Birds of the West by Molly Hashimoto

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Short-eared owl, block print by Molly Hashimoto

“….there’s nothing quite as inspiring as a bird in its habitat – the ecosystem and the bird belong together in a coherent and necessary way.”  Birds of the West: An Artist’s Guide, by Molly Hashimoto

This summer I was thrilled to find on my doorstep the exquisite Birds of the West: An Artist’s Guide by Molly Hashimoto, sent to me by her publisher Skipstone, the sustainable lifestyle imprint of Mountaineers Books.

 

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American goldfinch (Spinus tristis) block print . “…I attempted to express how moving it was to see the vivid colors of the male goldfinches visiting at the height of color in the garden, in May, with blooming poppies and clematis…In winter, the males are drab brown with a few yellow streaks on the wings – you may not even know you’re looking at the same bird.”

 

I became a fan of Molly’s when I discovered her Colors of the West: An Artist’s Guide to Nature’s Palette in one of the national park bookstores my husband and I visited on our trip West two years ago. Molly is accomplished in watercolor, block printing, etching and egg tempera – the media she features in Birds of the West – informed by decades spent exploring the landscapes, flora, and fauna of the West. Her art combines a naturalist’s expertise with a deep love of nature.

Molly is a dedicated art teacher as well, based in Seattle. I’m sorry I missed her last year at Roundabout Books in Bend when she spoke and demonstrated techniques from Colors of the West. She teaches regularly in her local community and at the Sitka Center for Art and Ecology, the North Cascades Institute, the Wenatchee River Institute, and the Yellowstone Forever Institute. 

Her love of teaching and her passion for birds shine through in this luminous new collection of nearly 100 bird species and more than 130 sketches, aimed for seasoned artists, beginner artists, and non-artists alike.

 

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Birds of the West is organized by habitat: Backyard and City; Wetland and Pond; Shoreline and Beach; Meadow and Grassland; Desert and Sagebrush Steppe (that’s us!); Forest and Woodland; and Alpine and Tundra. Each chapter includes an inspiring, even poetic, list of nature terms.

 

Exploring Molly’s new book was a bittersweet delight because, as I did so, the journal Science published a study revealing that one third of the birds in North America have died since I was in high school in the 1970s. A “staggering decline,” the authors of this study wrote.

Perhaps this sad development only affirms that the good work of Molly Hashimoto and other fine artists, writers, and humanists is more necessary than ever. We can hope that their love of art and nature will continue to be contagious – and more of us will be moved to observe birds and other wildlife with love and attention and become activists for and caretakers of the earth.

 

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Stellar’s jay and ruby-crowned kinglet, forest and woodland habitat, block prints (I took this photo underneath our ponderosa pine, which is why it is mottled with shadows. I love the dramatic PNW setting of the stellar’s jay habitat, on the left.)

 

Molly writes eloquently, honestly, and tenderly – her background as an English literature major shows – in Birds of the West about the ethic of stewardship she seeks to inspire in the world:

“I don’t belong to the art for art’s sake camp. I want to make art about birds that is accurate about the ecosystem and true to the bird’s anatomy, characteristic gestures, and plumage colors. … I want my art to be in the service of the living, existing bird. That’s not to say that mere representation is all I aim for – photorealism can drain the life out of a subject. There’s a place somewhere between the representational and the conceptual that expresses all the meaning that I’ve found in watching birds. I also make art for the sake of connection and to inspire an ethic of stewardship.”

 

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Lewis’s woodpecker, block print, and acorn woodpecker, watercolor, meadow and grassland habitat.

 

You don’t have to be an artist (I’m not) or a birder (I’m not) to fall in love with this fine collection. Molly shares inspiring nature poetry, quotes that capture the wisdom of famous artists and nature writers, and her own thoughts about great artists who have influenced her work.  Here is one example:

“Georgia O’Keeffe believed that we want to make art of things that have moved us deeply, even if we don’t know exactly why or understand the meaning of what we feel. It is only by recording it, writing about it, or making art about it that it becomes clearer to us what it all means and why it is so important to us. I have found this many times, with every medium.”

 

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Nest in an oak sapling in winter. “On that gray, drizzly day, the nest was a poignant memory as well as a sweet anticipation of the life-bringing season of spring.”

 

In fact, you don’t even have to live in the West to benefit from Birds of the West. I can imagine artists and nature lovers and birders in other parts of the country using this as a model for exploring and rendering birds in their own regions.

Since I’m a writer, not an artist, I found myself looking at Birds of the West through my own idiosyncratic lens. Molly’s beautiful text taught me specific ways to observe birds in my own wanderings, and modeled how I might capture what I see on the page, via the written word. I don’t know if this was Molly’s intention, but like all good works of art, I think that her book is larger and more resonant than its creator originally intended.

 

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Song sparrow on tall grasses, Union Bay Natural Area, Washington

 

I love Molly’s thoughts about how she chooses particular media to depict particular birds; I imagine that working artists especially will appreciate her insights:

“Every medium has a way of revealing distinct aspects of the birds. Etching utilizes fine lines that can precisely describe the elegant contours and feather groups of birds; watercolor, with its wide-ranging hues and many technical options of indicating trees, shrubs, grasses, rocks and all the components of an ecosystem, displays the manner in which they live and make use of their habitats. Sketches in pencil or pen, with and without added watercolor, convey, through their gestural quality, the attitude, demeanor, and movement of birds. Egg tempera, a centuries-old medium used in icons and altarpieces, can express the reverence I feel for birds and other animals. Relief or block prints, with their dramatic values, contrasts, and bright colors, help me share the surprise – sometimes even the shock – of encountering a new species.  As composers work with many different types of instrumentation, with widely varying timbres and colors, such as full orchestras, smaller string groups, or choral ensembles, I use different media to express a range of moods and ideas.”

 

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Red-breasted sapsucker. There were so many gorgeous bird scenes in Birds of the West it was hard to choose which ones to show you!

 

Molly includes a For Further Reading section that is especially rich, with field guides and books about natural history, ornithology, birds in art, and art techniques.

She has a helpful resources list too, with stores, supplies, and Pacific Northwest printmaking co-ops and studios that offer classes, workshops and press time.

 

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Trumpeter Swans (Cygnus Buccinators) Skagit Valley, etching. I love the simplicity.

 

I hope someday I have the opportunity to attend one of Molly Hashimoto’s art workshops or book signings. I’d love to meet her, wouldn’t you? The next best thing would be to get your hands on the lovingly created Birds of the West: An Artist’s Guide.

 

 

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Western sandpiper, egg tempera. “I set up a still life with a piece of driftwood and some weather-beaten beach pebbles and added the sandpiper by looking at one of my photos from the Oregon coast. The arched enclosure evokes the framing devices used in late medieval and Early Renaissance altarpieces, as well as the small diptychs and triptychs used for private devotions.” 

 

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Hairy woodpecker, sketch with marker and watercolor, and carved block

 

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Red-naped sapsucker, block print. “I used my imagination to situate the sapsucker on an aspen trunk, since I actually saw it in a birch tree near my home in Seattle. This bird is quite rare west of the Cascades….”

 

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Calififornia quail, block print, desert and sagebrush steppe habitat. “…I thought it would be perfect to combine the quail with the California poppies that put on such a show in springtime on the dry hillsides of Northern California. I felt I could take these liberties because of the bird’s very wide range. The combination of the paisley-shaped markings on the breast with the bright colors of the poppies made for a dramatic print.”

 

“The silence of the desert, the sound of wind through the high branches in a coniferous forest, the complex patterns of reflected color in ripples on a pond, the crashing surf, the austere beauty of alpine heights – all of these contribute to the great pleasure that comes with watching birds. In these locales and moments, we are sharing an environment with the birds, which gives us, earthbound as we are, a deeper connection with our fellow creatures.” – Molly Hashimoto

Birds of the West: An Artist’s Guide, by Molly Hashimoto

 

 

Sicilian Wedding

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Segesta, a view from the wedding reception. As the sun set, we could see the temple illuminated on the hillside. It stood silent and mysterious at 1 am as we boarded the bus back to Carini. Are there important historical sites in the land of your ancestors?

 

“Walking, I am listening to a deeper way. Suddenly all my ancestors are behind me. Be still, they say. Watch and listen. You are the result of the love of thousands.”Linda Hogan, as quoted in Jung and the Ancestors: Beyond Biography, Mending the Ancestral Web, by Sandra Easter

In May, after researching my mother’s family ancestry in Sweden, I went to Sicily with my husband for a family wedding, to ancient Carini where my father was born.

Sweden and the gracious Swedes were new to me. Going to Carini was like coming home.

One of the best decisions my husband and I ever made was to travel to Sicily with our boys to reconnect with my father’s family in Carini. Over the years, we went back when we could – a couple of times with my father, and once with extended family. We watched my cousin Giuseppe grow up, along with several of his cousins.

Last spring we were thrilled to receive Giuseppe and Eloisa’s wedding invitation in the mail. Since the wedding was to be shortly after my Sweden trip, I decided to make it an extended journey.

Giuseppe and Eloisa’s wedding reception was within view of Segesta, built around 420 BC and one of the best preserved Doric temple in all of Europe. Overlooking the Gulf of Castellammare, the temple is a mystery, because it appears to have been abandoned before it was completed. And although the Greeks claim it was built by an Athenian architect, during that time period the area was likely inhabited by people indigenous to Sicily, and not the Greeks, though they were elsewhere on the island.

(Some scholars believe that parts of the epic Greek poem the Odyssey are set in Sicily – that Odysseus encountered Cyclops off the eastern coast, for example, and Scylla and Charybdis in the Strait of Messina.)

At any rate, I was thrilled to see the temple of Segesta once again; our first time in Sicily, in 2001, Giuseppe’s family took us there on a sightseeing trip. At the reception, the sun setting behind the illuminated temple gave an air of timelessness to the festivities. I could imagine the spirits of the ancients looking down on us as we celebrated with Giuseppe and Eloisa, and their friends and families.

 

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Carini, Sicily, where my father was born. “We need to see where we have been before we see where we should go, we need to know how to get there and we need to have help on our journey.”Vine Deloria, as quoted in Jung and the Ancestors.

 

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Carini has its own castle and a scandalous story connected with it. The Baroness of Carini was murdered at the age of 34 by her father in 1563 for committing adultery. Her story has become part of Italian poetry and literature.  My son, who was learning to play the violin on our first trip to Sicily, composed a musical score inspired by the castle.  If you look at the literature of your ancestry, you’re sure to find intriguing and inspiring stories.

 

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My cousin has this drawing of the Baroness Laura Lanza with her lover, Lodovico, who was also murdered, by either Laura’s father or her husband. Many years ago, my cousin showed us Laura Lanza’s death certificate, preserved in the town’s historical records.

 

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From the castle, a view of Carini and the sea beyond

 

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Our first visit to Sicily, in April, 2001. 9/11 happened five months later.

 

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Angel’s trumpets in Angelo and Piera’s garden.

 

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This is thought to be my father’s birthplace in Carini.

 

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Portrait of an ancestor, Katarina (my grandfather’s sister)

 

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I was thrilled to meet a beautiful family brand new to me on la mia nonna’s side. Here we are on a picnic in Carini. Concetta, third from left, corresponded with my grandmother for many years. Rosaria, second from right, is a teacher and an avid reader. I loved discussing literature with her. She has fond memories of the Easter baskets filled with chocolate kisses my grandma sent from America every year.

 

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I was so surprised when I met the twins, Alessia and Erica, who look like my niece in America. They are about the same age, too! I hope the three of them can meet one day –  that Malena, my niece, can travel to Sicily and that we can welcome the twins to America.

 

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We had a wonderful time in Palermo with Concetta, Rosaria, and their family. Here is Teatro Politeama, home of the Sicilian Symphony Orchestra. The bronze quadriga (chariot drawn by four horses) depicts the Triumph of Apollo (the god of music and dance) and Euterpe (the muse of lyric poetry).

 

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I loved the church in Palermo where Giuseppe and Eloisa were married, Basilica della Santissima Trinità del Cancelliere, “La Magione” (the mansion).

 

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Giuseppe and Eloisa, our future! She is a journalist, he an interpreter and translator. They currently live in Palermo. (Giuseppe has tirelessly interpreted for us on our visits with family – his English far exceeds our Italian.)

 

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Angela and Pepino, my father’s cousin.

 

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Rosalia and Enzo, my father’s cousin. Pepino, Enzo, and Angelo (see Angelo in photo below) have passed down to us so many family stories. Thanks to Enzo, I know that when my grandparents went back to visit Sicily, my grandfather’s family made rice pudding for his birthday celebration, his favorite dessert. An entire wheelbarrow filled with rice pudding. In the telling of this story, a heated argument ensued as to whether the pudding was made from sheep’s milk or cow’s milk.

 

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Amate e bella famiglia, celebrating a 60th birthday. (l. to r: Eloisa, Giuseppe, Pino, Vita, Piera, and Angelo, my father’s second cousin.)  A beautiful evening, just like the wedding reception.

 

This is what I read when I was in Sicily:

 

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I figured if Elena Ferrante liked it, I would too, and I did.  “’I don’t feel like seeing Procida grow distant and indistinct…I’d rather pretend it didn’t exist. So until the moment you can’t see it anymore, it’ll be better if I don’t look…’
And I remained with my face against my arm…until Silvestro shook me gently and said: ‘Arturo, come, you can wake up.’
Around our ship the sea was uniform, endless as an ocean. The island could no longer be seen.”

 

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If I ever get back to learning Italian, I’ll read this collection of essays by Elena Ferrante I bought in Palermo. The essays are about a page each, manageable for a language learner.

 

Our airbnb was in the old city of Carini. It had a small, shuttered balcony that opened to the noisy, busy, colorful street, almost like another room. We made friends with the neighbors across the strada and chatted with them from our balcony in the evening. Here, a mamma and her figlio, with the neighborhood dogs chiming in:

 

 

We’ve been lucky to have been able to travel to see extended family and our ancestral lands.  I feel as though I have a second home far away and a fuller, more complete identity, anchored in a specific time and place in history. I hope we’ve given that to our sons, too, and that the younger generations – in Italy and Sweden – will someday come to visit their cousins in America.

 

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Grandma and me, Cleveland, Ohio, circa 1960.

 

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Sicilian sunset

 

“Take a moment and look at your life from the perspective of being an ancestor. You are with those who came before you and those yet to be born looking back at your descendants as they live their lives moving forward in time. Imagine that you can see your entire lineage from the first born to the last in your line. Imagine yourself as an ancestor, one of the thousands whose love expresses itself and is embodied now in your descendants. Who we are at this moment in time is a result of the countless generations that have come before and a response to the generations that will follow…..  –  Sandra Easter, Jung and the Ancestors

What I found in Sweden, Part 3

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“Ray of Sunlight” by Norwegian artist Erik Werenskiold, Gothenburg Museum of Art. The landscape in this painting reminds me of the little forest behind Backens Skola, where my grandfather and his sister, Josefina, went to school. I hope my grandfather had a good friend there as this boy does in the painting.

 

…And as the smart ship grew

In stature, grace, and hue,

In shadowy silent distance

grew the Iceberg too.

– Thomas Hardy, The Convergence of the Twain

 

Morfar – Life, death and the Titanic

Every individual born to the Dagara [an African ethnic group] is mentored and supported into maturing into an adult who fulfills their purpose. From the moment a person is born, others within the community had a responsibility to assist that person in delivering their gift to the world. Everyone in the community is responsible for and has an integral role in insuring that each person’s genius is awakened, nurtured, and mentored. If this is not done, the person as well as their genius dies. If any individual’s gift is not delivered it then falls to that person’s descendants to do so.”   –  Sandra Easter, Jung and the Ancestors: Beyond Biography, Mending the Ancestral Web

 

I had goosebumps three times on our trip to research family history in Sweden: when our cousin, Jan, showed us the Bible my great, great, great grandfather gave to Älekulla Church; when Louise led us to my grandmother’s house on the North Sea; and when my son and I were invited to Gunvor and Irene’s home in Fritsla to see what we could find out about my grandfather’s family. This is the story of our time in lovely Fritsla, the ancestral town that embraced Andrew and me.

Ivar Emmanuel Häkansson, my grandfather, was born in Fritsla in 1892 and lived there the first few years of his life. Of my four grandparents, I knew the least about him. Grandpa (or Morfar, as we called him when we were children) had been a loner, a hard worker but a solitary man who liked his drink. By the time I knew him, he rarely spoke. Morfar had no family back in Sweden with whom he kept in touch, unlike my grandmother, who exchanged letters with her Swedish siblings over the years. When I began my trip to Sweden, I knew only that Morfar had apparently been orphaned in a flu epidemic and sent to live with his maternal aunt and uncle in another Swedish town, Orby, at a young age.

I had mixed feelings as Andrew and I approached Fritsla, a small, quiet town nestled in the countryside. My Swedish friend, Amelie, whom I’d met on the plane, and her father, Pär, had done some research about my grandfather’s family, and they emailed biographical information to me when I was in Stockholm. I’d learned my grandfather’s childhood had been filled with more grief and loss than I’d expected.

They had discovered that Morfar’s family lived in an area of Fritsla known as Aratorp, where my great grandfather, Håkan Nilsson, had been a farm hand. Using Google Maps, Andrew and I headed to that area first. We couldn’t find a specific house or farm, but there was a street with the word Aratorp in it, and we followed that until it became a dirt road ending in meadows and woods. Perhaps my grandfather had been born on a farm or in a tenant home that had once stood nearby.

 

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We couldn’t find the specific place in Fritsla where my grandfather lived – but this is the general area.

 

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Fritsla, where my grandfather was born, is a lovely rural town with well-kept, classic Swedish farmhouses.

 

Next, we went to Fritsla Church near the center of town, where Morfar had probably been baptized. It was closed, so we walked around the cemetery, reading the old Swedish names on the headstones. If one or both of my grandfather’s parents had died in Fritsla, they were probably buried here.

 

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On our first visit to Fritsla Church, it was closed.

 

By this time, it was noon. Andrew and I decided to stop at the café in the village for lunch, and that is when we got our lucky break.

Centralkafét is an old-fashioned café attached to a gorgeous little floral shop, Fritsla Blomsteraffär. While Andrew and I picked out what we wanted from the sandwiches and salads in the plate glass display case, I mentioned that my grandfather had been born in Fritsla, and we were researching family history.

After we finished eating, our waitress, Camilla, introduced herself, as did Ulrika, the baker and florist. They wanted to know more about my grandfather. Before we knew it, they’d called the church, and they’d called someone else.

“The church is open for cleaning this afternoon,” Camilla said. “You can go in and see it.”

“And you should meet Gunvor,” Ulrika added. “She’s our local history expert. She said you can head over now if you’d like.”

 

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We wandered into Centralkafét, attached to a floral shop in Fritsla. Here, we met Camilla and Ulrika, who connected us with Irene and Gunvor.

 

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In Centralkafét. A Google translation: “Lovely hometown, we love you, we who in Sweden build and bridge.”

 

Gunvor’s home turned out to be one of the quaint older homes Andrew and I had admired while driving around. She and her daughter, Irene, were gracious and welcoming, and I felt an immediate connection. Gunvor, especially, had the strong, patrician bearing and the lilting Nordic accent I remembered from the ladies who attended our Swedish Lutheran church when I was growing up near Cleveland, Ohio.

Gunvor soon realized we needed a true expert’s help and so she called Jan-Åke Stensson, the local genealogist who, believe it or not, came right over with his laptop and his extensive knowledge of Swedish ancestral records. Gunvor, Irene, Jan-Åke, Andrew, and I sat at the kitchen table and talked for a couple of hours.

Jan-Åke told us about Swedish history – how a quarter to a third of the Swedish population immigrated to America. My grandfather, though, had not been part of this great migration, according to Jan-Åke. He left Sweden later, during a time of greater prosperity. (Given my grandfather’s situation – as you’ll see below – I understand why he wanted a fresh start in America.) Jan-Åke also explained Sweden’s confusing surname conventions before 1900, which makes doing Swedish ancestral research challenging.  We talked about the many Swedes of my grandfather’s time who owned no land of their own, but were farm hands and tenant farmers.

We learned about Irene and Gunvor’s relatives, too, and how the great exodus from Sweden split their family tree. Irene told us her grandfather (or possibly her great grandfather – I don’t recall) had an enormous number of siblings – well over a dozen. Every single one of them – except for her (great) grandfather – came to America. Because of this, a loneliness haunted him all of his life. I’d never really thought about the personal losses incurred by those who stayed behind. As Irene told us this story, I had a sense of a culture splitting in half, and the psychic cost on both sides. Sitting next to my son, I was moved by the idea that, over a hundred years later, we were reconnecting with our lost culture and ancestry.

Before we departed, Irene gave us a tour of her mother’s gardens and their rustic outdoor dining room. I wanted very much to linger and deepen our new friendships – I told myself I’d return one day. Andrew and I prolonged our Fritsla stay a bit by returning to the café for fika (Swedish dessert and coffee) and to tell Camilla and Ulrika about our visit with Gunvor and Irene.

 

I had a sense of a culture splitting in half, and the psychic cost on both sides.

 

A week or so later, Jan-Åke sent me the biographical information below, confirmed independently by Amelie and her father, as well as by my cousin, Jan.

When we’d visited Älekulla with Cousin Jan, where my grandfather’s ancestors went back several generations, I’d sensed a deep connection to the land, church, and community.

But my grandfather’s family, headed by his father, Häkan Nilsson, was buffeted by illness, uprootedness, and, likely, poverty. My great grandfather, Häkan, moved from job to job to job (mostly as a tenant farmer and a farm hand) and from town to town, trying to support the family.

I hadn’t known that my grandfather had so many siblings. Morfar was the youngest of seven children – and by the time he was nine years old, all of his brothers and sisters and both of his parents would be dead.

Eight years before Morfar was born, Häkan and his wife, Edela (or Edla) Brita Lardsdotter, lost a son, Karl, at age 7 months, when they were living in the town of Orby.

They moved to Fritsla in February of 1892 with at least five of their six children, and my grandfather was born on June 5.

Morfar’s oldest brother – Häkan and Edela’s  firstborn, Johannes – died at age 19 in Orby (cause unknown) when Morfar was two years old. I do not know if Johannes was emotionally close to my grandfather, or if they barely knew each other.

When my grandfather was four years old, his father, Häkan, died of tuberculosis, on June 14, 1896 in Fritsla – a few months after he had started a new job as a farm hand, and a week after my grandfather’s birthday. Eleven days after Häkan died, my grandfather’s brother, Linus, died of tuberculosis at the age of sixteen. Three weeks after that, on July 16, my grandfather’s sister, Anna Eleanora, died of tuberculosis at the age of eighteen. (As I write this, it is the 123rd anniversary of her death.)

Three years later, my grandfather moved to Orby with his two sisters, Hilda and Josefina, and his widowed mother, Edela. His mother died of an unknown cause six months later on April 9, 1900. Perhaps she died in the flu epidemic my grandfather spoke of.

Morfar, now 8, and Josefina, 11, were sent to live with their maternal aunt and her husband, Lotta and Johan August Svensson. Morfar’s sister, Hilda, age 15, was sent to be a maid for a local tenant farmer, where she died of an unknown cause a little over a year later.

According to local historical records, Morfar’s uncle, August, was well liked by the neighborhood children, and he once helped save a girl who was drowning in a bog. He had only one arm, and had been a railway builder and night guard at the local power plant. When Morfar and his sister, Josefina lived with him, he was a tenant farmer, owning no land, with children of his own to raise. Who knows what my grandfather’s uncle was really like, because Morfar had always said his uncle was mean.

On May 11, 1902, Josefina died at age 13 of an unknown cause, and my grandfather lost his last living family member. Pär and Amelie found this quote by the pastor in the local history records: “The parents of the girl are both dead, and herself, she is destitute!” (“Flickans båda föräldrar äro döda, och själv är hon utfattig!”) 

My grandfather turned nine a few weeks later.

 

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We returned a second time that afternoon to Fritsla Church and it was open. I found it to be much more austere than the church in Älekulla, which had extensive, almost primitive religious murals and paintings. Many of these old churches have been rebuilt, remodeled, and/or extensively restored, and so have changed in appearance over the centuries.

 

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My great grandfather, Håkan Nilsson, and my grandfather’s brother and sister, Linus and Anna Eleanora, were probably buried in this cemetery within weeks of each other after dying of tuberculosis.

 

“The parents of the girl are both dead, and herself, she is destitute!”

 

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Backens Skola, where my grandfather and his sister, Josefina, went to school, now a museum. My son and I were given a private tour by Adam, one of the museum’s caretakers.

 

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My grandfather and his mother and siblings moved to Orby, Sweden after TB took three in the family. He was confirmed at Orby Church on March 6, 1907, long after his mother died.

 

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When he was fifteen, Grandpa went to work as a farm hand on this property in Kinna, Sweden. He was here for four years, then went to work on a farm in Orby a few months before he left for America.

 

Morfar left Sweden forever on April 4, 1912 when he was nineteen, bound for America. He’d always said he was supposed to sail on the Titanic, but he was delayed, possibly by a strike in England. He sailed on the Mauretania instead, a few days behind the Titanic, probably third class. His ticket would have cost about $17.

I’m still checking dates, but the Mauretania left Liverpool, England on April 10, bound for New York a few days behind the Titanic. The Mauretania happened to be carrying the Titanic’s cargo manifest. It was docked in Queensland, Ireland when word came that the Titanic was sinking. First-class passengers held a vigil for the Titanic’s victims and raised $500 for the families. Second-class passengers held their own vigil.

I wonder if word came down to the third-class passengers in steerage about the Titanic. If somehow it did, I can only imagine what Morfar must have thought. Maybe he’d always had survivor’s guilt for being the only one in his family still alive. Perhaps he’d always expected the other shoe to drop – that, inevitably, he’d lose his life, too.

In 1997 or 1998 near Cleveland, Ohio, some of Morfar’s many great grandchildren gathered in their pajamas in front of the TV to watch The Titanic. While Kate Winslet and Leonardo DiCaprio hoped desperately for a lifeboat in those icy waters, I can now imagine another scene – a nineteen-year-old Swedish boy, somewhere below deck on another boat far away. Maybe, upon finding out about the Titanic, Morfar looked upon his having sailed on the Mauretania instead as a sign, a gigantic, long-awaited affirmation from the universe. Yes, he was supposed to live. A whole new life awaited him in America.

 

JungAncestors“Each individual life matters. From the perspective of the ancestors, each descendent is the whole reason they have existed at all. We are each individual ‘historic fragments’ whose lives are interwoven into the lives of our ancestors reaching back to the beginning of creating. Knowing where one comes from in the broadest and deepest sense informs who one is and the direction of one’s life. Within these connections, as one finds oneself in the crowd of ancestral spirits, the meaning of our suffering is revealed in ways that assist us in embracing our fate and embodying and fulfilling our destiny. Simply said – the ancestors, as part of our larger community, support and guide us in living the life we were born to live. This work connects us in ever widening circles to our origins, has the potential to reconnect us with the soul of the world and ultimately leads us back to ourselves and our individual, unique and necessary life.” – Jung and the Ancestors

 

***

 

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Me (in 1956 or so) napping on Grandma’s lap during one of our visits to Grandpa when he was in the hospital for what my mother later told me was tuberculosis. I wonder if the TB had been latent for years, perhaps contracted in Sweden when members of his family had it. Seems a coincidence he would contract the disease so many years later in America. He was cured of the TB with antibiotics, as far as I know. He lived another 15 years or so and passed away from other causes.

 

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Children were not allowed to visit patients. I thought I remembered seeing Grandpa wave to us when we went to see him. He is the figure in the upper left window. Considering how young I am in the other photo, perhaps this is a false memory, and I’m recalling these photos. Memory can be a shadowy, indistinct realm.

 

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In Fritsla Church

 

Darlingside recently came to central Oregon and they are wonderful. Some of their lyrics inspired me to imagine what Ivar Emmanuel Häkansson might have been thinking as he left Sweden forever, made his way by train to England, and boarded the Mauretania for America. Are there stories in your own family history you are perhaps meant to unearth?

 

 

Many thanks to Amelie Sandin, Pär Sandin, Jan-Åke Stensson, Jan Andersson, Camilla Haglund, Ulrika Söderhagen, Gunvor Johansson, Irene Svensson, Adam Nyman, and all the kind Swedes we met. The few hours we spent together were too short. Thank you to Sandra Adamson Easter for writing Jung and the Ancestors, a treasure I’m still unpacking.

 

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Ivar Emmanuel Häkansson

 

Next up, in my final post about exploring our ancestry, I’ll write about our trip to Sicily (my father’s ancestral land), my cousin’s Sicilian wedding, and what my son and I gained from our family heritage search in Sweden.

Inheritance

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“Now the details are so clear to me, as if contained in a time capsule: the Hudson River in the darkness; the lights strung across the George Washington Bridge; the even timbre of my mother’s voice; the high plane of her cheekbone. Her long-fingered hands clasped in her lap. Institute. World-famous. Philadelphia.” Inheritance, Dani Shapiro

A Memoir of Genealogy, Paternity, and Love

Over the next month or two, I’ll be looking at memoir through the lens of inheritance – genetic, ancestral, cultural, and otherwise. This, as I send off my DNA to be analyzed and journey to my two ancestral homes: Sweden, for the first time; and Sicily, where we’ve traveled as a family on several occasions while raising our sons.

I’m not sure what I’ll find in Sweden – more about that in upcoming posts. As for Sicily, I look forward to seeing my extended family again and their stunningly beautiful landscape, their small city on the sea which has been their ancestral home for centuries, and their warm, embracing culture.

I wanted to begin with Dani Shapiro’s jaw-dropping Inheritance because it is a “big,” important memoir, masterfully executed by a seasoned memoirist and novelist, about an increasingly common situation: more people are having their DNA analyzed, and some are getting huge surprises. Others are having long-held suspicions about maternity or paternity confirmed.

In Dani’s case, she learned that her father, whom she adored, was not her biological father. Which meant that her half sister was not her sister. Her beloved aunts, uncles, cousins, and grandparents were not her blood relations, either. Their rich, storied Jewish history and culture were not hers. (Or were they? Do true blood ties matter? Or can nurture make up the difference? Dani explores this.)

Some of Dani’s memories are especially resonant and ironic in hindsight:

At a writer’s retreat, when she was young, aspiring, and still unknown, a famous poet, observing her fair-skinned features, commented: “There’s no way you are Jewish. No way.”

At a backyard barbecue in their close-knit, Jewish neighborhood, a friend and Holocaust survivor said to a baffled, eight-year-old Dani: ““We could have used you in the ghetto, little blondie. You could have gotten us bread from the Nazis.”

After a photographic portrait session, three-year-old Dani was selected by Kodak for the Grand Central Station Colorama photo: the iconic, blonde, All-American (non-Jewish) child in front of the Christmas tree waiting eagerly for Santa.

But I found the following memory most haunting of all: it speaks of Dani’s staggering loneliness and bewilderment as an only child who had always had an innate, deeply felt sense she didn’t belong in her own family. Years after it happened, a neighbor recalled how one day Dani ran across the street to her house, frightened and crying. A home security alarm had gone off, and Dani’s babysitter had been apparently indifferent or unconcerned. The neighbor said she later called Dani’s mother, fed up with Dani’s endless string of babysitters and what she saw as parental neglect. I should say here that Dani had a challenging, contentious relationship with her mother who was, to say the least, a difficult woman.

Inheritance is an important memoir for many reasons; among other things, it raises moral and ethical questions that we, as a society, need to confront. I’ve written before about Jaron Lanier’s call for a more humanitarian focus as our culture becomes shaped and influenced in unforeseen ways by advances in technology. As genetic identities become easily obtainable, we’d do well to ask:

At what point does the quest to have children, at all costs, become morally questionable?  (There is something deeply ironic about the profession chosen by Dani’s biological father, whose identity she goes on to discover.)

Is it not the basic human right of every individual to know his or her genetic identity? Is it ever right for that genetic identity to be legally or otherwise withheld?

Dani comes to think of her discovery as a form of trauma:

“Later, I will become a student of trauma. I will read deeply on the subject as a way of understanding the two opposite poles of my own history: the trauma my parents must have experienced in order to have made a decision so painful that it was buried at the moment it was made, and the trauma of my discovery of that decision more than half a century later.

It is the nature of trauma that, when left untreated, it deepens over time. I had experienced trauma over the years and had developed ways of dealing with it. I meditated each morning. I had a decades-long yoga practice. I had suffered other traumas – my parents’ car accident, Jacob’s childhood illness – and had come out the other side, eventually. What I didn’t understand was that as terrible as these were, they were singular incidents….

But this – the discovery that I wasn’t who I had believed myself to be all my life, that my parents had on some level, no matter how subtle, made the choice to keep the truth of my identity from me – this was no singular incident. It wasn’t something outside myself, to be held to the light and examined, and finally understood. It was inseparable from myself. It was myself.

Their trauma became mine – had always been mine. It was my inheritance, my lot.”

Dani Shapiro now has a podcast series, “Family Secrets.”

Memoir, as a genre, is coming into its own, partly because we are finally realizing how silence and secrets can deepen trauma, with impacts on individuals, families, communities, and our larger culture.

Coming up on Books Can Save a Life:

  • The Book of Help: A Memoir in Remedies, by Megan Griswold. There is something uniquely American and West Coast about this hilarious and deeply honest memoir by a fabulous writer. I’ll be looking at her familial and cultural “inheritance.”
  • My personal stake in memoir, my own writing of memoir, and what aspects of inheritance I’ll be searching for when I travel to Europe.

 

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Coming up: What I’ll be searching for in Sweden and Sicily

 

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Not far from my Sicilian ancestral home

Kim Stafford, feasting on beauty

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Oregon Poet Laureate Kim Stafford

 

Oregon Poet Laureate Kim Stafford came “home” to our little town last week to read poetry, tell stories, sing, call up local history, and conjure memories of many Stafford family vacations spent here in a home-made cabin.

It was a lively, friendly, intimate couple of hours. I’m new to central Oregon, but I could feel the great love long-timers here have for Kim’s family, which includes his sister, Kit, a local artist and teacher, and his father, William Stafford, now deceased, one of America’s most beloved and important poets. It’s been a long, cold winter, and Kim’s energy and love resurrected our spirits, a perfect springtime happening.

A couple of weeks ago, I wrote about David Wallace-Wells’ vision of an uninhabitable earth, followed by a post on A Paradise Built in Hell and the hope Rebecca Solnit discovered when she looked at how people spontaneously come together in the extraordinary communities that can arise in disaster.

It seems a natural progression to next look at how we, as individuals, can cope and thrive in challenging times, and how we can slow down our lives to nurture and sustain our creative work – which may in turn serve as witness to what needs changing and as a catalyst for that change. This is what Kim Stafford’s life is all about, and what his father’s life was about, too.

Kim’s visit happened to coincide with my reading Christian McEwen’s magnificent World Enough & Time: On Creativity and Slowing Down.    It’s a primer on how living slowly can sustain creative work and allow it to flourish, filled with the words and wise ways of contemporary and past literary and spiritual thinkers – including William and Kim Stafford.

If you want to be uplifted and fed, I suggest getting a copy of World Enough & Time. I didn’t read World Enough & Time straight through, but picked it up between other books, reading chunks here and there, especially when I wanted creative or spiritual uplift.

You’d want to keep World Enough & Time handy on your desk or nightstand to pick up as needed. Its bibliography alone is a gold mine.

Chapters are organized around themes that include: having face-to-face conversations with friends and loved ones; approaching life with the playfulness and imagination of a child; walking; looking; reading; writing letters and keeping journals; pausing; and dreaming. You can read chapters out of order, picking and choosing as you please.

World Enough & Time is a an especially rich collection. For a decade, McEwen interviewed contemporaries; unearthed insights from past poets, artists, writers, composers, and musicians; and culled from her own life experiences.

The passages below are about or by writers, but I think you can adapt their wisdom to your particular work and daily life. Here, McEwen quotes William Stafford explaining his daily 4 am writing habit:

 

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Christian McEwen feasting on beauty. How we can, too.

“I get pen and paper, take a glance out of the window (often it is dark out there), and wait. It is like fishing. But I do not wait very long, for there is always a nibble – and this is where receptivity comes in. To get started I will accept anything that occurs to me.”

McEwen goes on to say:

“Years later, Kim Stafford wrote a memoir about his father entitled Early Morning. He described William’s steady practice as a ‘symposium with the self.’ A particular day’s writing might include images from a recent dream, news of the family and the world at large – and a couple of poems…. by lending ‘faith and attention’ to what he called those ‘waifs of thought,’ a total of more than sixty books made their slow way into print.”

How could I not quote a few of McEwen’s words about Mary Oliver’s creative practice:

“Mary Oliver’s day starts at five each morning, when she sets off on a long, solitary, attentive walk. ‘What I write begins and ends with the act of noticing and cherishing…’ Like Coleridge, who scribbled words and phrases while he was out in the field, Mary Oliver likes to use a pocket notebook, ‘small, three inches by five inches, and hand-sewn.'”

Kim Stafford, William Stafford, Mary Oliver, Christian McEwen, and many others. Feast on the beauty of their work and on the beauty of the world around you. You can’t go wrong.

At Kim’s event, I picked up a small gem of a book for $5, Meditations and Poems for Writers, which you can order from Lulu:

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“Writing could be the door to a new kind of individual life, community life, national life, and earth citizenship. We each could greet the day as seeker, artist, witness.”

In The Muses Among Us: Eloquent Listening and Other Pleasures of the Writer’s Craft, a favorite of mine, Kim Stafford writes this, which I’ve copied into my daily work planner:

“What is it like to live your life story, to feed on the beauty meant for you alone, to insist on the conditions that make it possible to live the precise, full life you are here to accomplish?

Don’t wait for the right time. Don’t hesitate. Cross into your beauty now. Carry your seeing, your feasting, your selfish pleasures in the art you choose to the place you need to be, and enact what you have to do there. If you are awake, you have no choice.

Life begins with your witness there.”   

 

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Recently, I took part in my first sacred drumming session with 40 other women in a big, old barn warmed by a wood-burning stove, filled with animal skin rugs and sacred objects. I borrowed this drum, owned by a woman whose spirit animal is the wolf.

 

Here is a link to one of William Stafford’s best loved poems, “The Way It Is.”

Do you have favorite books, authors, or pursuits (such as gardening, drumming, hiking) that sustain you in your work and/or feed your spirit? Let us know in the comments.

A Paradise Built in Hell

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The Extraordinary Communities That Arise in Disaster

“Imagine a society where money plays little or no role, where people rescue each other and then care for each other, where food is given away, where life is mostly out of doors in public, where the old divides between people seem to have fallen away, and the fate that faces them, no matter how grim, is far less so for being shared, where much once considered impossible, both good and bad, is now possible or present, and where the moment is so pressing that old complaints and worries fall away, where people feel important, purposeful, at the center of the world.”  A Paradise Built in Hell: The Extraordinary Communities that Arise in Disaster, by Rebecca Solnit

An upside to disaster is that it can create community out of the ashes. Utopia, even, temporary though that might be. And among individuals, a clarified, reinvigorated sense of life purpose.

In light of my last post about David Wallace-Wells’ The Uninhabitable Earth, it occurred to me that Rebecca Solnit’s A Paradise Built in Hell can be an antidote to despair, because it arms us with a deeply optimistic view of human nature. When it was published in 2009, it was named best book of the year by The Washington Post, The New York Times, the LA Times, the Chicago Tribune, The New Yorker, and the San Francisco Chronicle.

Two hundred years from now, when people want to know what it was like to be alive early in the 21st century, they’ll read Rebecca Solnit: journalist, scholar, historian, and immensely gifted storyteller. Solnit’s prose is a joy to read, because she so seamlessly blends deep research with exquisite portrayals of the humans involved in whatever stranger-than-fiction story she happens to be telling.

Solnit is a soulful activist with a decidedly liberal bent, so she may not appeal if you have more conservative leanings. On the other hand, her books are not partisan diatribes, but suspenseful, exquisitely-researched works often drawing surprising conclusions that transcend our tired, inaccurate political and cultural divides. She does so in A Paradise Built in Hell.

We see a handful of disasters: the 1906 San Francisco earthquake and fire, the 1917 Halifax explosion, the 1985 Mexico City earthquake, 9/11, and Hurricane Katrina, among others – and how the government, other well-established institutions, and ordinary citizens responded. Mostly, citizens rose to the occasion magnificently. But, often, the government, the military, and officially designated emergency responders – not so much. Solnit interviews disaster studies experts (it never occurred to me that disaster studies is a well established and growing academic discipline) and other specialists and draws upon what she learned to posit theories as to why might be so.

We also see, up close and personal, overwhelmed individuals who mustered inner resources they didn’t know they had, permanently transformed by the utopian-like goodwill and community that, in the right circumstances, can arise in the days after disaster.

Here’s a passage written by a survivor of the 1906 San Francisco earthquake and fire:

“….everybody was your friend and you in turn everybody’s friend. The individual, the isolated self was dead. The social self was regnant. Never even when the four walls of ones own room in a new city shall close around us again shall we sense the old lonesomeness shutting us off from our neighbors. Never again shall we feel singled out by fate for the hardships and ill luck that’s going. And that is the sweetness and the gladness of the earthquake and the fire. Not of bravery, not of strength, nor of a new city, but of a new inclusiveness.”

Here are the memories of a young woman who survived the London Blitz:

“A bomb fell two streets away. Another landed nearer as they raced inside, came near enough to buffet her with waves, ‘like bathing in a rough sea.’ She found herself clutching the floor as if to keep from falling while dust was everywhere, her mouth was full of plaster….She was taken in by a neighbor who plied her with blankets and a hot-water bottle ‘for the shock’ and when she said she wasn’t in shock her hostess ‘referred darkly to ‘delayed shock.’ And when she was left alone: ‘I lay there feeling indescribably happy and triumphant. ‘I’ve been bombed!’ I kept saying to myself, over and over again – trying the phrase on, like a new dress, to see how it fitted.’ She concluded, ‘It seems a terrible thing to say, when many people must have been killed and injured last night; but never in my whole life have I ever experience such pure and flawless happiness.’

She was young, she’d survived with her love by her side, and she had fifty-five more nights of bombing to endure…..but time and war did not change her memory. Thirty-five years later Harrison….followed up on her story. She had recently become a grandmother, and she looked back on her night of being bombed as a ‘peak experience – a sense of triumph and happiness’ that she compared to the ‘experience of having a baby.’

All is not roses and optimism in Solnit’s book, however. For example, she takes a good, hard look at what went wrong in New Orleans after Katrina. I found the chapters on New Orleans especially moving, a nuanced portrait of a city and its citizens in a years-long recovery, permanently changed. (It would be fascinating to see what Solnit might make of Puerto Rico in the aftermath of Hurricane Maria.)

(Her portrayal of Katrina reminded me of the riveting Five Days at Memorial: Life and Death in a Storm-Ravaged Hospital by Sheri Fink, about a New Orleans hospital forced to cope on its own, with disastrous results. I wrote about this on Books Can Save a Life when I was a medical librarian and interested in the issue of medical rationing during disasters, something we’ll be hearing more about in the coming years.)

In the epilogue of A Paradise Built in Hell, Solnit writes:

“The paradises built in hell are improvisational; we make them up as we go along, and in so doing they call on all our strength and creativity and leave us free to invent even as we find ourselves enmeshed in community. These paradises built in hell show us both what we want and what we can be….

In the 1906 earthquake, a mansion burned down but its stone portals remained standing. A photograph shows that suddenly, rather than framing the entrance to a private interior, they framed the whole city beyond the hill where the ruins stood. Disaster sometimes knocks down institutions and structures and suspends private life, leaving a broader view of what lies beyond. The task before us is to recognize the possibilities visible through that gateway and endeavor to bring them into the realm of the everyday.”

 

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I found Solnit’s San Francisco Atlas when I traveled there to visit our son and attend a memoir conference. Her Infinite City series includes New York and New Orleans. Not your standard atlases, but quirky reinvented ones, an acquired taste that conceives of cities as complex layers of culture, history, architecture, trends, personal stories, you name it. Intriguing, but somewhat text-heavy for my taste. Compiled with the help of cartographers, artists, and writers, the San Francisco Atlas includes a map called “Dharma Wheels and Fish Ladders” that pairs ancient/current salmon migrations with Zen Buddhism arrivals.

 

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My son gave me Solnit’s The Encyclopedia of Trouble and Spaciousness, though I haven’t read it yet. Here’s a passage from the essay, “Detroit Arcadia: Exploring the Post-American Landscape.” (I’m all for Rust Belt writing.) Solnit is often funny, always astute:  “….the lobby was bisected by drywall, the mural seemed doomed, and the whole place was under some form of remodeling that resembled ruin, with puddles in the lobby and holes in the walls, few staff people, fewer guests, and strange grinding noises at odd hours. I checked out after one night because of the cold water coming out of the hot-water tap and the generally spooky feeling generated by trying to sleep in a 413-room high-rise hotel with almost no other guests….but….as I have explored this city over the last few years, I have seen an oddly heartening new version of the landscape it [the mural] portrays, a landscape that is not quite post-apocalyptic but that is strangely – and sometimes even beautifully – post-American….This continent has not seen a transformation like Detroit’s since the last days of the Maya.”

I highly recommend getting to know Rebecca Solnit, especially if you’re restless to find a new nonfiction writer who is entertaining and spot-on when it comes to portraying our current culture, or if you need to become re-enchanted with the world. I have my eye on reading these books by her someday:

Wanderlust: A History of Walking

A Field Guide to Getting Lost

The Faraway Nearby

Hope in the Dark: Untold Histories, Wild Possibilities

Coming up on Books Can Save a Life:

From the dark specter of an uninhabitable earth, to Solnit’s redeeming vision of community and resilience to, next up, a book well on its way to becoming a classic: one that shows us how to constructively turn inward, live slowly, and cultivate an authentic, deeply felt creativity that can be our gift to a world that sorely needs it. Hint: the author is Christian McEwen.

What are you reading now? Fiction? Nonfiction? Books worth your time, I hope. Please let us know your recommendations in the comments.

The Uninhabitable Earth

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Life After Warming

“It is worse, much worse, than you think.”   The Uninhabitable Earth: Life After Warming, by David Wallace-Wells

After we moved from upstate New York to central Oregon, one of the most unsettling adjustments we had to make was contending with late-summer wildfire smoke. For several days in a row, I didn’t venture outside. On a couple of especially bad days, people wore masks if they had to go out and about.

As bleak as The Uninhabitable Earth is, it did relieve me of my wildfire and smoke worries, somewhat. Should we stay where the air can be so hazardous to our health? Ultimately, I’m not sure it matters. No place on earth will remain unaffected by climate change upheaval, and the climate we enjoyed growing up is gone forever.

This book is being compared to Rachel Carson’s Silent Spring, which had an enormous impact when it was published in 1962.

But of course The Uninhabitable Earth was not a pleasant book to read. I hurried through it, sometimes skimming, often wanting to put it down.

“The earth has experienced five mass extinctions before the one we are living through now, each so complete a wiping of the fossil record that it functioned as an evolutionary reset…: 86 percent of all species dead, 450 million years ago; 70 million years later, 75 percent; 125 million years later, 96 percent; 50 million years later, 80 percent; 135 million years after that, 75 percent again. Unless you are a teenager, you probably read in your high school textbooks that these extinctions were the result of asteroids. In fact, all but the one that killed the dinosaurs involved climate change produced by greenhouse gas. The most notorious was 250 million years ago; it began when carbon dioxide warmed the planet by five degrees Celsius, accelerated when that warming triggered the release of methane, another greenhouse gas, and ended with all but a sliver of life on Earth dead.”

David Wallace-Wells intends for The Uninhabitable Earth to arouse fear, even panic, so that we will finally do something. He has been one of the first writers to synthesize research on catastrophic climate change that involves warming of 4 degrees Celsius or higher – because this is what we are on track for so far – and present it to a lay audience.

Something new I learned was that most atmospheric damage has occurred during the last thirty years, and not since the Industrial Revolution began. For the past thirty years, we were raising our children. It isn’t easy to acknowledge that my generation, more than any other, is most responsible for this mess.

“Many perceive global warming as a sort of moral and economic debt, accumulated since the beginning of the Industrial Revolution and now come due after several centuries. In fact, more than half of the carbon exhaled into the atmosphere by the burning of fossil fuels has been emitted in just the past three decades. Which means we have done as much damage to the fate of the planet and its ability to sustain human life and civilization since Al Gore published his first book on climate than in all the centuries – all the millennia – that came before. ….The majority of the burning has come since the premiere of Seinfeld.”

It is also depressing to know that my adult children and nieces and nephews – and any grandchildren we might someday have – will have lives severely degraded by climate change. They will have no choice but to engage in an epic, lifelong battle.

It’s not just about sea level rise, either. If we do nothing, other catastrophic changes will “deform” every life on the planet:  heat, hunger, wildfire, lack of water, unbreathable air, economic collapse, war, and masses of refugees.

“…150 million more people would die from air pollution alone in a 2-degree warmer world than in a 1.5 degree warmer one….Numbers that large can be hard to grasp, but 150 million is the equivalent of 25 Holocausts. It is three times the size of the death toll of the Great Leap Forward – the largest nonmilitary death toll humanity has ever produced. It is more than twice the greatest death toll of any kind, World War II.”

Similar to Naomi Klein, who believes that only mass social movements can help us now, Wallace-Wells believes that lifestyle changes on an individual level won’t make much difference at this point. The most important thing we can do is engage: become politically active and work, ceaselessly, for swift, dramatic mobilization and change.

“The thing is, I am optimistic. Given the prospect that humans could engineer a climate that is 6 or 8 degrees warmer over the course of the next several centuries – large swaths of the planet unlivable by any definition we use today – that degraded middle counts, for me, as an encouraging future. Warming of 3 or 3.5 degrees would unleash suffering beyond anything that humans have ever experienced through many millennia of strain and strife and all-out war. But it is not a fatalistic scenario; in fact, it’s a whole lot better than where we are headed.”

Many people David’s age are opting not to bring children into the world. I was touched to read that while he wrote this book, David Wallace-Wells became a father. And, yes, he is hopeful.

“In the course of writing this book, I did have a child, Rocca…I think you have to do everything you can to make the world accommodate dignified and flourishing life, rather than giving up early, before the fight has been lost or won…I have to admit, I am also excited, for everything that Rocca and her sisters and brothers will see, will witness, will do. She will hit her child-rearing years around 2050, when we could have climate refugees in the many tens of millions; she will be entering old age at the close of the century, the end-stage bookmark on all of our projections for warming. In between, she will watch the world doing battle with a genuinely existential threat, and the people of her generation making a future for themselves, and the generations they bring into being, on this planet. And she won’t just be watching it, she will be living it – quite literally the greatest story ever told. It may well bring a happy ending.”

Wallace-Wells has this to say, in a footnote:

“….particular market forces have almost conquered our politics, but not entirely, leaving a bright shining sliver of opportunity; and I also believe…that meaningful and even dramatic change can be achieved through the familiar paths: voting and organizing and political activity deployed at every level. In other words, I believe in engagement above all, engagement wherever it may help. In fact, I find any other response to the climate crisis morally incomprehensible.”

Currently, my husband and I are familiarizing ourselves with climate activism in central Oregon so that we can become involved. We’ll try to make environmentally responsible lifestyle changes, too, but we agree with Wallace-Wells that political activism is now our best hope.

Here is Swedish climate activist Greta Thunberg, now 16 years old. She has rocketed to fame in recent months and has been nominated for the Nobel Peace Prize:

 

Thoughts? Please comment! What books, if any, are you reading about climate change? How are you coping psychologically, and have you found ways to feel empowered?

Next time, I will bring you a beautifully written book of hope by Rebecca Solnit. 

 

 

Digital Minimalism (cultivating soul after the storm)

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Our first winter living in the woods, the biggest February snowstorm in 118 years hit central Oregon. Our snow blower had no gas. The snow was up to my waist. We walked (if you could call it that), wearing waterproof leggings. Being forced to slow down, we observed things, such as small pockets of blue light in the snow from animal tracks and other indentations.

 

DigitalMinimalism“‘The mass of men lead lives of quiet desperation. They honestly think there is no choice left. But alert and healthy natures remember that the sun rose clear. It is never too late to give up our prejudices.’ [Thoreau]

Our current relationship with the technologies of our hyper-connected world is unsustainable and is leading us closer to the quiet desperation that Thoreau observed so many years ago.”  Digital Minimalism: Choosing a Focused Life in a Noisy World by Cal Newport

“Solitude deprivation: a state in which you spend close to zero time alone with your own thoughts and free from input from other minds.”

 

Just before our big snowstorm, I’d picked up a copy of Digital Minimalism on hold at the library. A few days before that, I’d finally found my way into an antique bookshop in town, where I bought a treasure I’ll share with you below. So I had plenty of reading handy once the snow began to fall and we hunkered down to stay warm. Given our circumstances, digital minimalism was an appropriate topic.

At the moment, I’m part-way through Cal Newport’s 30-day digital declutter. For me, this includes:

  • Staying off Facebook and Instagram; leaving no “likes,” or comments, nor looking for any
  • Scheduling internet time (not a lot) in advance, on my computer and not my smartphone
  • Deleting most smartphone apps
  • Writing first drafts – and some revisions – by hand, on paper. Writers are at a disadvantage, because they write with computers, gateways to distraction.

Ultimately, Digital Minimalism isn’t about deprivation, but about enrichment. Cal Newport offers a vision of how those of us who might be struggling with the digital world (count me in), especially social media, can rethink our relationship with the internet in a way that is both wise and empowering.

Newport is a young computer scientist and thought leader helping to usher in a more considered, evolved era of digital literacy. (I loved his book, Deep Work.) What he has to say largely supports Jaron Lanier, another thought leader who has called for a more humanitarian digital culture.

Digital minimalism is not a diet, a detox, or a digital sabbath in which you spend a set amount of time away from your smartphone and other digital devices, only to return to the status quo. Integral to Newport’s “digital decluttering” is adopting new, life-enhancing practices as you selectively cut back digital interactions.

This means cultivating a new skill, deepening a creative practice, or engaging in the pursuit of other personally meaningful goals. And maybe ditching your smartphone. (I had no idea, for example, that some young people are buying flip phones – the kind designed for elderly people, with large screens and keyboards!)

Cal suggests we “…prioritize demanding activity over passive consumption,” as “the value you receive from a pursuit is often proportional to the energy invested…”

Here’s what you do after your 30-day declutter:

“To allow an optional technology back into your life at the end of the digital declutter, it must: Serve something you deeply value (offering some benefit is not enough). Be the best way to use technology to serve this value (if it’s not, replace it with something better). Have a role in your life that is constrained with a standard operating procedure that specifies when and how you use it.”

Newport takes his inspiration from Thoreau and Aristotle:

“I call these activities high-quality leisure. The reason that I’m reminding you here of their importance to a well-crafted life – an idea that dates back over two thousand years – is that I’ve become convinced that to successfully tame the problems of our modern digital world, you must both understand and deploy the core insights of this ancient wisdom….

… low-quality digital distractions play a more important role in people’s lives than they imagine. In recent years, as the boundary between work and life blends, jobs become more demanding, and community traditions degrade, more and more people are failing to cultivate the high-quality leisure lives that Aristotle identifies as crucial for human happiness. This leaves a void that would be near unbearable if confronted, but that can be ignored with the help of digital noise. It’s now easy to fill the gaps between work and caring for your family and sleep by pulling out a smartphone or tablet, and numbing yourself with mindless swiping and tapping. Erecting barriers against the existential is not new….but the advanced technologies of the twenty-first century attention economy are particularly effective at this task.”

 

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Flower Arrangement Art of Japan by Mary Cokely Wood is “meant to be just an introduction to the simplest rules of the line and design arrangement termed Japanese Floral Art as I was taught it in Japan in the late [18]90’s before westernization had touched it.”    Here are a couple of passages:  “…the use of any line in a Japanese floral composition is not a casual one. Though a floral composition has one main line, each line in a composition has a relationship to this main line and to every other line in the composition, whether it is a 1000-stem rice willow or one of the popular three-line arrangements.”  And this: “Nothing but practice, constant drill with actual stems, all kinds of stems, will give the necessary training and skill needed in Ikebena….there is no easy short cut to fine eye training in exactness….” Sounds like learning a hard thing and engaging in demanding activity, as Cal Newport suggests, doesn’t it?

“Digital minimalism: A philosophy of technology use in which you focus your online time on a small number of carefully selected and optimized activities that strongly support things you value, and then happily miss out on everything else.”

 

“…we cannot passively allow the wild tangle of tools, entertainments, and distractions provided by the internet age to dictate how we spend our time or how we feel. We must instead take steps to extract the good from these technologies while sidestepping what’s bad. We require a philosophy that puts our aspirations and values once again in charge of our daily experience, all the while dethroning primal whims and the business models of Silicon Valley from their current dominance of this role.”

 

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In Flower Arrangement Art of Japan, some of the illustrations, dated 1684, were compiled by a priest/floral artist with “the sole purpose of cultivating the Soul.” This, about Containers: “The flower master, living and working with flower arrangement year after year, had a finely developed consciousness of association and suggestiveness, the fitting arrangement for the time and the season. For instance, on a very hot day in summer when the sight and thought of a large expanse of water is cooling and refreshing, a traditional arrangement would be made of water plants, or those growing near the water, in as large a flower basin as possible; the water made part of the picture. In the winter, arrangements are made in erect containers in which the water is seen but is not played up as it is in the summer arrangements.”

 

I’m finding that digital minimalism is hard work in terms of thought, planning, and evaluation. I don’t miss social media, and I’m wondering if it will be worth bringing back into my life. I’ll let you know how this all turns out for me.

I think that our culture is ready for a digital reset, and I hope that someday digital literacy, in which we do the hard work of picking and choosing how we use the internet and our devices, becomes a basic part of school curricula. In the meantime, it is something beneficial we can do for ourselves.

 

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“To the Japanese, inured to hardship, the sight of pines, twisted, distorted, dwarfed by the elements, clinging with all their might to the rocky face of a cliff, or standing on a windswept ridge silhouetted against the sky, fairly shouted, ‘Never mind the going, just keep on.’ Standing, thus, century after century, evergreens were associated with courage as well as long life. They lived on in spite of elemental rages. They did not merely decorate the landscape. The old floral masters, many of them in their early life had been soldiers, loved evergreens and used them in flower arrangements as well as in their gardens. Evergreens, especially pines, are the great background in Japan, of the scenery, the garden, and the floral art.”

 

“Digital minimalism definitely does not reject the innovations of the internet age, but instead rejects the way so many people currently engage with these tools…..I’m enthralled by the possibilities of our techno-future. But I’m also convinced that we cannot unlock this potential until we put in the extra effort required to take control of our own digital lives – to confidently decide for ourselves what tools we want to use, for what reasons, and under what conditions. This isn’t reactionary, it’s common sense.”

If you’d like to know more about the devastations of social media and digital overdrive, look online for Anderson Cooper’s interview with former Google product manager Tristan Harris on 60 Minutes.

Bill Maher’s “Social Media Is the New Nicotine” is hard-hitting, but his language (as usual) can be offensive.

 

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At Hoodoo Ski Resort after the storm, with a glimpse of Three-Fingered Jack. A hoodoo is a column or pinnacle of weathered rock. Photo by J. Hallinan.

 

I’ll end with this by Joseph Campbell, which I found independently of Cal’s book:

“You must have a room, or a certain hour or so a day, where you don’t know what was in the newspapers that morning, you don’t know who your friends are, you don’t know what you owe anybody, you don’t know what anybody else owes you. This is a place where you can simply experience and bring forth what you are and what you might be. This is the place of creative incubation. At first you may find that nothing happens there. But if you have a sacred place and use it, something will eventually happen.”

Do you use social media? How do you feel about it? Do you feel the need to cut back on your digital distractions? If so, how is that going?

The book gods have been showering me with exceptional riches lately, and plenty of time to read as I adjust to our more rural life. Here’s what’s coming up on Books Can Save a Life:

Memoir

Dani Shapiro’s Inheritance: A Memoir of Genealogy, Paternity and Love

Small Fry, by Lisa Brennan Jobs

All You Can Ever Know, by Nicole Chung

The Center Cannot Hold: My Journey Through Madness, by Elyn R. Saks

Megan Griswold’s The Book of Help: A Memoir in Remedies

Nonfiction

A Paradise Built in Hell: The Extraordinary Communities that Arise in Disaster, by Rebecca Solnit

Our Most Troubling Madness: Case Studies in Schizophrenia Across Cultures, by T.M. Luhrmann (The research is fascinating; I gained brand new perspectives.)

What I’ve got on hold at the library:

Solitary, by Albert Woodfox (He’s one of the Angola 3, and his life has been a travesty of injustice. This memoir will be BIG.)

Feel Free, by Zadie Smith

Late Migrations, by Margaret Renkl

The Collected Schizophrenias, by Esm Weijun Wang

The Warmth of Other Suns, by Isabel Wilkerson

The Uninhabitable Earth, by David Wallace-Wells

 

 

The Revenge of Analog

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“So we journey on with these tasks, stirring the soil, watering plants, tending livestock, scribbling strings of words, putting these journals together, chasing paints and caring for each other, all in all grateful and blessed. Hoping the same and more for all of you.” Lynn R. Miller, Small Farmer’s Journal  

 

In central Oregon, where we recently moved, the exquisite Small Farmer’s Journal has been around since 1976. Publisher, editor, writer, and artist Lynn Miller’s sentiments above are quite a contrast to this passage from my recent read:

revengeofanalog“‘The digital world… brings dysphoria – a low-level but constant heartbreak that is one of its most controversial side effects,’ wrote Virginia Heffernan in the New York Times Magazine in 2011, in an article exploring the driving force behind a growing affinity for analog….It’s still here, the persistent sense of loss. The magic of the Internet – the recession of the material world in favor of a world of ideas – is not working for everyone.” The Revenge of Analog: Real Things and Why They Matter, David Sax

I’ve had digital world dysphoria lately, and so I appreciated The Revenge of Analog and the chance to stop and savor some of the “real things” we all used to love, and many of us are loving still. David Sax says:

“Analog gives us the joy of creating and possessing real, tangible things in realms where physical objects and experiences are fading. These pleasures range from the serendipity of getting a roll of film back from the developer, to the fun in playing a new board game with old friends, to the luxurious sound of unfolding the Sunday newspaper, and to the instant reward that comes from seeing your thoughts scratched onto a sheet of paper with the push of a pen. These are priceless experiences for those who enjoy them.” 

This post is simply a tribute to analog and a ramble through some of the analog bits in my life. I’d love to hear about yours, too, in the comments, please!

 

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This I found under the Christmas tree, a bit of analog from St. Brigid Press: “Wildflowers Ending,” a hand-sewn chapbook by J.L. Davis. My copy is number 49 of 98. (“Wildflowers Ending” was handset in the Bembo family of types, and cast at the Bixler Letterfoundry. Letterpress printed with a 1909 Golding Pearl treadle press on Mohawk Superfine text paper with Lokta wraps.)

 

I’ll share one story from The Revenge of Analog that is especially meaningful to me, having lived in Rochester, NY for several decades and worked for a time at Eastman Kodak. David Sax’s tale of the attempted resurrection of photographic film in a small Italian village is surprisingly dramatic and harrowing. (And did you know that Kodak has just reintroduced Ektachrome?!)

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“Wildflowers Ending” frontispiece by Lana Lambert.

Reading Sax’s story about FILM Ferrania, I was reminded of when our son got started in photography in high school using analog film. He’d spend hours in the darkroom. It made me wonder about Kodak and whether they’ve curated and archived their old film manufacturing recipes.

“What Baldini and his business partner Marco Pagni were attempting to do here, at this small, crumbling factory in this remote, bankrupt valley, was revive the production of new color still and motion picture film under the old FILM Ferrania brand.

To do that, they had to overcome every single obstacle facing an analog industry in a post-digital economy. To get FILM Ferrania to the point where it could make even a single roll of film, Pagni and Baldini needed to rescale an assembly line designed for mass-market production to a tenth of its size, with a skeleton crew, patchy knowledge, dangerous and discontinued materials, and a bare-bones budget. They had to finance and engineer the relocation of huge machines from the original film factory buildings nearby to this smaller facility, all in the few months before the demolition crew tore down those other buildings. If they missed this narrow window, the chance to rebuild FILM Ferrania would be lost forever.”

 

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This Manhattan scene was photographed with film and edited digitally. (Fujicolor Superia, 1600 ISO) Photo by Andrew Hallinan.

 

“Big Boy was an imposing five-story windowless concrete bunker the length of a city block….We climbed the staircase and passed offices that had been frozen in time….The experience of walking through a massive, perilous, abandoned factory in the dark , lit only by flashlights, is fascinating and terrifying….

The computer room, which controlled the various precision systems, from heating and cooling to the chemical mixers, sensors, and the coating machine itself, was a return to Radio Schack circa 1991. The place ran on vintage IBMs, HPs, and all manner of beige DOS relics, most with floppy disk drivers, and few with anything more recent than Windows 95.

‘The formula for automated manufacturing is stored inside these computers,’ Pagni said….

Next we sifted through drawers of blueprints, formula binders, and stacks of microfilm, which contained all the pertinent information for the emulsions, machines, and the building itself.

‘If you lose these,” Pagni said, ‘you have nothing.”

 

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Cascades. (Kodak T-Max, 3200 ISO) Andrew Hallinan

 

There’s lots more in The Revenge of Analog. How people are sketching and writing longhand on stationery and in journals like Moleskines and other simple, utilitarian, or ornately luxurious journals and sketch books. I learned about the newly popular way to socialize by playing board games even as my husband and I discovered a fabulous board game café in Bend.

David also talks about the rise of smaller printed magazines and neighborhood newspapers, and how the sale of vinyl record albums is a thriving part of the music industry.

 

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I found this lovely radio/record player combination in The Vintage Moon in Bend. The radio works beautifully, after it warms up, but I need to track down a phonograph needle on the internet.

 

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My mom’s old stack of 78’s, featuring “Me and My Imagination” sung by Betty Brewer, Decca Records.

 

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Oregano, basil, and rosemary, by artist KJ Malony of @blueberry_hills. Kathy and I were college roommates and fellow English majors; she knows I always have these herbs in my kitchen garden. It’s been great to watch her grow and mature as an artist over the years, and to have these wonderful, handmade woodblock prints.

 

Do have any analog loves? Or a favorite book about an analog passion? Tell us in the comments. 

 

“We acquired a new team of Belgian horses from our friends the McIntoshs. Built a new woodshed and are working up twenty acres to plant early to a nurse crop of forage wheat as a shield for a mixture of Sanfoin, Alfalfa, and grasses. There are three seven-acre lands I also hope to have ready for spring planting. Of course, how well any of that goes will depend on winter weather. We have, over the last five years, experienced deep, long-term snow cover two years, and two years of open relatively dry and moderate weather, with one year of very cold temperatures. Time will tell what we are faced with this year. So the field work will have to proceed as these old bones and weather allow.” Lynn R. Miller, Small Farmer’s Journal, Vol. 42, Number 2

 

 

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“Smell of Lightning,” Lynn R. Miller

 

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The view out my office window. Hope the meditation rock will help with the writing.

Coming up on Books Can Save a Life: A cross-country move pretty much decimated my writing practice for a while, but I finally have a work space set up and the beginnings of a regular writing schedule. I’ll be posting here once or twice a month. I’ve a handful of books I can’t wait to share with you: FOUR memoirs, including Megan Griswold’s funny and smashing The Book of Help. I’ll be attending her reading at a local bookstore tonight. Dani Shapiro’s Inheritance, which is a New York Times Bestseller, made quite an impression on me. I’ll be writing about Steve Job’s daughter’s memoir, Small Fry, too.

I also read an exquisite work of nonfiction by Rebecca Solnit. (Of course, everything she writes is exquisite.)

Plus, I’ll tell you about two new, important books about schizophrenia and serious mental illness.

One more thing – after reading Cal Newport’s newest book, I’ll be trying out digital minimalism in the coming weeks. I’ll tell you how that goes and more about his book, which is changing how people use social media and interact with the internet.

 

The Library Book

“Members of the German Student Union carried out the book burning with enthusiasm. At Opera Square, the students formed a human chain, passed the books from hand to hand, and then cast them into a pile. Estimates of the number of books in the bonfire pile range from twenty-five thousand to ninety thousand. As each book was thrown in, a student announced the reason this particular book was being ‘sentenced to death.’ The reasons were stated like criminal charges. …The Feuersprüche [Fire Incantations] had a party atmosphere with dancing, singing, and live music. At midnight, [May 10, 1933] Goebbels appeared and gave a raving discourse known as the Fire Speech. That same night, similar events were held in Munich, Dresden, Frankfurt, and Breslau….” The Library Book, by Susan Orlean

Calling all book and library lovers and their friends! (Especially print book lovers.) If you’re looking for a last-minute Christmas gift for the reader on your list, stop by your local bookstore and pick up a copy of The Library Book.

While she was writing The Library Book, author Susan Orlean lit a match and burned one of her tattered old paperbacks – just to see what it felt like to burn a sacred object and how easily a book could be set alight. It didn’t feel good, she said, but it was easy to burn once the book reached 451 degrees, the temperature at which paper burns: Fahrenheit 451 vanished in a small conflagration. 

One of the most riveting parts of The Library Book is Orlean’s description of the 1933 Nazi-instigated book burnings in 34 university towns and cities, conducted in part by a minority of college students who called themselves the German Student Union. I’d always imagined small bonfires sacrificing a few hundred books. Maybe because I find book burning incomprehensible, I never conceived of the vast numbers burned – up to 90,000 in one fire! –  or the live music, enthusiastic crowds, and tragic number of libraries destroyed in World War II and other wars, both deliberately and collaterally.

“Books are a sort of cultural DNA, the code for who, as a society, we are, and what we know. All the wonders and failures, all the champions and villains, all the legends and ideas and revelations of a culture last forever in its books. Destroying those books is a way of saying that the culture itself no longer exists; its history has disappeared; the continuity between its past and its future is ruptured. Taking books away from a culture is to take away its shared memory. It’s like taking away the ability to remember your dreams. Destroying a culture’s books is sentencing it to something worse than death: it is sentencing it to seem as if it never lived.” 

Susan Orlean is one of the most brilliant contemporary American writers of nonfiction. She writes for The New Yorker and has authored many books; I’ve read only one other: the quirky The Orchid Thief: A True Story of Beauty and Obsession, which was made into the movie Adaptation (starring Meryl Street, Nicolas Cage, and Chris Cooper.) The book is strange and marvelous, and the movie is even stranger – perhaps not to everyone’s taste. If you love books, though, you’ll find The Library Book more accessible yet equally as passionate. Orlean is a book-lover from way back and writes movingly about her childhood library visits with her mother, who always said that if she’d had a career, she would have been a librarian.

Susan’s private book burning and those of the Germans echo and deepen The Library Book’s central plot, which involves the tragic burning of the Los Angeles Public Library in 1986. It burned for seven hours; over 400,000 books were destroyed and 700,000 more damaged. No one is sure whether the fire was arson or an accident. The prime suspect, Harry Peak, a compulsive but likable liar and something of a tragic figure, changed his story every time he was questioned by the police. Woven into the story of the burning and resurrection of the LA Public Library is Orlean’s love letter to books, reading, libraries, and librarians.

Susan writes of her own motivation to write, one of the most eloquent and true statements I’ve ever read about why someone would devote oneself to this painstaking labor:

“I fear not just that I, personally, will be forgotten, but that we are all doomed to being forgotten – that the sum of life is ultimately nothing; that we experience joy and disappointment and aches and delights and loss, make our little mark on the world, and then we vanish, and the mark is erased, and it is as if we never existed…..But if something you learn or observe or imagine can be set down and saved, and if you can see your life reflected in previous lives, and can imagine it reflected in subsequent ones, you can begin to discover order and harmony. You know that you are part of a larger story that has shape and purpose – a tangible, familiar past and a constantly refreshed future. We are all whispering in a tin can on a string, but we are heard, so we whisper the message into the next tin can and the next string. Writing a book, just like building a library, is an act of sheer defiance. It is a declaration that you believe in the persistence of memory.” 

Isn’t this why we haunt libraries and bookstores, to find those singular voices, many from the past, that for whatever reason speak to us so personally and vividly?

“You don’t need to take a book off a shelf to know there is a voice inside that is waiting to speak to you, and behind that was someone who truly believed that if he or she spoke, someone would listen. It was that affirmation that always amazed me. Even the oddest, most peculiar book was written with that kind of courage — the writer’s belief that someone would find his or her book important to read. I was struck by how precious and foolish and brave that belief is, and how necessary, and how full of hope it is to collect these books and manuscripts and preserve them. It declares that stories matter, and so does every effort to create something that connects us to one another, and to our past, and to what is still to come.” 

Like Susan, I’d never heard about this:

“In Senegal, the polite expression for saying someone died is to say his or her library has burned. When I first heard the phrase, I didn’t understand it, but over time I came to realize it was perfect. Our minds and souls contain volumes inscribed by our experiences and emotions; each individual’s consciousness is a collection of memories we’ve cataloged and stored inside us, a private library of a life lived. It is something that no one else can entirely share, one that burns down and disappears when we die. But if you can take something from that internal collection and share it – with one person or with the larger world – on the page or in a story recited – it takes on a life of its own.”

These excerpts don’t even begin to address Orlean’s fine chapters about libraries,  librarians, their history, and their future. Having been a book editor and a (medical/academic) librarian, I’ve heard more than once from people who are quite sure  books will disappear and that we no longer need libraries. To them, I’d say: fake news, conspiracy theories and the disruption of democracy. I’d point them to these and many, many other links:

Helsinki’s New Library

Seoul, Korea’s newest library

Dr. Google is a liar

Free Narcan to libraries

The New York Public Library website – check out the education and research pages alone

The Revenge of Analog: Real Things and Why They Matter

I leave you with this arresting image from The Library Book, which takes place around the clock in my hometown of Cleveland:

“The lobby of the OverDrive headquarters [in Cleveland] is huge and high. A ten-foot-square screen that displays a world map dominates the center of the lobby. Every few seconds, a bubble pops up from somewhere on the map, showing the name of the library and the title of the book that had just been borrowed. The screen is mesmerizing. If you stand there for a few minutes, you will see that someone at a small library in Arles, France, has just checked out L’Instant présent by Guillaume Musso; that someone in Boulder, Colorado, has borrowed Harry Potter and the Cursed Child by J.K. Rowling; and that in Mexico City, someone has claimed a copy of El cuerpo en que nací by Guadalupe Nettel. It feels like you’re watching a real-time thought map of the world.”

By the way, the American Library Association maintains yearly lists of books that have been challenged, restricted, removed, or banned.

Up next: My best read of 2018 – a fat volume of fiction several inches thick, with a cover that is a work of art. Wondrous and important.

 

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Merry Christmas and Happy New Year! I hope you find some good books under the tree. Woodblock prints by @blueberry_hills.

 

 

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