It’s early, and I’d like to be stitching. But my fountain pen leaked all over my fingers and even after scrubbing off the ink, there are stains. I worry about leaving black marks on the piece of linen I’m—ah, and now I’m derailed by the search for a verb that accurately describes what I’m doing to the linen. Not embellishing, ornamenting, decorating—all too ornate, too fancy. Ferning, perhaps. Covering it with ferns.
I’m handstitching a drawstring bag (this pattern) because handstitching, including and especially embroidery, is one of the very few activities that quiets my mind enough for real thought. Gardening works, sometimes—if I don’t fall into a swirl of longing for plants I have neither time nor budget for—and has, in the past, yielded entire books while my fingers occupied the rabbity part of my brain. Mopping wood floors works: the smell of Murphy’s Oil Soap, the light gathering on the boards, the repetitive motion. I miss the job I had for a couple of years in San Diego, cleaning the floors of a yoga studio on Saturday mornings before it opened. I did some of my best writing while vacuuming or mopping those bare floors in empty rooms.
The thing about floors is that cleaning them doesn’t take terribly long. And then they’re finished. You rinse out the mop head, put away the bucket, and you’re done. Gardening is never finished, and neither is stitching, really—I may finish one project but there are a dozen others clamoring in the wings. Lately I find myself dreaming of an interval in which I could tip the balance in the other direction: spend the afternoons stitching instead of writing. What’s with that? I baffle myself. But I have these ideas, you see…
And if there’s anything slower than writing a novel, it’s handstitching! Ha!
We finished our readaloud of The Firelings yesterday. Oh, how I wish this were still in print! If you ever come across a copy at a library sale, snatch it up. I’ve read it at least twenty times since my dad brought it home from a used bookstore when I was eleven or twelve. Probably more. It explores, as I wrote here some years ago, “the relationship between custom and reason”—a tension I have always found intensely fascinating, as anyone knows who has heard me refer to the “ham in the pan.”
I didn’t get my hands on Carol Kendall’s other books until I was older—gosh, much older, my archives tell me. I posted about The Gammage Cup in 2010, shortly after reading it for the first time. (Scott, when you see this, skip the blockquote—I know you prefer to encounter a new book with a totally blank slate. I’m probably starting Gammage as a readaloud today.)
Kendall is one of those writers whose voice I just plain enjoy. She’s a quirky storyteller with a taste for misfits. This novel is about the Minnipins, a tradition-loving people who live in small villages in an isolated mountain valley. Their distant ancestors settled here after escaping from terrible enemies about whom little is known, now, except their names: The Mushrooms. A few centuries ago, one of the Minnipins journeyed over the mountains and back via hot air balloon. Most of Fooley’s souvenirs—and memories—were scattered when he crash-landed back at home, but the remaining fragments have been carefully enshrined in a village museum and in the customs of his descendants. (You can tell them apart from the rest of the villagers by their names, which are taken from a scrap of paper that survived the crash and is now presumed to be a list of the friends Fooley made on his journey: Ave., Co., Wm., Eng., etc. “The Periods,” as these folk are reverently called, run the village.)
Folks in the village like things to be done just so, and they have little tolerance for eccentrics like Gummy the poet or lively Curley Green, who recklessly paints images of things from real life, in disregard of the proper classical style. (My kids love Kendall’s work, but her character names drive them up a wall.) When Muggles, the reluctant heroine, and her misfit friends begin to suspect the terrible Mushrooms are preparing for another attack, they have to persuade the rest of the villagers that the danger is real. Instead, they get kicked out of the village.
Whoops—time to accompany Huck to his garden gig. I’ll come home with strawberry juice on top of the inkstains. You see why I need afternoons free for stitching!
Booknotes: The Gammage Cup
–Did it rain last night or is that condensation
–Wait, I thought “morning dew” meant poop
–Various spellings and meanings of do/dew/doo
–Ice/water/steam, water vapor, why condensation happens
–Is that guardrail crumpled from a car crashing into it
–Why are they called “action figures” instead of dolls
–Where do you think the monkey will be hidden this time
–Are peanut butter crackers sweets
–Sewing, pros and cons
–What to spend birthday money on: probably K’nex
–That bus is too long to be Steve’s
–Why does Steve ride the bus
–What does “qualifications” mean
–Qualifications for being on American Ninja Warrior
–Really nice job parking, mom
In my house this morning: a breadcrumb trail of Angry Birds playing cards leading from my bedroom, down the hall, through the kitchen, through the patio room, to the wide-open sliding door.
Me: “It’s freezing in here!”
Huck: “That’s what the trail is for. To show you what a cold day it is.”
January 28, 2016 @ 7:56 pm | Filed under: Huck
Something there is that does love a wall,
That sends the gangly boy-limbs clambering up
And bids the mother not to fuss or call
Out words of caution, not to spoil the bliss
Of racing, arms outspread, along the bricks,
Along the road that crests the world, the whole
Huge world six cinder blocks and seven leagues
Below. The boy is king, is wind, and she
Must hush: just study shrubs in neighbors’ yards,
Imagine herself a Seventies mom, unfazed
By threats to skull, spine, ulna, femur.
He shouts, he leaps; the earth (a mother too)
Shivers, lets loose the cord of gravity
This once, just once, and also on the next
Block, the next wall, each ridge that lures
Him skyward all the long way home.
This week’s Poetry Friday roundup can be found at Reading to the Core.
About once a week I bring my fountain pens to the kitchen tape for refilling. My reason for making this rather quick, benign chore a public affair is to take advantage of the great parenting truism: If you do it, they will copy. Huck isn’t the kind of kid who would be too keen on formal handwriting practice (does that kind of kid even exist?), but if I get busy with some nifty writing utensil, he’s at my side in a flash, begging for a turn.
Fountain pens are awesome enough, but dip pens? There’s nothing better. A bottle of ink, a nib with just the right amount of skritch…there’s a happy kid. I didn’t suggest the alphabet practice; he filled up the page as he chose.
That’s my beloved metal brush pen he’s holding, the $1.49 treasure acquired during my surprise trip to the art supply store on Mother’s Day. (The plastic Speedball pen holder was another buck fifty. We live large.)
(That’s an Amazon link to show you what it looks like, but as you can see, you’re much better off buying local for this one. That’s some markup, eh?)
I tumbled to the metal brush pen (aka my new best friend) in Jonathan Twingley’s rather amazing class at Sketchbook Skool. It was swoon at first site. You get a broad line from the flat nib, or you can turn it on its side for a fine line. It’s on the messy side—likes to spatter ink if you change direction midstroke—but for me that’s part of the appeal. I use it when I’m in the mood for rough, bold lines and a bit of ink spray. Jonathan Twingley likes to fill pages and pages with large drawings and then cut out selected images and collage them together into a new piece of art—really quite magical to behold him at work.
And this post offers a quite detailed look at what a steel brush nib can do.
We also have a pair of glass dip pens that my parents gave me years ago with more typical pointed nibs. You can see Huck’s page of orange squiggles on the table. I know somewhere in my archives I’ve talked about the magical powers of colored chalk and a little slate, or a whiteboard and dry erase markers, for transforming otherwise dull writing into fun. Dip pens are the same principle times a hundred.
Huck and I are cuddled up in the big brown chair. His hair is getting long again, all rumpled curls on top. Face a little dirty, because it’s after nine in the morning. Big sweet eyes smiling up at me, waiting for a story.
“Once upon a time,” I begin, “there was a boy named—”
“ACID FIRE,” he interjects.
Huck came to me with How to Read a Story by Kate Messner and Mark Siegel. “Mommy, will you be my reading buddy?” (That’s Step 2 in the book.) Why of course I will!
He starts reading me the book. And then, halfway through, only a few pages after the sneaky video I took below, he…stopped reading out loud. Got sucked into the story and read silently for the first time. Thanks to this charming picture book, I got to be there for the moment of transition. It was magical. And yes, since he’s my youngest, a little bittersweet–the last one to cross the bridge to solo, silent immersion. But only a little bittersweet. Mostly just magical.
“Mommy, guess what I am. It starts with the.”
Huck, age 5 years and 10 months: “I readed all of Peter and the Talking Shoes without being one bit loud. I readed it BY MY EYES ONLY. I didn’t say it out loud at ALL.”