Tag Archives: vulnerability

Follow through

Finishing books that I abandoned after reading 100 or so pages is having a curiously strong impact on my sense of self. Who’d have thunk? It’s empowering! Since the New Year, I’ve completed a handful of books that, absent the #theunreadshelfproject (Instagram), I might never have finished.

With that in mind, I’d like to experiment with follow through here.

This is me: tomorrow I’ll post about unreliable narrators. Then: silence.

I may then write about the topic privately; I may not. But the point is — here there’s a hanging intention, a risk left unmet.

They are often tricky topics about race or my writing or both. I get nervous talking about my novel as if to do so is to jinx it or, almost as bad, to publicly shame myself for not being done yet.

Because some planned posts involve historic references and/or nuanced ideas about ownership of stories, I can’t bang them out the normal way. “The weather’s this. Patchwork is that.” I need time. And courage.

But, the posts don’t have to be perfect, either. The ideas don’t need to be fully fleshed out. And, though this is not best practice, I don’t even have to include all the necessary attributions at the time of publication. This isn’t scholarship, after all.

I’ve already had the experience of readers giving me important clarifications or details. And encouragement. Why wouldn’t I keep availing myself of that?

So deep breath.

Austin Kleon, from “Steal Like An Artist” speaks to this.

Jude Hill models this day in and day out. One way of looking at my intention here is that I want to apply a spiritcloth approach to historic fiction. In so doing, I hope to exemplify another of Kleon’s big ideas (one that is often misunderstood) which is to say that “Stealing like an Artist” means trying to think like people we admire. It doesn’t mean trying to copy what they make (although he attempts to normalize that as well, noting that all artists learn by copying and if you want to be good copy, not one, but many).

Well, this turned into a little Kleon book review which was not my intention!

Bye!

PS We got more than a foot of snow and a fourth nor’easter is on the way. Honestly, as long as K is not in Asia (which he was for the first two), I don’t care.

Designing vulnerability

seam-joist

a white ‘seam’ couched as an inner wall

As I look at this composition, I begin to think about vulnerability… what is transparency, after all, if not the quality of letting oneself be known? (IRS, take note!)  I have been looking at other works-in-progress back lit in this manner for many months, so it’s not clear why THIS one speaks of transparency and the others did not. Perhaps it is due to vigorous conversations (with Grace and others) about boundaries, about where to draw the line (a red line, perhaps?) to maintain the necessary sanctuary to create, care giving and its demands, and the desire to be seen.

rectangle with 2 folds = house

rectangle with 2 folds = house

scraps from former quilt - many patches are fabric that I bleached in order to whiten

scraps from former quilt – many patches are fabric that I bleached in order to whiten

It began with ‘Ghost House’ leftover scraps, and was a conscious attempt to marry two recently made houses – both of which left me dissatisfied (The Red House quilt and The White House quilt) [links to follow – I don’t have much time this morning]. I laid the scraps on white, continuing the exploration of WHITE for my online class with Jude Hill (Spirit Cloth, side bar).

lightbacked-tower

part of the roof is white, with stitch and couching, only, to define

There is white on the base, too, which I might build up all around – picking up on Jude’s idea of moving from white as a ‘background’ to white as a field of interest, with texture, and something to say besides, ‘look at what is on me’. I actually seamed some white fabrics together, to use as building struts in the frame… only one made it into the house – that long vertical to the right of the blue window (and yes, I know the tower has the appearance of a goofy face, a fact I’m going to correct with another window or two).

blue-window

hanky scrap from Sandy Meegan pinned, center

The red thread is ‘Meditation Thread’ hand-dyed in India. I like the idea of red, with its vigor and visibility standing in as a symbol of a well-maintained boundary (Imagine that! A sanctuary bounded with quiet intent and silent, purposeful endeavor!! Not angry protestations and complaint). I wonder what each compartment holds.

implied-nine-patch-again

what if the Nine Patch will only be implied and transient?

I see the nine patch and wonder if I have the energy and wherewithall to enlarge this quilt in order to make the nine patch more than an ephemeral creation of morning sun and muntin shadow. I don’t need to decide to continue.

Many more works on the table, pinned to the wall, up against the western glass doors, and laid out on the dining room table for design-viewing.

white-house-with-red

same thread around White House, unsuccessful, but a spur to new Tower

Have a great couple of days!