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Recently I had the pleasure, albeit a somewhat nervous pleasure, of being interviewed by my good friend Monica Lee of Smart Creative Women via Skype (nothing makes you more aware of age and weight than knowing you will be on camera). That interview will go live very soon, but I thought I would share some thoughts that Monica and I never really got to cover fully during the time we spoke, because time did, as time does in real life, fly by.

I have had the good fortune of being able to spend nearly one hundred percent of my time these last forty years, making art in one form or another. I did take a few years off when my two oldest sons were little, but when I think back on that time, I was always dong something creative (and most of it was donated for fundraising events of one kind or another), just not all of it professionally. Aside from that short break, it has pretty much been non-stop all the time.

But, nonstop at what?  Well, nonstop at art. Art in many forms and in many materials for many venues. In short: I've been a painter, puppeteer, doll maker, soft sculpture artist/craftsperson, editorial illustrator, children's book author and illustrator, fabric designer, licensed artist, and now I am also painting again. I’ve also spent a lot of time decorating houses, but, to be very honest, that makes me zero money. It only costs me money. But that's OK. It satisfies my soul. It's a medium I have to work in almost as much as my paints. “House--just another art material and artistic discipline."

But back to business. If I look back over all my years as an artist, I see one thing: my aesthetic sensibility has not changed much in forty years. I am still drawn to the same things I was drawn to in college--characters, details, expressive gestures, and emotions. I love color and texture and patterns. I especially like narratives. Everything I do tends to tell a story, and the story is in the details, textures and characters.

I have written about this before and in much more detail. You can read the first accout I wrote years ago for my very first web site. It really rambles and tells the story of the earliest years. Here is the place to read that. I created an abbreviated version for my current web site. You can ready that one here. 

I’m sharing some recent art here at Cats and Jammers Studio to coordinate with the interview. I am also sharing some of the house and other new art on my other blog, Design Rocket.

What message would I love to give other artists? This: don’t be afraid to re-invent yourself and try new things. Life as an artist is a wild journey on a winding road. A few years back, I posted a long post about moving in random directions in life, seemingly as if by pure serendipity. Well, life is that but it is also by luck and pluck, and maybe much less by design than we think. Please read that post, Serendipity + Pluck = Life.

Much of the art here is from my 2011 Sketchbook Project, “Coffee and Cigarettes.” I loved doing that book. I have done two others since. You can see the digital scans of my book here. And you can see the show opening containg paintngs based on the book here.

Participating in the Sketchbook Projects for the Art House Coop really feeds my artistic soul. My most recent book was titled “Strangers.” In doing that book I dedicated it to my painting and drawing professor of my sophomore year of college, John Patrick Murphy II. John was the head of the art department at Rockland Community College for more than 30 years. On the very first day I met him, I shared some paintings and he gave me advice that has stayed with me all these years: “Barbara, draw out of your head.” Meaning, draw from the well within you that has your memories and your impressions. And that is the way I have worked ever since.

John very recently passed away. This post is dedicated to him, because, really, meeting him and getting to know him was pure serendipity and it pointed me along the way on my own artistic journey.

 

 

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All Photographs © Irina Werning

Here we go again. I discovered this on Jeannie Jeannie. Wonderful pictures that chronicle the passing of time. This time we have shots by photogrpaher Irina Werning as she gets her subjects to strike a pose and don clothing that match, as much as possible, a shot from when they were very young. 

You know I love this stuff. I love seeing the evidence of a life that has been lived or is in the process.This tempts me to try and do the same thing with pictures I have. I have one picture from 8th grade of Phil and I and Bobby Stewart, another classmate, that we need to recreate if we can manage to get together sometime in our life.

Go check out the rest of these pictures. They will make you smile but you might also find yourself waxing a little melancholy. Time stops for no man... nor baby.

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By Natalia Nowakowska

As the Catholic Church embarked upon its observance of Lent last week, many congregations will be holding in their hands brand new, bright red liturgical books — copies of the new English translation of the Roman Missal (the service book for Catholic Mass), introduced throughout the English-speaking world at the end of 2011 on the instructions of the Vatican.

This is not a new experience for Catholic congregations and clergy. The rare book collections of the world’s research libraries are full of the ‘new’ liturgical books produced for European dioceses between 1478 and 1500, on the orders of bishops making enthusiastic use of the recently developed printing press. Some of these books, missals printed on vellum in full folio size, are too heavy for me to pick up. Others, tiny breviaries with heavily-thumbed pages, would fit in your pocket, or that of a late medieval priest. In their prefaces, bishops explained that the point of printing these new liturgical books was to reform the church. Their aim was to provide parishes with new liturgies which were an improvement upon the service-books already in use, both the “crumbling” liturgical manuscripts from which communities had been praying for centuries, and recent, pirated printed editions. This fifteenth-century initiative was reprised during the Counter Reformation; echoing the actions of late medieval North European bishops, Pope Pius V’s Breviarium Romanum (1568) and Missale Romanum (1570) provided the entire Catholic world with new liturgical editions in Europe and beyond. The printing of improved liturgical books was therefore at the forefront of many high clerical minds in Renaissance Europe, just as it is a priority for the Vatican today.

The links between these Renaissance-era projects and what is currently happening in English-speaking Catholic churches go beyond a general impulse by high clergy to roll out improved worship-books, however. I’ve been struck by how similar the language used by fifteenth-century bishops, Pius V, and the current Roman Catholic hierarchy is. Late medieval bishops, in their neatly printed prefaces, complained bitterly at the “corruption,” “distortion,” and “manifest errors” of old liturgical books. The provision of the 2011 Roman missal is, meanwhile, justified with reference to the oversimplified, “plain,” and possibly inauthentic words of the earlier translation. Fifteenth-century prelates stressed that an authorised, printed liturgy would ensure a “unanimity” in worship which symbolised the essential unity of the church; the modern Congregation of Rites states that the new missal translations will function as “an outstanding sign and instrument of… integrity and unity.” Late medieval bishops took care to stress the academic credentials of the clergy-scholars who had prepared the new editions; Benedict XVI has thanked the “expert assistants” who worked on the new missal, “offering the fruits of their scholarship.” The language of liturgical reform, corruption and renewal, unity and authenticity, which we hear today is also that of the sixteenth and fifteenth-century church, which had in turn inherited it from the early medieval church.

New books, same story. Yet the introduction of new books for worship is about power and authori

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This is so in tune with my pulp fiction covers and Fancy Nancy YA book jacket, that I HAVE to share a  link sent to me by my friend Liz for "Vinatge Valentines WTF." And if you these are strange, wait until you see the rest of the fantastic collection.

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I tried. I really really tried. But..but I didn't try THAT hard.

Of course, my reputation is still intact. I am talking about my obsession with finding imagery and posting it on Pinterest. And lately, my biggest pleasure has been finding old paperback pulp fiction covers and then adding my own captions. 

You don't know about Pinterest? That might be a good thing, because it is already an addiction for me when I need a few minutes of down time from work. It's like keeping scrapbooks of your favorite imagery, and getting to share it with EVERYONE. And the site is growing. Here is a piece on it from Mashable.

My Flag is Down is actually from my own paperback collection. As my friend Liz said, "I bet it won't be down for long."

And I just discoverd the newer, less "upright" cover for this novel. By the look on his face, I'm not so sure this Taxi driver will know what to do to get that flag up again.

Pop over to my Pinterest Board and have a look see for yourself. But be warned--Pinterest is great fun!

(Incidentally, I happened to catch Tarrentino's Pulp Fiction on TV last night. I do love that movie!)

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I live for this kind of photography: haunting shots of once lively and active places, now in ruins. There is something that hits a nerve somewhere within me that makes me look at the disintegration of old structures, and see it not just as it is, but as it must have been. 

There's a lot to read and a lot to see in this wonderful photo essay about  New York's North Brother Island and abandoned Riverside Hospital from The Kingston Lounge, which may soon become another favorite photo blog for me, right up there with Shorpy. I'll let the pictures speak for themselves and the history tell it's own story.

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Simms Tabak was one of very favorite illustrators, if not THE favorite. He very recently passed away and since I find that this blog seems more and more to be about losing artists who have touched me, it would be terribly remiss to not talk about Simms.

Although I got to know his books through reading them to my youngest son, Ben, I actually got to know his art when I first used one of his designs to wallpaper the room of my middle son, Mike. That was more than 22 years ago. Sadly, I cannot find a single image to post to show that lovely wallpaper. And it has been long papered over. It do remember that it was leaping kids, a boy and a girl, doing jumping jacks or something to that effect. If anyone has any left or knows where I can get some, PLEASE contact me!

I just discovered a wonderful video created based on his Old Lady WHo Swallowed a Fly book. It is narrated and the music sung by Cindy Lauper. I think this may be the best video adaptation of a kids' book I have ever seen. It seems that I cannot embed it. But go to Youtube and watch. It is totally worth the time.

I think my very favrotie book was the Caldecott wining, Joseph Had a Little Overcoat.

I think that this book is everything one can want in a children's book. It is has a page turning quality, with a lovely repetitive rhythm. It is fun. It is also beautifully illustrated, without being tight and self important and self congratulatory, not to mention pretentious, which is what so many kids' book art is. Not this book. The art has a wonderful mock-primitive feel that is actually extremely sophisticated and extraordinarily satisfying, from an artist's point of view. Any artist, even in the absence of liking kids' books, would love and appreciate this artwork. The art stands completely on its own. To be honest, a lot of art for kids' books may hold up in the children's book

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It seems that this blog is often turning into a forum for obituaries of people who have moved me. That may very well be, for I if I am going to write about things that are important to me, then that needs to include losing people or artists who have touched my life. I guess as one gets older and more of those key players in a person’s lifetime pass away, it becomes even more important to acknowledge, reflect upon, and celebrate lives well lived.

Along those lines, several weeks ago I was so sorry to read in the NY Timesthat Jazz artist Billy Taylor had passed away. Here is another blog post about it on Mirror On America. I was  also so sad to read about the passing of George Shearing in today's NY Times. When I want the kind of harmonic jazz that is both contemplative and inspiring, I think of Billy Taylor and George Shearing. Their music  has a distinctly classy and urban New York feel to me.  I love it for the harmonic, sensitive and thoughtful sound, as well as for the fact that it reminds me of early years in New York, listening to live jazz in the city. That sound reminds me of being very young and feeling the world was there for the celebrating and taking.

I was very young.  A good friend of my then-fiancee, Phil's and mine, Norm Freeman, was a student at Julliard. Our summer evenings would often be like this: I would work until my shift was done at Capra's Restaurant in Stony Point, NY. That was usually until about eleven at night. Norman and Phil would pick me up and we would then zip into New York City to catch some live jazz. Getting down to the village about forty minutes later meant we could catch at least one set in a club.

And in the early seventies, you could   hear some great music in the clubs at night. We most often ended up going to the Village Gate (Top of the Gate)  or the Village Vanguard or the Half Note. At the Vanguard we  caught the Thad Jones/Mel Lewis orchestra in a place where we would

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Tomorrow my husband and I are heading down to good old Rockland County, New York for my 40th high school reunion--North Rockland High School, Class of 1970. The school is now located in Theills, New York and has been since it opened for my senior year. This won't be so tortuous for my husband because he actually went to school with most of these people until his family moved to another nearby town in 10th grade. The best part is that the reunion will take place in Haverstraw (which is where the grand, old school was from 1933 until the new one was built) in a place just a half a block down the street from the house (on the Hudson River) in which my husband grew up, until the fateful move.

Needless to say, this is a prime experience for a time-passing-obsessive-nut like myself. What could be better than participating your own Ken Burns experience? I am not exaggerating when I say that with very little effort, I can put myself right back in my late 60s mindset, in the very halls where my high school heart still wanders in my dreams. In that place, everyone still looks exactly as they did 40 years ago. Close my eyes, and it is not much of a stretch to be back in my old clothes, in my old classrooms, cafeteria, and locker room, with a vivd sense of what was. I can recall the feeling of the halls, the big old windows, the way the old granite and marble steps felt, the vivid CCC/WPA  Depression painted murals on the walls of the Home Ec classroom, and the sense of a solid and substantial building meant to last (they still use it for the Middle School).

I won't go into much detail about how the new, one level, barely finished high school structure felt for the one laskluster year I was there. But suffice it to say that the yearbook staff managed to sneak one four letter word via morse code into the monotmous brick cover of the yearbook itself; that exposed where our collective hearts really lay with regard to the new school vs. the old stately building. It was a very silly and immature act of rebellion in retrospect, of course, but accurate at the time for a bunch of 17-18 year olds who loved the old building and town fiercely. 

In any event, I am very much looking forward to doing some time travel and some great catching up with my former classmates to see where our lives have led us during the past 40 years. We may not look now as we did then, but I am sure that many of us still feel like adolescents in our hearts.

After a weekend of High School revisited in Rockland, back in Boston the following week my husband and I have are having dinner with one of his law school classmates and his wife, after not seeing them for 30 years. Here is another case where it is effortless to imagine us once again back in Ithaca where we lived for 3 years, and get into that late seventies mindset. And it is equally vivid: clothes, food, house, soft sculptured dolls everywhere, while he happily toiled away in the evenings at his studies. Got local yogurt, Earth shoes,

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Just when I thought there was absolutely no reason to watch television anymore, along comes the best thing since, well, the other best reason to watch television--the Sopranos. And the new best thing? BOARDWALK EMPIRE. If you haven't heard already, this new series on HBO, is set in Atlantic City in 1920--at the beginning of Prohibition and what would become the roaring twenties. Leading the show is the charcter of Nucky Thompson (based on real-life boss Nucky Johnson, see below), City Treasurer and the boss of everything that goes on in and around life on the Boardwalk. 

I have to admit I was already pretty eager to watch this show after catching the preliminary hype. What's not to anticipate with glee when you see names like Martin Scorcese and Steve Buscemi and Terrence Winter? Still, I wondered, will it really be so good? Nothing will ever come close to the Sopranos....

Well, I have just found appointment TV again. Last night I caught the first episode, directed by Scorcese, and it was everything I had hoped for, plus much, much more: the dialogue was rich in the way that classic Sopranos dialogue used to be (touched with the hand of authenticity and believability of character, gilded with surprising black humor in the perfect places); the attention to visual details was near perfect; the scenes were shot with the sense of true cinema, complete with near brain-scan close-ups and vivid costumes and makeup;  the period music sent you back in time; and the actors were absolutely perfectly cast. If I have to make one complaint, I would say that I caught a touch of mis-matched dialogue/film synching, that distracted me somewhat early on, but I got over it.

Prior to seeing the first, I had read that it would take seeing a number of episodes to buy into Steve Bsucemi as the infamous Nucky Thompson. Not so. Within minutes I was sold on his portrayal, and even though the name of James Gandolfini as the lead was bantered around in the pre-show hype, I cannot imagine anyone better in this part than Buscemi.

Michael Pitt practically has steam escaping from his pores, as he plays the part of Jimmy Darmody, Princeton drop-out who comes home from his service as a dough boy in WWI to embrace his darker side (discovered, or, perhaps, uncovered "over there") as Nucky's right hand man. Let's just say he simmers with the need to satisfy those urges.

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 photo from mcgarrigles.com

Besides reading the obituaries of two well know writers in this morning's New York Times, Robert Parker and Erich Segal, I was terribly upset to read of the death of Kate McGarrigle, at 63.

If I had to pin point specific music to be the soundtrack of my life as an artist working in my studio, it would be the music of the McGarrigle Sisters, whom I first heard on Saturday Night Live in the mid seventies, performing "Heart Like a Wheel." Naturally, even with the most limited of funds, we went out and bought that first album, "Kate and Anna McGarrigle," which became the very music that followed me from home to home, and studio to studio. 

 

The beautiful harmonies and melodies of Kate and Anna filled my small back room studio in Buffalo, New York while I sat and sewed the figures and dolls that first began my true life as a full time artist. When we came back from three months as vagabonds in Europe and settled in Elmira, New York, the album was the first to resume its proper place as number one on my play list. Happliy sewing away in the dining room of an old flat in the even more old fashion town of Elmira (which I loved, by the way), I listened to the sounds of that first album almost non-stop. I loved when they sang of what I thought was upstate New York in "Talk to Me of Mendocino," and I thought for sure I heard a slight smile in the voice of Kate when she sang the lead in "Go Leave," which I always imagined was her send off to her former husband Loudan Wainwright.

Make no mistake: as wonderful as the tunes themselves are the lyrics to the music of Kate and Anna. Theirs is truly poetry set to music in a way that makes it impossible to separate the two. Their sweet voices embraced the words and told the stories and your heart was never left untouched. The only time things went over my head was when they sang in French. I had not a clue about what they were singing. I liked it anyway.

In 1978 we moved to Ithaca so my husband could attend law school at Cornell, and I set up shop in a ramshackle house on Route 79, Slaterville Road. There, amidst the dolls and the cloths and the threads, and the painted eyeballs, played the wonderful, harmonious McGarrigles. 

 

And there, we happily added two more albums to the play list, "Dancer With Bruised Knees,"

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There was an interesting article in today's New York Times Business section entitled "Well-Orchestrated Accidents," as told to Patricia R. Olson.  It caught my eye because of the word "accident." That word, being in the business section, seemed a touch out of sync for me, but it was enticing enough to catch me because I am a firm believer in the power-magic-inevitability of "serendipity," a word not usually used in the same sentence as "business plans."

I assume the column comes under a regular heading called "The Boss." I wouldn't know if that is a regular column or not. Nutty artist that I am, I hardly ever read the Sunday Business section. I had to be  lured to read it by the front page piece entitled "Pulling Art Sales Out of Thinning Air," which was all about art sales in this crazy economy ( and remember, that read "thinning air," not thinning hair, which also is a by product of a tough economy).

Anyway, I enjoyed the read which told about Evan WIlliams, C.E.O. of Twitter, which, until a month or so ago, I was fairly unfamiliar with. I especially liked reading about Mr. Evans and his transformation from Nebraska farm boy to web mogul. And I was struck by the journey that he has taken so far, at the ripe old age of 36. I like life journeys. The voyeur in me especially loves reading about other people's. I am pretty nosey.

I handed the article to my 22 year old son and suggested he read about the extent of "going with the flow" in this man's life, and about how  being in the right place at the right time seemed to work to his advantage.  My son dismissed me out of hand after he read it:  "It has nothing to do with serendipity. In fact, it's just the opposite."

Oy.

So I went back and read the piece again. 

Please forgive my metaphor overload, but after a second read, I still maintain that it is all about allowing the wind to take you places, but knowing enough when to steer the boat yourself. It made me think back to all the times that I have followed the wind, even never knowing where I was going, and yet I found myself ending up in the best place for me to be.

It has happened to me from the time I was a kid until the present. Yes, I take active steps toward goals that I set for myself. But many time those goals come about as the result of something totally unplanned and unanticipated in my life. They are lucky accidents. Directions I never dreamed of. And I follow them. Some examples of pure chance that ended up changing my life for the better:

1) When I was a kid, my family moved to Stony Point, New York (because it was the only town in which they could afford to buy a house) and in 7th grade, I met the love of my life, and future husband.

2) Strictly on a lark, at the age of 19, I took a job at a school where I met Lois Bohevesky, who began to teach at the same school. She turned me on to puppetry, so I went with her into NY for a summer to study at the Bil Baird Theatre.

3. Because of that, my husband-to-be and I became puppeteers.

4. We transferred to SUNY Buffalo to be together ( and I passed up the chance to attend Parsons in NYC and major in illustration). At some point we gained a reputation as puppeteers in Buffalo and we were hired to perform at a Craft Fair. The committee that hired us was not able to pay our full fee, so they gave me a booth to sell my hand made  puppets.

(that's the very booth above)

5. Because of that, we were hired to perform at another craft show, and after that I ended up being invited to exhibit my creations as well at a very reputable craft fair at Kenan Center, in Lockport, NY.

 6. At that craft show, I heard about the American Crafts Council show in Rhinebeck, NY and thought I would give that a try.

 7. I did that show and began to sell my dolls/soft sculptures all over the country, full time.

 8. When we moved to Boston, I took a job teaching soft sculpture at the Boston Center for Adult Ed. Because I taught there, I got to take a free course, so I tooka course in graphic design. I learned all about getting things into print and I made a decision to pursue illustration…again.

 9.  I put together a portfolio and became an illustrator in 1982. Shortly afterwards we took a trip to Florida. On another lark, I took my portfolio to the Miami Herald and the Ft. Lauderdale News.  

I ended up leaving Tropic Magazine with an assignment that very vacation and  I did a number of assignments for both of those publications for several years after that. 

11. In 1987, when our oldest son was a baby, we took a trip around the country for a month. What the hell. I took my portfolio. I ended up doing art  for the Chicago Times Magazine, Chicago Magazine, and the Detroit Free Press after that.

(Chicago Times Magazine above)

Let's fast forward to 1997. Past the "baby period" and kid chasing period. Past other countless examples of accidental life (we’ll keep this basically professional). Two more sons arrived (and, believe me, they were REALLY happenstance) and I decided at some point to go back to illustration. 

12. One day, completely out of the blue, I got a call from someone I hadn't spoken to in about 15 years. We started gabbing and she gave me the name of someone running an SCBWI group in Cambridge. On yet another lark I went to the meeting and that led to attending my first SCBWI conference. And from that point on I was bitten by the bug I had put aside many years before: to pursue illustration, especially  for children's books.

 For me, the rest is history. Other "on a larks" and other "simply-by-chance" episodes. They keep happening to me. Like the on-line writing group I "accidentally' ended up in around 2000, that is still growing strong. Like the group of artists I "accidentally" connected with, who, even after my reluctance, have now turned me on the idea of licensing my art. I value their energy and ideas and find them inspiring. As a result I will be doing the Surtex show in May. Yet another ride on the wind, and I have no idea where I will end up. 

Am I preparing for Surtex with a vengence? You betcha! I don’t leave that much to chance, ya know.  But still, I often wonder: how did I get here? Sometimes the only answer really is "the wind."

So, that is why I do believe in meaningful accidents and the power of serendipity. Life is much better when you do not try to over-plan. My advice to aspiring artists is to always leave themselves open to good accidents. Go catch some wind. See where you end up. And then know when to jump off onto your own two feet.

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In past posts I have confessed to an obsession with the passing of time. I have had this obsession all my life. I am not sure why, but I have. On New Year's Eve, 1958, I wanted my grandparents to get me a jar with a lid.

"Why?" they asked.
"Because I want to save some some 1958 air," I told them. "Then I will have a little bit of 1958 forever."

When I look back on this memory, it makes me smile and shake my head at the way a kid's mind works--or at least the way MY mind worked. But I also still feel more or less the same way: very aware of the passing of time and wanting to preserve the present moment for future reference and for experiencing it once more. I guess you could say my little jar of air was my child's version of a time machine. But even though I am not filling jars with the air of time anymore, I still feel pretty much the same now as I did then. It's why I love antiques. It's why I play jukeboxes. It's why I will watch anything produced by Ken Burns. It is also why I read the obituary from my on line, home town newspaper every day: The Journal News, Rockland County section.

Yeah, I know. That sounds like something your grandmother would enjoy doing. Still, I do it. Everyday. Sometimes I see the names of parents of high school friends. Every now and then, I see the names of the high school friends themselves. Believe me, that is sobering. The strange part is that when I see no names that are familiar to me, I have a macabre sense of disappointment: no news, nothing of interest. And then, when I do, I wish I hadn't, because I would really have enjoyed seeing that person again at some point in the imaginary future, even though I have not spoken to him or her for that past 35 years.

One of the nice parts about reading obits is that I also check up on who else died, as reported by the Associated Press. In their little sidebar I learned that Killer Kowalski died even before I saw it in the Times. I learned that silent film star Anita Page passed away at 98. I read about famous Peanuts animator Bill Melendez. And I learned about the death of Jim Hoyt.

Who is Jim Hoyt? Jim Hoyt was the last surviving veteran of a group of four soldiers who liberated Buchenwald concentration camp. Jim Hoyt was a an extraordinary guy and an ordinary guy at the same time, because Jim Hoyt was part of a generation of countless soldiers who fought bravely and namelessly in a war unlike any other, where there was a clearly defined evil of great magnitude that needed defeating. Jim Hoyt lived a quiet life, was not a person of renown, and we would most likely never know about him except that he participated in The Oxford Project.

The Oxford Project, from an editorial quote on Amazon:

In 1984, photographer Peter Feldstein set out to photograph every single resident of his town, Oxford, Iowa (pop. 676). He converted an abandoned storefront on Main Street into a makeshift studio and posted fliers inviting people to stop by. At first they trickled in slowly, but in the end, nearly all of Oxford stood before Feldstein's lens. Twenty years later, Feldstein decided to do it again. Only this time he invited writer Stephen G. Bloom to join him, and together they went in search of the same Oxford residents Feldstein had originally shot two decades earlier. Some had moved. Most had stayed. Others had passed away. All were marked by the passage of time.

In a place like Oxford, not only does everyone know everyone else, but also everyone else's brothers, sisters, parents, grandparents, lovers, secrets, failures, dreams, and favorite pot luck recipes. This intricate web of human connections between neighbors friends, and family, is the mainstay of small town American life, a disappearing culture that is unforgettably captured in Feldstein's candid black-and-white portraiture and Bloom's astonishing rural storytell

ing.

You can visit the Oxford Project website and read some of the stories and see some of the pictures. That is where I went on to read about Jim Hoyt, who's obituary via AP I just happened to catch one day while checking the daily obits at the Journal News. I had never heard of Jim Hoyt, and I had never heard of The Oxford Project, but I am so glad to have discovered both of them. It is incredibly fascinating to see a picture of a person and a picture of the same person 20 years later. That kind of thing has always been my favorite part of the Ken Burns documentaries, and here is an entire book of aging faces, and what makes it even better is that these are ordinary citizens, living ordinary lives that are as meaningful and interesting as any celebrity or historical figure.

This book will be available on the 16th of this month. You can read more on the Amazon link. Needless to say, I have already ordered a copy. If I had thought about it, I would have created this book myself. It is, as they say, "right up my alley."

I do have one question for Stephen Bloom and Peter Feldstein: did you save any 1984 air?

EDITED TO ADD: Please take a moment to read the comment left by photographer and Oxford Project creator, Peter Feldstein. He shares a touching bit of information and an update on Jim Hoyt.

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When I look around my house and see the enormous amount of stuff I have managed to collect and inflict on my family, I sometimes feel...well..a little guilty. I wonder if they would all somehow live a life of minimal objects with a different mother and wife. I think my husband would clearly live is less clutter. He is very neat and organized by nature. Not anymore. I corrupted him. He sort of "caught" whatever it is that has always ailed me, and he now subscribes to the same sort of busy look in decor that he has come to know and love. In a way, my kids have, as well, though I doubt that they will ever be as far advanced with this malady as I am.

With those thoughts in mind, you can imagine how utterly relieved I was to read an article in today's NY Times about renowned urologist and Columbia professor Dr. John Lattimer, who passed away at the age of 92, and left behind a life's collection of oddities that certainly puts my mundane assortments of objects to shame.

I think I would have found Dr. Lattimer to be a kindred spirit. The article points to the fact that he was an only child of two only children. So was I. It mentions that somehow his collecting was an effort to hold on the the past. I agree. And it is more. Somehow owning a piece or two of the past, helps to grasp the present. I would even go so far as to say that it increases understanding of the future.

My husband and I have often joked about what our poor kids will have to deal with when they need to figure out what to do with over 100 cookie jars, even more pieces of carnival chalkware, tons of cowboy stuff, and a gazillion vintage tablecloths, not to mention everything else in this house.

But this we can guarantee them: they will not have to deal with anything even remotely similar to the type of relics being sort by Lattimer's daughter Evan, as she catalogs his vast collection for sorting for auction, discarding, and keeping.

How do I know this? Read the article. What gives me the right to sound so damned cocky, pun intended? This fact: I do not have in my posession, for example, anything even close to being Napolean's penis.....

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Let me first admit to this:

I was one of the old fart parents who was so saddened to see the provocative photo of Miley Cyrus in Vanity Fair recently. To me, the picture was clearly sensuous in a way that it should not have been for a 15 year old. It's especially bothersome since I think that she is a quite talented and charismatic little performer, who has great comic timing and the chance to mature in into a comedienne of the first order in films and TV shows. As far as I am concerned she does not need to sell herself as sexy. Funny is sexy in a better way.

So, with that in mind, I found it ironic (or was it some sort of cosmos putting me in my place?) that my pre-ordered copy this book by Paula Uruburu arrived:

AMERCIAN EVE
EVELYN NESBIT, STANFORD WHITE
The Birth of the "It" Girl"
and the
CRIME OF THE CENTURY

For those of you unfamiliar with the story of Evelyn Nesbit, she was the first real American superstar and the first "media created" celebrity. The very abbreviated story goes like this:

The mother--Evelyn Florence Mackenzie Nesbit-- found herself impoverished in Pennsylvania when her lawyer husband died very suddenly, leaving his family penniless. During the next several years the mother and her two children shuffled around the state from relative to boarding house and back again until Florence Evelyn, the younger, who was always a strikingly beautiful little girl , is "discovered" by an elderly female artist in Philadelphia. Before very long, she is posing for painters in the area and is the sole support of her family.

They move to New York City, where she continues to pose for well respected artists such as Beckwith and Church and for those studying in such places as The Art Students' League. In addition, she is photographed. And that face becomes "the face" of the turn of the century on everything you can think of: magazines, newspapers, postcards, chocolates, calendars, soaps, and so forth. She is the inspiration behind the "Gibson girl." To say she epitomized a look of the times, is an understatement. She WAS the look and the face of the times.