridge?
15 years. We bought it when we moved here.

Then I remembered. There had been a persistent smell. Onions. Each time I opened the refrigerator this last week I could smell onions and I was wondering why but not wondering too hard apparently. I was distracted. Preoccupied. I had been out most of the week in the evenings and when home I was so busy with a curriculum project that I had not cooked since Tuesday night. As Devon only seems to know how to order food, he too was not in the fridge very often. It remained closed and unnoticed.

Then I remembered a year ago having to call the repair person because the refrigerator was not working correctly.  Like this time, ice continued to be made and yet the frozen fruit was slushy and the almond milk was almost cool, but not quite. The repairman told me we had a year or so left. My brother took a look and told me the year was over and so I bought I new refrigerator that was delivered yesterday, as it had been promised.

After the situation was handled and my brother left for home and Devon was tucked upstairs in front of a computer he built, I sat on the sofa and sobbed until I felt cried out. It was an eye-sore and blotchy kind of cry. When something breaks in our home, I feel the break in my bones, my heart. It reminds me that Rob is no longer here. I would not normally cry over a broken appliance. But on Sunday, I did.

Then, Devon and I went out and ate Mexican food for dinner.


I have needed a lot of help recently. My brother spent last weekend staining the back deck that had been power washed. I cleared most of the furniture off the deck on Friday night so it could be ready for him. Today a handyman is coming to fix a problem in the bathroom and my brother is returning to finish the deck staining. Yesterday morning a repairman fixed the air conditioner. Two weeks ago, my other brother climbed up a ladder and cleaned a bird 's nest out of the dryer vent and now the dryer works better.

All of this highlights what is most hard to accept. Rob is truly gone and my level of competence is woefully low.  On Monday our son graduated high school--and though Rob was there in spirit I have been told, he was not there in flesh.

Milestones are so double-edged.

Yes, I am proud of and happy for Devon. Very. Yes, the loss is more acute at such times.


If you have recently suffered a loss, it might be best to ignore the books, the carefully worded columns by psychologists, and the advice from well-meaning friends who try to situate grief as something you will move beyond. This is inaccurate. There is no moving on as if the life the two of you created together could be something packed away.

There is no moving on.  That is mythical.


For me, after loss, living has become more of a decision made and remade. I never lived so overtly before. Life's sweetness and pleasures have become more noticed, as have the wonders and ambiguities that mark my days--not because days, weeks, months, and a year has passed since Rob's death, but because living now requires a deliberateness it did not require before.

Living is harder, more noticeable.


Every overt decision made builds strength. Thoreau told us:

“I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. I did not wish to live what was not life, living is so dear; nor did I wish to practise resignation, unless it was quite necessary. I wanted to live deep and suck out all the marrow of life, to live so sturdily and Spartan-like as to put to rout all that was not life, to cut a broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms...”

I had not lived.

My neighbor, Dawn, told me that every day we are shedding bone. This resonated. It almost seems as if sorrow allows for new bones to grow--ones that can carry the burden and joy of grief and hopefulness; sorrow and pleasure; uncertainty and caution.  Thoreau closes Walden by saying,
"The light which puts out our eyes is darkness to us. Only that day dawns to which we are awake. There is more day to dawn. The sun is but a morning star."

Live wide awake.
Live wide.

Yes, there is more to the day than dawn.

Even after great loss.  There is always more.

That's what time allows us to know.  That is what must be savored.

It is not getting over,
                                     moving on,
                                                             being done with.

Grief teaches us to savor the now.
That's the gift.

Monday, June 12, 2017

#SOL17: Love and Love and Teaching and More Love

painting (May 2017)


I was reading a post by Kathleen Sokolowski,The Knowing #SOL17. I was touched and honored that she wrote the post in a style I often use these last two years as I have made my way in and out of the twists and valleys that so often typify grief and solace. I leave spaces in my writing--gaps where a reader might roam a bit. I do this by numbering sections, knowing the spaces between numbers will be the gaps readers compose. It's a nod to Wolfgang Iser who first named this for me.  

As lovely as it was to find Kathleen's statement about my style, what caught my eye was a quote at the top of the post:

"As a general rule, teachers teach more by what they are then by what they say." -Unknown

It seemed to demand a response.  


Devon and Rob at his 8th grade graduation, 6.14.2013
This morning my son, Devon, graduated from high school. Four years ago--almost to the day (June 14, 2013) Devon graduated from eighth grade. I wish I had taken a better photo of Rob and Devon, that day, but I didn't. Nonetheless, can't you just see the love on Rob's face for his son? Who could know that four years ago would mark the only graduation Rob would be alive to witness? Who would have thought that the day his son completed high school he would be dead for more than a year? 

Devon and Rob in Tuscany, 8.10.2013
What I want to write about here though is not that, but rather about a single moment during the graduation that meant more than I could say here.  After all of the speeches had been given, three academic awards were presented to students by faculty. The first one was given to my son by a teacher who taught him every year and befriended him surely. He began by telling a funny story about first meeting Devon as an eighth grader and then spoke about how Devon became more and more a partner than a student during his time at the school. And when he started to mention Devon leaving and going on to Stevens, he choked up, stopped speaking, and momentarily cried. In that moment, Rob Houghton taught more by what he fundamentally is, than by anything he might have said. 

These are moments to notice and savor. 
Don't look away.
We must commit such expressions of love to our memory. Our lives depend on it.


Devon left the house this morning carrying one unwrapped gift in his hand. Just one.

What's in the box? I asked as we drove to graduation.
A motherboard for Mr. Houghton.
Is that something he wanted?
Couldn't find wrapping? I teased.
We nerds don't wrap. And Houghton? He's like an original nerd.


If you listen to pundits talk about education and there's lots of chatter about higher standards, grit, data driven instruction, performance gains, STEM, and being college-ready (whatever that might mean). We pay big bucks, billions actually, to annually measure how well every learner can perform on a narrow set of outcomes so often determined by pseudo-educators and then we claim that those results represent the value of their teachers and schools. 

Pure idiocy. 

Frankly, such tests are woefully incomplete, often erroneous, partial snapshots at best, and very costly to students, teachers, and our wallets.

This morning, Mr Houghton got it right. He showed us what matters more than the ed buzzwords and is a much finer expression of a teacher, a student and the learning they have composed. Great teaching isn't about stanine growth. 

Great teaching inspires us to compose better versions of ourselves. That's what Mr. Houghton's actions were teaching us this morning. 

Love endures.  It inspires. It is the energy that survives well beyond the breakdown of our human bodies. 


It has been a tough, tough six weeks--in many ways the toughest I have ever known. And after the ceremony I made my way to Mr. Houghton to simply thank him.  

What Dev has been going through these last weeks? he began, sounding so certain.
I nodded and said, Yes.
It's been good for him. May not feel like it. But it's been good for him. He needs to get this out.

I nodded and touched his arm and think I may have said, thank you although I am not sure.


A doctor explained that for Devon it's like his dad died a week ago. Delayed grief is the psychological term. 

He was my best friend, my son would tell me. I miss him every day. 

Some pain is so big it cannot find expression until it bleeds out of us.


I wish I could have done better for my son at this moment of great pain. I wish that when I had to fail him, it would not have been now--not when the stakes are so very high. There simply is no one on this planet who I love as I do my son.  But in his eyes,  I failed him in ways that have scarred him, in ways I cannot find the words to say here. 

What I learned this morning is that others have stepped in to love him when he would not allow me do so. And for that I am grateful.


Though Devon's dad was not there this morning, my brother, Jack and my friend, Jane each assured me that they strongly felt his presence throughout the ceremony.  Jane told me in an email late this afternoon, and Jack told me before he left our home today. 

Mary, I felt him. Rob was there in that auditorium. He's watching over Dev and you. I know it. 

Each was so certain and each is gifted in such ways. We have long joked in my family that my brother is like St. Francis of Assisi. All the animals come to him: abandoned dogs and snakes; raccoons and birds. They all seem to sense that gentle kind soul he harbors.  And Jane? Well, she dreams. Always has. I imagine always will. Prophetic dreams that open her to what most of us simply miss and keep her open when she is no longer sleeping. 

Mr. Houghton, Jack and Jane remind me that there are many ways to be in this world--ways that my son has learned as well. 


Stay open to love, I tell myself--for even when I cannot feel Rob, others do and that fills me with hope.

Stay open to love I say to Devon, for it heals and redeems us when we cannot seem to find the road we most need to walk.

Friday, June 9, 2017

#Poetry Break: Mindful

Sunflower (M.A. Reilly, 2014)


  - by Mary Oliver

Every Day
I see or hear
that more or less

kills me
with delight,
that leaves me
like a needle

in the haystack
of light.
It is what I was born for—
to look, to listen,

to lose myself
inside this soft world—
to instruct myself
over and over

in joy,
and acclamation.
Nor am I talking
about the exceptional,

the fearful, the dreadful,
the very extravagant—
but of the ordinary,
the common, the very drab

the daily presentations.
Oh, good scholar,
I say to myself,
how can you help

but grow wise
with such teachings
as these—
the untrimmable light

of the world,
the ocean’s shine,
the prayers that are made
out of grass?

Thursday, June 8, 2017

#PoetryBreak kitchenette building

kitchenette building 

By Gwendolyn Brooks

We are things of dry hours and the involuntary plan,
Grayed in, and gray. “Dream” makes a giddy sound, not strong
Like “rent,” “feeding a wife,” “satisfying a man.”

But could a dream send up through onion fumes
Its white and violet, fight with fried potatoes
And yesterday’s garbage ripening in the hall,
Flutter, or sing an aria down these rooms

Even if we were willing to let it in,
Had time to warm it, keep it very clean,
Anticipate a message, let it begin?

We wonder. But not well! not for a minute!
Since Number Five is out of the bathroom now,
We think of lukewarm water, hope to get in it.

Tuesday, June 6, 2017

#SOL17: Waking Up

Forgive Yourself (M.A. Reilly, 6.3.17)

Have I been sleeping?
I've been so still 
Afraid of crumbling 
     - Melissa Etheridge


I did not know I was sleeping awake--walking through the days and months after Rob's death with eyes open wide, and yet, somehow blind. At such times, sadness is more buoy than anchor. It keeps afloat the body that has little direction it can name or know. It gives meaning to the march of days and nights that follow the death helping to soften that slow trickle of time by the waning and waxing of tears.  At first trepidation creeped into my steps and living felt more tenuous than not. The simplest decisions felt too overwhelming to make.

These first year was marked by getting through, crying less, feeling more, and eventually beginning to notice the world beyond my immediate reach still pulsed with life.


Image I made in March.
For the last two months I have drawn, painted, collaged, or photographed a face each day as part of a 100-Day Challenge. I wonder about my choice of subject. What exactly is it that I needed to learn?

Was it simply a matter of learning to draw parts: mouths, eyes, ears, noses, the line of the jaw as I first told myself?  Or was it more complicated?

Was I trying to relearn the curve of my own face? To know how the tremble of lips does give way to the lightening of eyes?  Each time I dropped white paint into the iris of an eye, I animated that image. Was this process a means to also animate myself?

Possibility is not an external matter--a Holy Grail to seek. Rather, hope and possibility are rekindled within and among others.


My son recently told me to stop feeling sorry for myself. I bristled at his words and initially felt even sorrier for myself until this too felt burdensome and I stopped. Years ago a therapist I was seeing gave me a directive I did not want to do. I quickly asked, How will I ever do that?

He didn't answer me at first. Rather he asked me to lift one of my feet off of the carpet and I did.

"Like that," he told me.

Like that.

It is not that I haven't been busy. I have. But beneath these activities, I have been a body waiting. A woman waiting for something to change.


How do you move through grief?  How do you separate grief from a body?
Lift your heart off of the floor. Secure it where it has always belonged, and move on, knowing grief will follow, but it will not lead.


It was Edward Said who wisely told us that we are well past a beginning before we can name it. The distance between Rob's illness and death, the aftermath, and now is measurable--allowing me to see my husband's life and death, and the continuation of my life, my son's life--here, now.

There is hope and possibility these days and I cannot locate a single event that marked this transformation as fact for there is no single event, no shining moment. As I mourned, life around me continued and I slowly tested welcoming the roar and press of living with tender hands--so often supported by others.

This life, I call my own, is what I make. It is so often about what we make, alone and with others. Sometimes it is that complicated and that simple. 

Monday, June 5, 2017

#PoetryBreak: Fat Is Not a Fairy Tale

Self portrait made on a sunny day in Paris.
Fat Is Not a Fairy Tale

   -   Jane Yolen

I am thinking of a fairy tale,
Cinder Elephant,
Sleeping Tubby,
Snow Weight,
where the princess is not
anorexic, wasp-waisted,
flinging herself down the stairs.

I am thinking of a fairy tale,
Hansel and Great,
Bounty and the Beast,
where the beauty
has a pillowed breast,
and fingers plump as sausage.

I am thinking of a fairy tale
that is not yet written,
for a teller not yet born,
for a listener not yet conceived,
for a world not yet won,
where everything round is good:
the sun, wheels, cookies, and the princess.

Tuesday, May 30, 2017

#SOL17: Wonder

A foggy morning in Leonia, NJ. I was on my way to Manhattan and just had to stop. I was two miles from the GWB entrance.

If you are an artist, it is work that fulfills and makes you come into wholeness, and that goes on through a lifetime. Whatever the wounds that have to heal, the moment of creation assures that all is well, that one is still in tune with the universe, that the inner chaos can be proved and distilled into order and beauty. —May Sarton 


For as long as I can recall, I have been fascinated with and attentive to light. Lambent light of dusk, the almost watery Maine light Hopper captured, the variations of light Monet's haystacks allows us to see, and the light that disperses fog that I have learned to see through the lens of my camera--all of these and more have taught me to look and look again. I can recall one afternoon telling Rob that some days I made it into work in Morristown, NJ and did not recall driving there as much as I could narrate what was happening with the light of day as I moved along in stop and go traffic on a highway.

Learning to look is different than seeing.


I measure time with light. Dawn, near dawn, mid-day, dusk, twilights, midnight are more about the presence and absence of light than they are representations of time on a clock. Such representations are so often wrong and certainly one could well argue that the invention and our uses of mechanical clocks has harmed more than helped.

Interval measurement assumes that time is relative and we know that time is not.


I am healing myself by making art--making forms of captured light. Grief is no easy matter, nor is finding myself a single parent of an 18-year-old.  Some days I feel like I am failing at everything. Other days, not so much.

Last night found me awake at 3 a.m. mixing paints to create tints and shades for a painting I am making. I felt compelled to make something. I'm not sure how long I was painting as I consulted no clock, but what I do know was that true night was gone.

The shape of trees in my neighbor's yard were distinguishable from the darkness.

Wednesday, May 24, 2017

Drawing Realistic Faces: A Few Tips

from my Art Journal (May 2017)

  1. Closing one eye flattens the world. To draw a three-dimensional image on a two-dimensional piece of paper, close one eye. (From: Parks, Carrie Stuart. Secrets to Drawing Realistic Faces (p. 39). F+W Media. )
  2. Here are a set of tools to help train your mind to recognize shapes. They are: 
  • Isolate: To see shapes by studying individual shapes separately. The first artistic technique is to isolate the shape. Look at the works of any artist, and you will find sketches of eyes, hands and parts of the face. These artists are isolating each of the different components of the whole of the art that they will be doing.
  • Simplify: A tool for learning to see shapes by seeking the simplest expression of that shape in the form of a straight or curving line.
  • Relate: A tool for learning to see shapes by using one shape to help see a second shape. 
  • Measure: A tool for seeing shapes by measuring a smaller shape and comparing it to a larger shape. 
  • Invert: Turn the line drawing you're trying to copy upside down. It is best to use a line drawing for this technique, not a photo.
  • Rename: A tool for seeing the shape in facial features by renaming that feature in terms of shape.
  • Incline: Use a ruler for checking subtle angles in the facial features by using a ruler.
  • Negative space: A viewfinder allows you to see a positive shape (solid space) clearer by focusing on the negative shape (empty space) next to it. Using a viewfinder can help you to isolate the figure so you can better see the negative space. Make your own by cutting a square out of a pice of paper.
  • Question: A tool for seeing angles and shapes more clearly by asking yourself exactly what it is you are seeing. This tool is so named because you ask questions: What is the line/edge doing? In what direction is it going?
  • Compare: A tool for seeing shapes more clearly by tracing that shape from the photograph, tracing your own drawing and comparing the two shapes as line drawings.
  • Flatten: A tool for seeing a three-dimensional shape more clearly by closing one eye to level the image into two dimensions.

(from Parks, Carrie Stuart. Secrets to Drawing Realistic Faces, pp. 44 - 58. F+W Media. )

Tuesday, May 23, 2017

#SOL17: Do Not Look Away from Life

Walker Evans, Subway Portrait, 1941, Gelatin silver print, from here.

It is the way to educate your eye, and more. Stare, pry, listen, eavesdrop. Die knowing something. You are not here long. 
                   - Walker Evans,  Many Are Called, quoted in the Afterward, p. 197.


One birthday, Rob gave me a book of photographs made by Walker Evans. He knew my love for photography and the iconic images are certainly ones I have long appreciated. The bit of advice by the artist that tops this post comes from a book of images Walker made while riding New York subways. 

It is also advice I now take to heart. 

Witnessing your husband die an early death, only sharpens Evans' words--resulting in a clarity so brilliant it is hard to look away.  

Perspectives alter. 

Evans is right--We are all not here long. We ought to make the most of it.


I began reading Sheryl Sandberg's and Adam Grant's Option B: Facing Adversity, Building Resistance, and Finding Joy earlier in the week. Their discussion about post-traumatic growth--the capacity to grow from trauma--resonated. They write,
...post-traumatic growth could take five different forms: finding personal strength, gaining appreciation, forming deeper relationships, discovering more meaning in life, and seeing new possibilities (p. 79).
In the bereavement group I have participated in during the last 14 months, post-traumatic growth can be seen in the women I have come to know. I want to say that these are exceptional women, but that would be a partial-truth. They are also beautifully ordinary. Perhaps like you. Certainly like me. 

In this group, I see women who find personal strength in the adversity they are experiencing, who show appreciation for dwelling in the beauty of a moment of an ordinary day, who question their lives and what they are making of their lives, and perhaps most significantly--they are women who speak of what is possible. In seeking possibility, joy unfolds. 

What I have mostly learned is that how we name what happens and re-happens to those we love and ourselves are choices we make. That we are each responsible for those choices may be the most significant understanding I have garnered during the last 20 months since Rob was first diagnosed. 

I am responsible for my own life. You are responsible for yours.


Recently, I was able to join a writer's group in northern NJ.  At first I had been waitlisted and I was delighted a week ago when I received an email from the group's leader saying there was now an opening.  It's a sharp group and discussing two writers' submitted works reminded me so much of the way Rob and I supported one another for decades.  My husband was my own, personal editor.  No one read my work with a more critical eye, than Rob.  I love when others see things I simply have missed while reading. This new knowledge and perspective is such a gift. I found that to be the case last week as I listened to the other writers' discussing the texts. 

Next month, I plan to share with the group a section of the memoir I am writing. The work is based not only on my husband's death, but also on the life I am creating in the aftermath. There is a grace to knowing deep in my bones what is most essential from what is merely interesting, what is merely catchy. Chronicling Rob's death and the grief and resilience Devon and I struggle with has helped me to discern what matters from what does not.

What I want to contribute via the memoir is some of the understandings that have emerged in the journey these last two years. Grieving, writing, making art, being a single parent, connecting with other widows and so many others--all of it has helped me to not look away from life.  It's like those images Walker Evans made on the subway so many years ago when he pointed a camera at those unknowing and captured ordinary lives being lived. Each image seems to be saying, Do not look away from life. Do not.

Perhaps that is what Rob meant when he told me all those months ago to live brilliantly.  Do not look away from life.