I can't sleep…
There are mornings when the dog is smushed between us.
The sun breaks through the blinds with rays that warm our blanket tangled bodies.
Silent breathy snores, and the low mumble of a fan.
Picture perfect in my eyes.
Simplistic in others.
Too me?
This is the life.
~ Wandering Girl, “No one can take this from me”
Photo: via Newton
Anne Bancroft at a school for the deaf and blind in Spring Valley, NY, preparing for her role in The Miracle Worker photographed by Nina Leen (1959)
Notes:
…Under bamboos that sing to the wind
and wall the cathedral sky,
my body surges…
A rush of balsam wind boils the clouds,
roils my shirt, my skin,
enfleshing the living breath, deep and long.
Like weeding the garden: hands become weeds,
become shovel, become time.
Body becomes rhythm, becomes power;
becomes wind, becomes Mind.
A cotton cloud of ibises float after.
—Betsy Lagana Bluangtook
Notes: Poem – Thank you Beth at Alive on All Channels. Photo – Bamboo by kristof casteren
Later he told me he’d been afraid to show me the painting. He thought I wouldn’t like the way he portrayed me: dragging myself across the field, fingers clutching dirt, my legs twisted behind. The arid moonscape of wheatgrass and timothy. That dilapidated house in the distance, looming up like a secret that won’t stay hidden. Faraway windows, opaque and unreadable. Ruts in the spiky grass made by an invisible vehicle, leading nowhere. Dishwater sky.
People think the painting is a portrait, but it isn’t. Not really. He wasn’t even in the field; he conjured it from a room in the house, an entirely different angle. He removed rocks and trees and outbuildings. The scale of the barn is wrong. And I am not that frail young thing, but a middle-aged spinster. It’s not my body, really, and maybe not even my head.
He did get one thing right: Sometimes a sanctuary, sometimes a prison, that house on the hill has always been my home. I’ve spent my life yearning toward it, wanting to escape it, paralyzed by its hold on me. (There are many ways to be crippled, I’ve learned over the years, many forms of paralysis.) My ancestors fled to Maine from Salem, but like anyone who tries to run away from the past, they brought it with them. Something inexorable seeds itself in the place of your origin. You can never escape the bonds of family history, no matter how far you travel. And the skeleton of a house can carry in its bones the marrow of all that came before.
Who are you, Christina Olson? he asked me once.
Nobody had ever asked me that. I had to think about it for a while.
~ Christina Baker Kline, from Prologue of “A Piece of the World: A Novel”
Art: Christina’s World is a 1948 painting by American painter Andrew Wyeth, and one of the best-known American paintings of the middle 20th century. The woman in the painting is Anna Christina Olson (3 May 1893 – 27 January 1968). She is likely to have suffered from Charcot–Marie–Tooth disease, a genetic polyneuropathy. Wyeth was inspired to create the painting when he saw her crawling across a field while he was watching from a window in the house. Wyeth had a summer home in the area and was on friendly terms with Olson, using her and her younger brother as the subjects of paintings from 1940 to 1968. Although Olson was the inspiration and subject of the painting, she was not the primary model—Wyeth’s wife Betsy posed as the torso of the painting.[4] Olson was 55 at the time Wyeth created the work. (Source: Wiki)
