Speakeasy Post: a Book Review

Speakeasy is an online forum for bloggers who review books.  I read books, and blog, and can give an opinion when asked.  So I signed up to be a Speakeasy  reviewer. There is very little to it, and loose deadlines: reviewers are given a month to read a free book and give an online book review.  My first book arrived via download a while back, and I have tried several times in different short reading sessions to digest it, but with little success.

Beauty as a Sense of Being by Solomon Katz was the first book I read for Speakasy.

Katz's writing is disjointed, skipping from thought to thought, each lesson or kernel of truth interspersed with free form prose, which I found distracting.  In the first two chapters (there were eight chapters in the book), I counted 42 subheadings and a half dozen interspersed prose stanzas which came from Katz through his subconcious. These subheadings appeared as if in a personal journaling type format, randomly chosen without cohesion tying in one thought to the next, rather like free form association.  These stanzas must have been of import to Katz, likely personal pointers for achieving mental health balance.

As a psychologist, the author may have helped many people along their life journeys, but this book of writings did not hold my interest because the writers' thoughts were scattered, jumping from topic to topic without transition. I did not find the book helpful.

Chapters 3-8 were skimmed over, and the style continued.  Time to move on and read another book.

Greek Tragedy at the Nursing Home

Several years ago my SIL made an analogy as to how daughter Julie and I often interact verbally and physically, especially when times are tense: we act out Greek tragedies in our communication with one another. She was so right on.

The drama at that time was about how Julie was not being careful enough while drinking a soda, thereby spilling it on herself and the floor. I chastised her, and Julie retorted in kind, scoffing at my concern.

The analogy my SIL acted out, interspersed with a Greek Chorus humming in the background, still makes me laugh. Good for the soul to laugh, but also tragically sad. But if one can't see the humor in life, that is sadder still.

So here is my latest Greek Tragedy, soon to be on Broadway (yeah, not likely) of Julie and me playing out yet another little drama in our interactions. We were at her residential facility yesterday afternoon when this newest scene occurred.

Short Synopsis of Play: Main Character, Julie, a middle aged adult woman, feels misunderstood and dismissed since her husband died and she has left the ancestral home she and her husband built together in South Carolina

Stage Set: The Garden Room of a local nursing home, several people in wheelchairs in a large open room with windows looking out onto a grassy area, locked in by doors opened only by ambulatory people with authority that hold special keys to the outside and unsafe world

Characters: Julie, her mother (me), nursing staff and other residents; unseen character is a scheduler on the telephone

Scene I: Julie is in her wheelchair, legs stretched out in front of her on leg rests, draped sheet in place over lower part of body. She sits at a sturdy card table, her wheelchair alongside table at an angle. I sit in a chair beside Julie, knitting bag containing lunch, water bottle, cell phone, and knitting accouterments scattered about on table. A few other patients in wheelchairs, dozing or just sitting, the room is large with no activity now scheduled

Room Atmosphere: Quiet, patients being wheeled to early lunch, or patients milling around the nearby hallway slowly making their way to the dining room. Ambient social noise in background

Dialogue Begins with Nurse, walking towards me: “Could you come to the phone to answer questions about a prior surgical procedure performed in South Caroline? The scheduler is needing some questions answered and maybe a signed consent.”

Me: “Be right there.” (putting down knitting project and rising from the chair)

Julie: scowling, acting offended, muttering quietly under her breath

Me: Walking twenty feet over to the phone and saying, “Hello, this is Nancy, so glad you are scheduling her for a consultation. You need a consent form signed to obtain hospital records from which physician? We have been through all this many times over the summer, and records are all over this town. Yes, yes, I do hold Power of Attorney for Julie. Yes, we can get this done fairly quickly.”

Scheduler on phone speaking unknown dialogue, me listening.

Me: “Let's call the (insert name of hospital) and just have them faxed over. What? You need ANOTHER consent form signed? All, right, the fax number is (insert numbers after hailing down a nearby nurse on her way to fix another patient problem and on whose phone I am speaking)...”

Julie: wheeling over to the nurses' station, looking even more aggravated, scowling

Me: trying to ignore Julie and concentrating on what the scheduler is trying to relay on the phone

STAGE RIGHT: Enter two nurses who have come over to the telephone/station where I am seated. They are looking concerned, hearing what is going on from their approaching vantage point and appalled that now both Julie and I have invaded their work area; nurses' eyebrows arched as they listen to our conversation

Greek Chorus: tuning up with indistinct chanting in background

Me: hanging up phone receiver, informing Julie of the date of the appointment, rising from the chair to return back to the Garden Room

Julie: (with raised voice) “WHY did she not ask for ME to schedule the appointment? Why did YOU talk to her? It is MY appointment!” (implying that Mother is interfering)

Me: (backpedaling, glancing at a small group of observers now gathered at the nursing station, both staff and patients. my voice raised): “Probably because there needs to be coordination of efforts concerning how to get you there, whether you need to be prone or in your chair, and because I would like to be there with you and you do not know my other calendar conflicts.” Way too much disgust in my voice and attitude at this point... implying that “here we go again” I am now behind Julie's wheelchair, trying to exit Stage Left

Julie: as I am wheeling her forwards “It is MY body and MY concern, so why wasn't I asked about it instead of YOU?!” Julie's body language is now of extreme consternation and she begins to cry; slowing the cries rise to a crescendo of wracking sobs

Greek Chorus: rising in volume, inaudible mumbling with sing-song background chanting

Me: after rising from the chair by the telephone and getting behind Julie's wheelchair , now pushing her onward and back toward the Garden Room, barely avoid a crash collision with another person in a wheelchair who has now made her way to the nursing station to catch the drama

Greek Chorus: continuing in background with small gasps, sighs of resignation, humming to the tune of “Oh, Me, Oh, My, What is Now Going to Happen?”) ....sound of drums beating slowly along with the low murmuring and humming of background noises. Chorus continues...

Me: Now back in the Garden Room, vacated by staff and patients, talking to Julie the entire time, trying to quieten her sobbing, saying “We all love you and want the best for you. It is hard to coordinate all efforts made in your best interests. I know your life has changed dramatically since the death of your husband, and the change has affected my life as well.” (Talking perhaps too loudly for emphasis)

Julie: “I just feel like I do not have control over anything anymore. When I lived in South Carolina, I made my OWN doctor appointments.” Wracking sobs given by Julie, Chorus grows louder

Me: “Yes, but that was THEN. Now you live in a place where all efforts need to be coordinated as far as transportation and yours and my life all need to work together.”

Chorus in background: “yes, indeed, yes indeed” (sung in a three note cadence, two beats up, one beat down) “YES INDEED YES INDEED” repeated three times

Me: “Are you OK, are we good now?”

Julie: sniffing, wiping nose with back of right hand, sniveling

Chorus: chanting, “Mother was Wrong, Mother was Wrong!” Chanting slowly and softly fades into background...”mother was wrong, mother was wrong”

Julie: feeling wronged, giving up the sobs to quietly playing Word Chums on iPad...

Me: slinking off after giving her a kiss, feeling miserable having made this scene occur, having felt like I have done her wrong by trying to do right by her..feeling embarrassed by all this fuss...

Chorus: fades from chanting into ambient background noise...

END OF SCENE

Post Script: Activity Director reports later that Julie was acting happy, engaged with dominoes with other residents, relishing the cheese and crackers snack within half an hour after my departure from the scene of the drama. Go figure.

Brush & Palette October Demonstration

With the 2015 Brush and Palette Fine Arts Show paintings creating a Hollywood backdrop (89 entries) on the Grand Junction Art Center walls, Ann Kurz Chambers took center stage with her demonstration on October 15, 2015.

A multi-faceted artist with a published book of wildflowers, cranberry products, and more, Chambers showed how to create landscapes with oils on pieces of wood previously gessoed with a white background. 

Her creations are unique, and she paints quickly, proficiently. She emphasized that all art supplies and items are conserved, no matter the age of oils in tubes. She returns to her paintings that have been long neglected, perhaps laying against a corner of her studio, and fine tunes them in multi media ways using gesso and layers of paper or found objects. 

Chambers often uses hardwood by-products supplied by her son. Most of the wood provided by her son is special Engelmann spruce wood that he uses in his violin making.

Recap of Chambers’ demonstration:

Supplies:

oil paints, turpentine, turpentine in spray bottle to retain moisture on surface, Liquin, panels of wood, fiberboard, canvas, canvas board, masonite, gesso, brushes, rags, protective gloves

Method:

• Apply several layers of gesso to chosen surface object
• Apply the layers several times, laying on more gesso in the opposite direction of the prior layer
• Sand lightly after each gesso layer has dried
• When background is to your liking, apply oils (saturated with Liquin for ease of application and to aid in drying)

Several Finished Chambers’ Objects: