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Fiction: A Life Like This by Laura E. Smith

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That summer, Eleanor Lewis went to Scotland for a month, and I was charged with the care of her house, her plants, and her Jack Russell terrier, Mabel. Mabel was a finicky eater, and I spent much of that month worrying that she was slowly starving to death.

Eleanor’s house was large, immaculately kept, and old. I examined her calendar and grocery lists to divine what kind of person she was; she had an appointment with a woman named Annabelle, and was in need of three garlic cloves, chives, and wheat germ. My Great-Aunt Madeline had asked me to house-sit for Eleanor because Eleanor was boring the ladies in their book club with tales of how impossible it was to find a decent house-sitter.

My summer with Mabel was spent ghostwriting the history of my high school in honor of its centennial celebration. The school was French, old, stuffy, and I was somewhat fond of it, so I agreed to toil away for hours at Eleanor’s dining room table even though another person’s name—an important name—would be printed on the cover. The school, known herein as X, was considering asking a parent who had recently written a very popular biography of Sir Isaac Newton to be the “author” of X, Celebrating One Hundred Years of Academic Excellence. Or perhaps the parent who was the Argentine ambassador. If neither of them agreed, they would ask the great granddaughter of the founder, who was ancient and very, very blind.

Eleanor Lewis’s neighborhood was very upper crust. It was also silent, poorly lit, and it appeared that no one actually lived there. These were estates that the neighbors kept for the sake of keeping estates; I’m sure there is some reason to keep a house that you don’t live in. Perhaps the neighbors wanted to leave their options open. They might decide they did want to live there after all. Perhaps there were too many memories, and they couldn’t bear to part with the estates, preferring instead to turn them into mausoleums commemorating the not-so-distant past. Perhaps these were the houses where they had raised their now-grown and successful offspring, and the neighborhood had once been full of laughter and children cavorting on manicured lawns.

Or perhaps they were all spies masquerading as important lawyers and diplomats and were in various exotic and dangerous locales doing whatever it is spies do. Perhaps Eleanor was a spy. A spy for Scotland. A spy on Scotland. Although she just seemed divorced and well traveled.

It came to feel as though Eleanor didn’t live there, had never lived there. My boyfriend stayed in the house with me most nights, and we began to refer to the house as Mabel’s house. “Do you think we should water the plants at Mabel’s more than once a week?” we would say. “Mabel’s neighborhood is very quiet.” “I locked myself out of Mabel’s house this morning.”

And I did lock myself out of Mabel’s house one morning. Mabel and I had been playing ball in the yard. With Mabel, you always had to play toss with two tennis balls because after she chased the first ball down, she never relinquished it, chewing on it and attacking it indefinitely, which made for a very tiresome game of fetch. Once, she bit my hand when I tried to take it from her. So you had to throw one ball, have her bring it back to you and then throw the other, and she would drop the first. After I grew tired of the game, and Mabel had somehow commandeered both balls, I walked towards the back door. I knew, even before I touched the knob, that it was locked.

“Shit,” I said. “Shit. Shit. Shit.”

I could see my cell phone sitting on the kitchen table. I stuck my head through the doggie door to see if I would fit. I did not. I ran around the front of the house, hoping I had forgotten to lock the front door. I had not.

Mabel and I sat on the front stoop for an hour, waiting for someone to walk by. Once a week, without warning, an “assistant” came by the house. I hoped that today the assistant would appear. Eleanor referred to her as “the assistant” despite the fact that Eleanor did not appear to be employed. Assistants are for lawyers, I wanted to protest. It seemed like a fabulously luxurious thing to have a life assistant. The assistant went through Eleanor’s mail, and then did something on Eleanor’s computer for an hour. She also bought things for the house like cleaning supplies, dog food, and had some of Eleanor’s clothes dry-cleaned. By nine thirty, I had lost all hope that the assistant was coming, and allowed myself to rest my head in my hands gloomily. Mabel seemed to have lost hope as well, but was too dignified to sulk and lay politely at my feet.

Suddenly, someone came out of the house across the street. She was a middle-aged woman, dressed in a lavender pantsuit, and wore a serious expression. I walked over and explained our predicament, leaving Mabel tethered to the post.

“Where is Eleanor these days?” the woman asked, hanging dry cleaning in her car.

Scotland, I told her.

“I think we may have a key, and if we do, you are in luck because I think we are the only neighbors she would give a key to.”

I wondered if this was because Eleanor knew that the other neighbors were untrustworthy spies.

“I’m Sharon,” said the woman.

I told her my name and apologized for making her late for work.

“No, no! This is important. You can’t sit outside all day.” I decided I liked Sharon, her frankness and her pragmatism. I suddenly did feel important. I had things to do. I couldn’t possibly sit outside all day. Maybe I was just relieved to see someone was living in that neighborhood. I nearly hugged her.

We walked up her front walk, and when we approached the door, she said, “Jeremy isn’t dressed yet. You’ll have to wait in the hallway.” I told her that would be fine, wondering what kind of person Jeremy was that he would be undressed on the main level of the house at nine thirty in the morning. Perhaps her husband.

The house had a cloistered feeling to it, and it wasn’t very presentable. The shades in the library on my right were drawn and gave the room a musty smell. There was a framed painting on the floor leaning against the wall. There were papers all over the hall table, and books and newspapers stacked on the stairs.

“Jeremy,” Sharon called out, “Do we have a key to Eleanor Lewis’s house?”

“Yes,” said a voice from the other room. I thought that perhaps the voice belonged to a surly teenager; he sounded groggy, and from the labored way he spoke, he appeared to be lying down on the living room couch.

“Well where is it?” asked Sharon.

“It’s in the chest in the library.” This time, I knew he was not a surly teenager. In fact, something was terribly wrong with Jeremy. His speech was slurred, as though something was partially obstructing his air passage, and the result was a muffling. Speaking, it appeared, was a demanding task for Jeremy. Perhaps he was some kind of invalid. Or had suffered some kind of terrible accident. Sharon knelt on the ground of the library floor. She had the drawer in her lap and she was holding various keys in her hands.

“Jeremy, which key is it?”

No answer.

“Jeremy, we need your help,” she said, sounding desperate and irritated. “Which key is Eleanor’s?”

“It’s the one on the blue chain,” he said finally. I had dueling urges to walk around the corner and look at Jeremy, naked or not, and also to run from the house. I stayed where I was. Sharon pulled a key out of the drawer and walked around the corner with it.

“Is this it?”

There was a long pause. “Yes,” the voice said.

Sharon waited in her car while I tried the key. It was the correct key. Mabel, who had been waiting dutifully in the yard, jumped around my ankles and scampered into the house when I let her loose. Sharon told me to drop the key in her mail slot and drove off. I walked up her front walk, but the door was partially open. I thought that I should close it, to protect Jeremy. I yelled in the door, “Thank you!” and waited.

No response.

I closed the door and dropped the key through the slot.

Later that night, I told my boyfriend about Jeremy. He agreed that it was strange and sad, and we stared at our plates, sloppy with spaghetti, and thought that there was nothing to do but wonder about the life of an invalid.

A few days later, Sharon knocked on my door.

“Annie,” she said, “Do you think you could come over in the afternoons and let the dog out in the backyard? I normally come home and check on Jeremy, and let Sally out myself, but I’m sitting on a panel all week and won’t be able to.”

I told her I would be happy to help her.

“I figured it would be okay, since you’re in the neighborhood anyway.” I wondered how she knew that I was home during the day if she wasn’t, and told her of course, it was no problem.

“We’ll pay you of course.”

I told her it wasn’t necessary, that letting the dog in and out of the backyard seemed too simple a task to charge someone for.

“Thank you so much. And don’t worry. Jeremy won’t be in your way. He stays in the den while I’m gone.”

“It’s no problem,” I reassured her. I wondered what Jeremy could possibly do all day in the den. I wondered if he had to stay in a single room because he was attached to some sort of machine. I wondered if he had the mobility to move between rooms, or if he stayed in the den by choice. Perhaps he felt safest in the den. Perhaps she didn’t want him wandering around the house in a wheelchair, or whatever kind of contraption he was in, in case he knocked into something and hurt himself. I wondered why they didn’t get a nurse. Perhaps Jeremy had refused the nurse, preferring to be alone. Who wanted a stranger lurking around them all day, anyway? Perhaps Jeremy didn’t want anyone looking at him. Perhaps Jeremy had been like this for a long time, and knew how to care for himself.

Perhaps nothing was wrong with Jeremy at all, he just had an unusual voice. I hoped I wouldn’t see him when I let the dog out. But I also hoped I would. If I saw him, I wanted to look at him in a way that wasn’t objectifying. I didn’t want him to think I pitied him. Although I pitied him terribly. Unless of course, he wasn’t an invalid. But something was clearly wrong. He was a captive inside his own house, possibly inside his own body. I wanted to convey the perfect balance of humanism and unflinching regard. I wanted to look him directly in the eye, as if I spoke to people with crippling illnesses every day, so much so that I didn’t see the illness or the injury. All the ill people I knew were just people to me—legs or no legs, machines instead of lungs or no machines.

Sharon and I walked into her house so she could show me how to let the dog out. I looked around the living room for an invalid. No one. We made our way through the hallway to the back of the house where the kitchen was. There was a room directly across from the kitchen, with a closed glass door and drawn shades.

“That’s the den,” Sharon said. I nodded.

The dog, Sally, was an ancient poodle, and was behind a baby gate in the kitchen. She scratched my legs with her little sharp nails when she jumped on me. Maybe she wasn’t ancient, but just had gray hair.

“You just open this door,” Sharon said, “And let her run around for a few minutes. She usually just chases her tail and barks at it until she gets tired. Then you let her back in, check her water, and put the baby gate back up.”

I told her that I thought that sounded easy enough. She thanked me again and gave me a key.

The next day around noon, I went over to Sharon and Jeremy’s. I opened the front door and called into the house. Sally barked, a high-pitched, yippy little bark.

“Hello?” I said.

No response.

“It’s just me, Annie, from across the street. I’m just here to let the dog out.”

No response.

I walked back to the kitchen. The den door was closed. There was no sound. No TV. No radio. Nothing. I wondered if Jeremy was just sitting in there, blinking, on the other side of the door. Of course he wasn’t. He was probably sleeping. I felt sheepish for trying to speak to him, likely disturbing the few moments of painless rest he could enjoy. Meanwhile, Sally had been leaping in the air for joy, her little nub tail whirling around excitedly like a helicopter propeller. I stepped over the baby gate and let her out into the backyard. She ran around maniacally in circles, and then disappeared into the bushes. The house was silent except for the ticking of an old wooden clock on the kitchen wall.

When I got back to Mabel’s, she sniffed me for a long time. I told my boyfriend about Sharon’s house that night over dinner.

“Did you see Jeremy?” he asked.

“I didn’t.”

“Maybe he’s not there.”

“Of course he’s there. Where would he go?”

I went to Sharon and Jeremy’s every day that week, and every day it was the same. There was no sound except the ticking of the kitchen clock. Every day, I yelled hello to someone who didn’t respond. Every day, I felt sheepish for doing this, but it felt wrong to walk into a house when I knew someone was there without announcing myself. Every day, Sally was thrilled to see me and scratched my legs. Every day, there was no sign of Jeremy. Except on the second to last day, I saw some clear tubing that looked like something you might see in a hospital coiled on the stairs. But other than that, there was nothing.

About a week after Sharon’s panel, I was sitting at Mabel’s, writing at the dining room table. It had been going badly, and I was lonely. I had come to the grim realization that nobody was going to read this book on my French high school, but it had to be painstakingly accurate in the off chance that someone did decide to read it. Which no one would. But someone could. In theory. This mixture of painstaking work and anonymity had become intolerable. Suddenly the phone rang. I had been instructed not to answer it, so I let it ring, as I did every other time it rang, and Mabel barked at the phone as she always did. The answering machine picked up, and I recognized the voice.

“Annie, are you there? Annie, please pick up. It’s Sharon Stein from across the street.” I ran over to the phone and picked it up.

“I just got a call from Jeremy,” Sharon said breathlessly. “Something is tangled in his wheels. He’s upset. I’d help him myself, but I’m all the way downtown, it will take me thirty minutes. Do you think you could go first, and see what the problem is? I’ll head home in the meantime.”

I told her I would go over, that it was no problem. I told her that I could call her once I was there and let her know what the situation was, and perhaps she didn’t need to come home.

“No, no,” she said. “He’s upset, I’m coming home.”

Something is tangled in his wheels, she had said. Oh, is he a robot then? I had wanted to say. His wheels.

I opened the front door of Jeremy and Sharon’s house.

“Hello?” I called.

No answer.

“Jeremy?” I said.

No answer.

I stood in front of the den door, my hand on the knob. I knocked. I hoped Jeremy was dressed. “I’m coming in,” I said. I opened the door slowly, not sure what to expect on the other side, which incarnation of Jeremy. The teenager? The robot?

And there was Jeremy, sitting on the other side of the room. I’m not quite sure how to explain what exactly was wrong with Jeremy. He appeared to be a paraplegic. He could have been in his late fifties, but he was extremely frail, and had no muscle tone anywhere on his body. His neck was very limp and his head was slumped back at an angle that made his expression jarring. There was an IV attached to his left hand, and the hand was curled awkwardly, as if he had some kind of terrible permanent cramp in it. His right hand was also curled awkwardly around some kind of wheelchair controller on the armrest that looked like a little joystick. Out of the center of his neck came a tube, similar to the tubing I had seen earlier on the stairs. I tried not to look at it, or wonder how it was attached to his throat. He looked at me. He had clouded blue eyes, which were blood shot, and he looked directly at me. I had never seen eyes like his, so clouded they were gray and utterly unreflective. I looked down at the floor, feeling as though my breath had been taken away.

The strings of the curtains had gotten tangled in his wheels. These were his wheels. I looked over at the curtains. He must have tried to drive when he got stuck because he had torn the curtains off the wall. They, along with the bar that attached them to the wall, were lying in a heap on the floor. I looked more closely at his right hand. It was scraped and bleeding.

“Are you okay?”

He blinked and stared at me, and then started to make a noise, but his voice was dry, and he stopped. “You’ve hurt your hand,” I said. I walked closer, looking at his hand, until I was standing over him. His eyes fell lazily across my face. He had a portable phone in his lap. The skin on his hand was papery, bruised and looked easily tearable.

“I’m going to get you a Band-Aid,” I said. “Sharon will be home soon.”

I climbed the steps two at a time, looking for a medicine cabinet. I passed by a few rooms. One appeared to be a guestroom. One was a large sunny room with nothing but books and a desk in it. There were books everywhere, books on the floor, books in the shelves, books on the desk. The room by the medicine cabinet was closed. I found a Band-Aid and some Neosporin. I washed my hands, worrying that Jeremy was immune-compromised. I walked back down the stairs, and back to the den.

He was still sitting there, just as I had left him, staring, with the curtains all around him. I walked over slowly.

“I’m going to put the Neosporin on your hand.”

He blinked and watched me, as I put the Neosporin on my fingertip, and applied it to his hand. It felt as I expected it would feel. Papery. Tearable.

Part of me was glad to touch him. To know what he felt like.

After I was done, I applied the Band-Aid, and he looked at me, with his clouded blue, bloodshot eyes. He said nothing, but looked entirely miserable. I imagined he was in great pain. Not from the curtain falling on his hand. But from a life like this. I worked to untangle the cord from his wheels. I worked slowly because I wanted to stay with him until Sharon came home, but I didn’t want to stand in the room alone with him, doing and saying nothing. I had to cut the cord with scissors, it was so badly tangled. I spent some time pulling the pieces out from the wheels, and he just sat there.

Eventually, I heard the front door open. Sharon hurried down the hall. I was sitting on the couch by the window by then. She stopped in the doorway. She didn’t say anything. Her face was serious, and her eyes were watery, but strong. She walked over to Jeremy and softly put her arms on his shoulders and rested her face on his head. She seemed to be smelling his hair, kissing it. Jeremy closed his eyes, looking finally calm. They stayed that way for a long time, clinging to each other. I looked away. Eventually I excused myself, and Sharon and Jeremy seemed to have forgotten that I was there.

“Thank you,” she said matter-of-factly. When I left the room, they were still curled around each other, and she was gently stroking his hair with her index finger. I remember wishing that this were the history I was charged to write, sitting at Eleanor’s dining room table, Mabel at my feet—the history of a man whose life was not always like this.

I never saw them again, Jeremy or Sharon, but I think of them often. I don’t think Jeremy was always that way. I think there was a time when his muscles wrapped tightly around his bones, his voice was strong and resonant, and his hair was blonder and thicker, his skin tanner, less papery and translucent, and he stood in the backyard throwing a Frisbee for Sally, laughing and laughing in the golden summer light. Sharon would sit in a lawn chair on the deck and watch them, laughing too.

Laura E. Smith is a graduate of the University of Virginia’s English program. She is currently editing her novel, So Long, Scout, which was a semifinalist in Amazon’s Breakthrough Novel Award. She is also preparing to open a yogurt parfait bar and smoothie shop called Yola in DuPont Circle in October.

Edited by Jessica Wilde

A Life Like This by Laura E. Smith (c) Copyright Laura E. Smith; printed by permission of the author.

Through The Branches Photo by Michael Drummond; Jack Russell Terrier Photo by Thomas Adamski; Wheelchair Photo by Emmanuel Boutet (Wikimedia Commons)

Al Miner on His Self as Subject and Object

Morning rituals may differ, but most of us find ourselves at some point staring into the bathroom mirror. I scour my face, studying every detail and vigilantly checking for wrinkles, grey hairs, pimples, and anything else that may have changed. It goes further; I push and pull at my skin and cover things I wish weren’t there. We find ways to hide our imperfections or liberate ourselves from bodies that feel hostile as opposed to home-like. Whether through make-up, clothing, or surgery, we smooth out lumps and bumps, accentuate our best features, and shamefully hide the worst. In this way, my work is confessional. It is, in part, the way I connect to viewers on an intimate level. My self portraits’ contorted, macro view and cramped compositions coupled with their small scale beg for viewers to examine them, and in turn me, as closely as I do myself, perhaps making them become more self-aware.

I have felt at times that my body is like clay and I am a sculptor. In my personal case, I transitioned from one gender to another, one of many methods of human shape-shifting. If my body is a work of art, then my plastic surgeon has been my collaborator. One way I highlight this is by using long, thick, singular brushstrokes that evoke bandages. Paint is to me as flesh is to the surgeon. I can manipulate it by pushing it around and scraping it away. Oil paint is the only appropriate medium for my process. The fact that it forms a skin when it dries is not lost on me.

Hair is a recurring subject in my work because it is a strong cultural signifier. We first judge the gender of a figure in the distance by the length of hair on the head and the amount of facial and body hair. For my paintings, I first lay down a dark brown-purple, filling large areas with a thin application of paint. When that has dried completely, I begin the painting in earnest and while the paint is still wet I use an Exacto knife or razor blade to scrape away thin lines of paint exposing the tone of the under-painting. This way I render one hair at a time. It is a painstaking process that takes much time as I carefully consider each mark.

I do seek to expose and make known the existence and reality of trans lives, but I have no interest in glossing over the truth or putting it in a pretty package. Even though I show the toughest moments, I want to reveal the often over-looked beauty in what many people consider ugly. Instead of wincing and hiding their eyes, viewers can see in my work that bruises are beautiful. I educate about trans lives, yet I am more concerned about minimizing the differences between myself/trans and non-trans people. We all experience growing pains. I am amazed by the many breast cancer survivors who have told me how much my work resonates with them.

Both the artistic process and the process of claiming and realizing my identity have been difficult. However, I went through the ringer and came out better and stronger. I pushed the limits of my ability to recover emotionally and physically and I share that with my viewers the best way I know how–through my work. I have often been asked why I stick to self-portraits. I am not a narcissist. I simply know myself the best, so portraying what I know feels genuine to viewers. I also find it vital to avoid the risk of appearing that I am exploiting someone else.

My solo exhibition this spring, “Naked” at G Fine Art, was the culmination of years of tunnel vision. The works all examined my emotional and physical evolution over the course of three years. Now I can close the door on this phase of my life and career. Starting over with a new body of work intimidates me. It will take time to really make my work again. Right now I’m mostly thinking about my next move and sorting through many ideas. I see the potential for my work to explore memory and the suppression of one’s past and also become more abstract, but I’m not making any promises.

Al Miner (b. 1977, New York, New York) is an artist, curator, and curatorial assistant at the Hirshhorn Museum and Sculpture Garden. For the Hirshhorn he curated projects with Yoko Ono and Dan graham and has worked with Smithsonian Artist Research Fellows Runa Islam and Henrique Oliveira. In spring 2009 he curated “Domesticated: Men and the Domestic Interior” at Transformer Gallery. In fall 2009 he was awarded a German travel fellowship from the Goethe Institut to spend one month in Berlin in 2010. As an artist he has exhibited extensively and received awards including the D.C. Commission on the Arts and Humanities Young Artist Program Grant and two Artist’s Fellowship Awards. Miner holds an M.F.A. in painting and mixed media from Queens College, CUNY (2000) and a post-graduate certificate in museum studies from the George Washington University (2006). To see more visit the artist’s website.

Edited by Ellyn Weiss

University and Professional Arts Collaborations: Mind the Gap! by Kathryn Boland

As a George Washington University Dance major, I am heavily involved with the arts within my university. I have also been involved with artistic communities outside of the university, and I have witnessed the divide between these two worlds. I rarely see university students at community shows – even the free and easily accessible performances at the Kennedy Center’s Millennium Stage two blocks from our campus. Similarly, many university performance events are free, open to the public, and promoted in local publications, yet most (if not all) audience members are George Washington University students or faculty members. Increased partnerships between the commercial and academic worlds could strengthen the local arts sector, and contribute to the development of an arts workforce that is creative, innovative, and adaptable.

This past semester I took Dance in Community Settings, a course within the George Washington University Dance Department. Class participant Lydia Mokdessi interned in marketing for the Transformer Gallery as part of her academic experience. Mokdessi said, “My education has been broadened by the opportunity to see firsthand how an artistic non-profit operates, and what the day-to-day life is like for people in the field.” More academic departments should include courses that engage students productively with the local community. As departments insist on history and theory classes, why not also include classes that provide students with real world experience? Too often the arts are separated from the rest of the economy – a fact mirrored within the existing community/academy divide. Dana Tai-Soon Burgess, professor of the Dance in Community Settings class and Chair of the Department of Theater and Dance stated, “Students and the DC community’s arts organizations have so much to give and I deeply believe they can grow together. I think it all comes down to well planned structures in the university and conversely in the community which will allow win-win situations.”

For non-profits, such programs can increase impact in local communities, giving those businesses a better shot at getting the funding they need for core programming. The Washington Performing Arts Society’s Campus Ambassador program is an example of the opportunities and challenges faced by student-focused non-profit programs. In 2007 and 2008 The Campus Ambassador program encouraged students to sell group tickets on their campuses in exchange for points towards free tickets in return. The program was designed to engage students to be more aware of the artistic activity happening off campus, to increase sales, and to facilitate student access to world-class arts programming. The program ceased operating having never achieved a tipping point of self-sustaining revenue generation. For arts organizations and arts professionals, increased collaboration with the Academy can help with space, resources, personnel, and other practical considerations, as well as spurring ideas, and enhancing art projects, but to do so they must be appropriately resourced.

As community arts entities refine agendas for funding and programming, they should seek to increase partnerships in the academy, and university departments should hew to a similar mandate. Efficiently operated community arts organizations can offer stable jobs, as well as educational opportunities, and as professor Burgess noted, increased academy/industry interaction can benefit academic and non-profit outcomes. Well-designed programming from both sides would significantly benefit the local community.

Kathryn Boland is a rising Senior at the George Washington University, majoring in Dance. She is also minoring in Art History, Theater, and English. Originally from Newport, Rhode Island, she is fascinated with anything and everything artistic. A former intern, she is currently an editorial assistant for Bourgeon.

The distance from here to there by Gowri Koneswaran

2

She is afraid to cross the street alone here
So she grazes his elbow with her right hand.
Twenty-nine years old and her father is her
Security on this eight-minute walk
From the hotel to his sister’s house, from
One side of the busiest street in this country
To the other.

She lets him think he blends in,
Allows him the privilege of believing
His departure thirty years ago
Doesn’t make this country any less his;
That leaving his home to give his children
One that wouldn’t rank them by ethnic group
Is not the definition of choice.

She has learned her place here.
As a teenager she thought
She could camouflage herself in
A salwar kameez,
Plait in her hair,
Pottu on her forehead, and
Made-in-India-but-sold-in-Sri-Lanka
Slippers on her feet. But she

Wears her passport in the way she
Looks men in the eye,
Pays too much attention to the trishaws and
Passengers almost falling out of buses.

She asks to stop at the bookstore so she can
Practice her Tamil.
Enna vilai?

He lets her get away with knowing how to ask
What price?

While needing him to translate
The answer into English.

Gowri Koneswaran is a poet, singer, and lawyer based in Washington, D.C. She has been a featured poet at the Kennedy Center’s Millennium Stage, the Smithsonian Folklife Festival, Campus Progress’s Protest Through Poetry, Sulu D.C., and Busboys & Poets. Gowri released her first chapbook, Still Beating, in 2010. She hosts “Poetry in the Morning” at BloomBars community arts space and was a member of the 2010 D.C. Southern Fried Slam team.

The distance from here to there by Gowri Koneswaran (c) Copyright Gowri Koneswaran; printed by permission of the author.

Alive to the Possibilities by Jessica Beels

Following a traditional track toward museum curatorship, I studied art history (17th-century Dutch genre painting) as an undergraduate at Harvard University and later got a masters degree in Early American Decorative Arts from the Winterthur Program at the University of Delaware. My first post-college job was with the Smithsonian.

All along, however, I was working with my hands, almost obsessively accumulating at least a passing familiarity with as many media as possible. I have always knit, embroidered and collected sticks and vines to make into baskets. In high school, I learned theater costuming and set design, had a summer job with a cabinetmaker, and learned to work with silver and enamels. Right after college, when I moved to Washington, DC, I learned spinning, took classes in figure drawing and stone sculpture carving, learned to throw pots and honed my silversmithing skills.

In 1995, when my daughter had just been born, I left my editing job to stay home with her and try to make a living making art. I had fallen in love with sculptural beadweaving, exploring the three-dimensional possibilities of weaving simple cylindrical glass beads into complex hollow and undulating forms. The experiment worked, and my primary occupation has been as an artist ever since.

In 1998, while pregnant with my son, I craved a last hurrah before going “under” for the next two years. I wanted to work on a large scale, but I obviously couldn’t haul large hunks of clay or metal around, so I signed up for a two-week class in paper sculpture with Jeanne Jaffe of the University of the Arts, at Haystack Mountain School of Crafts. There, I fell in love again with a new media and a new technique, draping flax pulp, which shrinks tight as it dries, over armatures. I delight in the possibilities offered at every stage of this process, from building the armature, to making the paper sheets, to surface treatment, to how the paper distorts the form as it dries and then changes color and texture with final surface treatments. I also love that the medium so clearly expresses its formal possibilities. It is hard to achieve those curved and shrinking forms any other way.

The next couple of years, most of my time was spent raising my kids and working with the more contained medium of bead weaving (large vats of stinky water and toddlers don’t mix very well). But after a few years, I found a local paper artist, Ellen Mears Kennedy, who let me pick her brain and work with her while I decided where I wanted to go with the medium.

About three years ago, I switched from showing primarily beaded work to focusing on handmade flax paper shrunk over armatures. I make both jewelry and sculpture. Often, I print the wet paper with inks and paints and, when the paper is dry, infuse the surface with wax to seal it and enhance its translucence. I am intrigued with how the opaque and sometimes reflective quality of the inks contrasts with the glow of the paper fibers. Recently, I have been making ungalvanized steel armatures and experimenting with sealing in the rust resulting from the metal’s contact with the wet paper and ambient humidity.
 I am also beginning to make larger pieces again. There are few intrinsic limits on the size that can be achieved with this lightest of media.

Alexander Calder’s work is a major influence for me, with his sense of play and irreverence for material coupled with his love of simple fluid form and composition. True to my art historical beginnings, I still love 17th-century Dutch paintings, with their focus on everyday objects, and the memento mori theme of many still life paintings. The twisting lemon zests, skulls, bugs, and shells of this work feed into so many aspects of my imagination.

In almost every medium I’ve pursued seriously, I have drawn from my fascination with biology, particularly microscopic organisms, and math. I love the sense of timelessness of fossil forms – how nature produces mathematically stunning forms. They are often imperfect – but they refer to pure math – symmetry with blips and crinkles. I try to capture the feeling that you are seeing something in transition, a phase of an organism, a growing being. Sometimes my work is about transience and decomposition, and sometimes it is about growth and evolution. I explore interior spaces, how an exoskeleton or skin reflects the absent organism that grew it and grew in it.

Jessica is an Associate Artist at the Torpedo Factory in Alexandria, VA, and will have a studio at Flux Studios in Mt. Ranier, MD, starting in August 2010. Her website showcases her jewelry and sculpture and lists upcoming shows and classes. She also writes a blog about artists reusing and recycling materials.

On July 8, she will be featured in a trunk show at the Neptune Gallery in Bethesda. In September her work will appear in a group show at the District of Columbia Arts Center (DCAC) and in May, 2011 she will have a solo exhibition at the Black Rock Center for the Arts in Germantown, MD.

She exhibits and sells her work at juried craft shows and galleries from Maine to Kentucky to Virginia, and many places in between.Upcoming shows include the Westchester Craft Show, October 15-17, 2010, the Washington Craft Show, November 19-21, 2010 and Craft Boston Holiday, December 10 – 12, 2010.

Edited by Ellyn Weiss