I’m adding light and shadow to appliqued hawk. Made her head lighter and used white poly for beak to make it pop. A scrap of fabric practically fell out of the basket and felt like a minor show of Providence.
Jude had the idea over on Instagram to darken some of the ripples around the hawk’s head. Since I like the way it adds a sense of motion, I may continue around the body as long as I have that color thread. It’ll look good flowing off the wings.
Had some gross polyester swirled with black in that basket, too. Added to tail and wings for more contrast. Light. Maybe you can see a difference with earlier incarnation, maybe not (below).
It’s nice to have company.
In the meantime, I finally talked to my paid manuscript consultant yesterday. Round three coming up. I know I’ve said this before but it bears repeating, perhaps even shouting off the rooftops: SHE LOVES MY BOOK.
I think people forget how solitary a process writing is.
House names should not be italicized. If I’m gonna talk about the elder Middletons toward the end, they need to be introduced earlier. Still sags here and there — needs tightening. Not so many descriptions of clouds, perhaps. Maybe not so much about Melody’s first owner. Explain what head rights are and how to memorialize land in Author’s Note, which starts like this:
When I began this novel, Trayvon Martin was alive and as I finished the second edit, George Floyd was dead.
The suggestion that I add an epilogue (say in 1758 after Eliza and Charles Pinckney return from a five year stay in England), will take a little more thought. That’s fourteen years after my original end. Lots of years I haven’t thought about all that much.
A six year time frame (1738 to 1744) allowed a laser-like focus. Etiquette in 1720? I don’t care! Rice markets in 1750? Also don’t care. Now I need to care. I’ll start with Eliza’s letters.
A walk with temps in the 40’s was cause for celebration this week. Daffodils shoving aside leaf debris. Snow shrugging off the curbs. It won’t be long now ’til the miracle of hyacinths.
In the meantime I am trying to answer the question (Acey’s): how do you hold your heart? Or maybe just asking it. Softly.
The collage challenge with Paris Collage Collective continues. This week: Shirley Chisholm.
More to come. I want to cut up seed catalogues and wreathe her head with flowers. In the collage above, the headstone of Harriett Jacobs served as reference to the long history of oppression, Jacobs being another Black woman who overcame so much.
It’s 60 degrees here. Crickets sing their autumnal songs. Hard not to feel blessed, with zero hurricanes coming at us and zero fires raging nearby. The finches are feeding on the echinacea seed heads near the side door. When I come out, they fly off, startled and pretty.
K went to work today for only the second time since March 13. There were 313 Covid cases in Massachusetts yesterday, so I don’t know? Finn understood the change and stayed up in bed with me.
I am adding batting to the single-layer sections of the global warming quilt. Tricky. Fussy in a way that would be avoided if I were a Point-A-to-Point-B creator. Believe me, sometimes I wish I was.
But just look at that amaranth! It is one of the few glorious results of my seed planting efforts this year. Exactly ONE of the dozens of sunflower seeds I planted survived the rabbits.
The huge squash leaves came from a rogue seed that took root when a piece of compost fell into a yard waste bin and took off! I love how surprises arrive in the garden with a casual regularity that defy their miraculous nature.
The first house (below) didn’t belong so I took it off. New house includes cloth that Deb Lacativa gifted me recently.
As a hostess gift, Deb brought threads, too!
I’ve put them in the box that formerly housed my sister’s Aquarian Tarot deck. Noreen left behind some fifteen decks, but this was her favorite, in her possession since the mid-seventies. I love the cards, too, but knew they weren’t mine to use. During Deb’s visit, it just became so clear that they should go home with her.
Deb later informed me that the artist who created the deck, David Palladini, died on March 13. The same day as my sister. (He also went to Pratt Institute — which is where my parents met).
My sister’s glass collection cheered up an otherwise grey day. I can already tell that the season of watching Hallmark Christmas movies won’t be the same without her. We used to play an informal Bingo on the phone. “I got a character named Nick!” Or “I had the magic ornament!” “The kiss during a sleigh ride!” Or, “We need to add: Dancing while making cookies!”
That’s alright. I’ll be watching the impeachment hearings.
Spent more time on the manuscript: combining phrases and cutting out paragraphs and splitting a chapter for better flow. And even, for the first time in ages, doing a little research. Learned more about the Royalls who moved from Antigua around the same time as the Lucases and probably for some of the same reasons (hurricane, drought, an earthquake, and credible evidence of a slave revolt in 1736). All so I could add a line to a conversation between Eliza and her mother.
And so it goes.
Sorry if this is so disjointed. I’m watching Maddow as I type and it’s a dense episode.
The midsection of this work-in-progress uses a contour map print for the central form, leading me to call this and others in the series, “geography of the heart.” The embroidered word “love” below the heart underscores the theme, but in a generic and possibly saccharine way.
I was nevertheless prepared to finish it up when I came across some spoonflower fabric that used a collage (above) that I made a while back as part of the second of two sketchbook projects.
The scrappy fella silhouetted speaks of war orphans, Spanish flu orphans and children of immigrants in New York City.
More specifically, this jaunty man-boy is a stand in for my father who grew up in Woodhaven, New York (an area sometimes claimed by Queens, sometimes Brooklyn). As a teenager he worked as a runner on Wall Street. I can imagine his wiry form, his scrawny athleticism. Eventually he earned enough to attend Pratt Institute and set himself on a path out of the boroughs and into the suburbs.
Suddenly, the idea of the heart’s geography comes alive with particularly.
‘Design is working with what you have and doing the best you can to hold it together.’ Jude Hill
One of the biggest challenges for a collage-style quilter is holding onto the feeling of the piece as you adhere the components. Things that are overlaid in the design phase may lose an element of spontaneity or positioning or something when pieced. On the other hand, if elements are simply stitched down, they may not relate well enough to each other.
Problem one: to lend more meaning to an otherwise generic notion of origins. Solved: by inserting scrappy fella.
Problem two: adding one overlay guy on the left (circled in red). The strip of spoonflower fabric under him will be seamed — just like the right-side panel. But the guy? If I appliqué him will he float too much? And if, on the other hand, I piece him in, will the narrow seam allowances be significant enough subtractions of pattern to disrupt what’s going on?
I’ve gone both ways with this over the years without having formed a real preference. This time, I think I’ll use appliqué.
[Couldn’t find my xerox copies of the sketchbook and so grabbed a few images from Flickr. The first two page spread below is shown two ways. It reads: When will they try to steal your liberty?
The bottom image shows the title page, “It’s Not About Me” — which was one of the themes offered that year.