Category Archives: Friendship

European Vacation, ’75: Part I: Paris

007

Yesterday, our daughter went to New York City on a whirlwind, 24-hour trip with her drama class.  The group left from the school by bus at 5 AM, and returned at 5 AM this morning.  They saw two Broadway shows–Newsies and the eagerly awaited Matilda, still in previews.  A Newsies cast member led the kids in a dance workshop. They had some free time, so I’m expecting a a full report on wandering Times Square characters.  Are the Naked Cowboys in season yet?  Were there plentiful sightings of Elmo, Shrek, Hello Kitty, Grandma Liberty and the Tin Man? How was the singing waitstaff at Ellen’s Stardust Diner?  D is still asleep, so I haven’t heard the details of the trip yet.  I’m very grateful to the drama teacher and to the parent chaperones accompanying the group.  I’m especially thankful that I was not among them.  While I enjoy New York in small, metered doses, I’m relieved that crowded, pre-dawn bus rides are predominantly in my past.

As D was preparing for the excursion that launched her spring break, I was recalling the days when I looked forward to my own eighth-grade adventure.  I mentioned in an earlier post that I had the unlikely good fortune to participate in a school trip to France and England.  (See A Small Reunion of the Rutherford Hall Gang, Nov. 2011.)  As I said then, it was a rare event for a group from the Atlanta Public City Schools to venture anywhere for spring break in the 70s, much less to Europe.  It was just about unheard of then for middle-schoolers in our area to take part in such study trips.  But we were blessed with a dynamic and unusually dedicated French teacher, Martha Elizabeth Correll.  She decided we must see France, and we must see it with her.  We loved and admired the young, fun and charismatic Mrs. Correll.  She seemed to be fond of us, too.  She found a bargain-priced trip through the now extinct Foreign Study League.  Nine of us, including several of my best friends, managed to persuade our parents that this was an opportunity not to be missed.

Mrs. Correll encouraged us to keep a journal during our trip, and naturally I saved mine.  In my first entry, dated a few days before our departure, I mentioned my vague fear of flying.  I had never been on a plane before: It couldn’t be especially frightening, could it?  Katie, who wouldn’t ride the roller coasters at Six Flags, had flown before, and she wasn’t scared.

004

Above, most of our group at the Atlanta Airport, ready to board the plane to New  York.  Several of us hold our blue and white Foreign Study League carry-ons.  Our teacher, Mrs. Correll, is at the far right, in her signature, whimsically decorated bell-bottom jeans.

My journal from the actual trip continues on the subject of airplane travel.  The flights were unexpectedly smooth, I reported.  Apparently I was expecting a roller coaster experience, despite Katie’s evidence to the contrary.  But every aspect of flying was novel and amazing, if not particularly enjoyable.  I wrote at length about the unbelievably cramped quarters on the overseas flight, the tiny bathrooms, and the unidentifiable food (my friend Jackie maintained that we had been served baked rat).

After a sleepless night on the plane, we arrived in Paris in the gray dawn and boarded our bus for an introductory tour of the city.  I recall powerfully the miserable war I waged against my leaden eyelids during my first, much anticipated hour in a foreign country. We were surrounded by legendary sights, yet the yearning for sleep was overwhelming.  After the discomfort of the airplane seats, the tour bus provided an ideal environment for snoozing.  Most eyes were closing, most heads were bobbing.  Mrs. Correll, ever vivacious, walked the aisle, rousing us.  She hadn’t taken us with her to France so we could sleep on a bus.  Once in the heart of Paris, I shook off some of the muddled fog of half-sleep.  After stops at the Eiffel Tower and Notre-Dame, nearly everyone was awake enough to feel rejuvenated by our surroundings. Avoiding sleep became even easier once we noticed that our Parisian guide, Salvador, was charming and exotically handsome (so French!).

005_edited
Rebecca, me, Jackie and Katie in our hotel room on Easter Sunday morning.

Because my expectations had been low, our  hotel was a pleasant surprise.  It had one of those old-fashioned elevators I had seen in movies, with a folding iron grille in place of a door.  Our room  was almost grand, if slightly faded.  I liked its high ceilings, ornate wallpaper and elegant fireplace. Its large size was fortunate, considering there were five of us in it.  Katie and Rebecca shared one double bed, Jackie and her mother shared the other, and I got the single.  I remember being cold at night and sleeping huddled under my coat. We had been told not to expect a private bathroom, so we were surprised to find a spacious one with lavatory, bathtub and bidet.  The toilettes, as we learned to say, were down the hall, in claustrophobic compartments. One of our friends went in one and couldn’t get out. He was finally extricated by a team of chamber maids speaking in baffling, rapid-fire French.  After that, we were all careful about locking the door just so.

014
The 13th-Century Sainte-Chapelle, built by King Louis IX.

Our three-day visit to Paris was like a fast-paced tasting menu of the city’s highlights, most of which Mrs. Correll had discussed with us previously in vivid detail.  She wanted us to understand and appreciate the history and culture of France, as well as its language. Paris came alive for us during that short time because our teacher had prepared us well.  We heard some of the Easter mass in Notre-Dame.  We saw the forbidding Conciergerie, where Marie Antoinette spent her sad last days.  We beheld the lovely Sainte-Chapelle, the Gothic jewelbox that Saint Louis built to house the Crown of Thorns.  We wandered the Latin Quarter, alive with bohemian student activity.  We explored the courtyards of the Sorbonne, where Mrs. Correll had studied.

We watched old soldiers playing boules outside Les Invalides, fishermen casting their nets from the Pont Neuf, and children sailing paper boats in the Luxembourg Gardens.  Everywhere there were Frenchmen carrying baguettes and wearing actual berets. We spent some time (not nearly enough for me) in the Louvre.  Of course we walked  the Champs-Elysees.  We cruised the Seine at night in a Bateau Mouche.  I got to witness first-hand the view I had most anticipated–the tip of the Île de la Cité with the lacy spires and flying buttresses of Notre-Dame just behind.

I loved the wealth of intricately decorated Easter candies and pastries that beckoned from the windows of small shops on narrow streets.  Never before had fruit and vegetables looked so beguiling as they did in the city’s outdoor markets.  Even displays in butcher shop windows were strangely beautiful, recalling old-master still lifes.  We ate in cafés and brasseries, and learned that a croque-monsier, an omelette, or anything with frîtes was a good choice.  We learned that French ice cream is served in minuscule metal dishes.  And we found that paying for our meals and managing francs and centîmes was as difficult as we had feared.

013
Real Frenchmen, real baguettes, and real berets.
026
Some of our group (dressed in the height of 70s middle-school style), in the gardens at Versailles.

We were busy during our three days in Paris.  But we weren’t so busy that we missed getting a sense of the city’s unique, ebullient, quirky atmosphere. Sooner than we would have liked, it was time to head to Normandy, to Mont-St-Michel, and on across the Channel to England.

Dark Secrets, Part II: Super-8 Movie-Making

0082

Filming in Dr. Welby’s basement digs: Katie’s older sister acts as camerawoman,
while Rebecca’s younger sister aims the lights.

As is the case with most worthwhile projects, making our Super-8 movie had its moments of exhilaration, unforgettable fun, boredom and frustration.  Naturally, the initial planning stage was the most gratifying.  As I remember it, writing the movie with Katie was nothing less than a blast.  I dislike this overused hyperbolic term; I cast a skeptical eye on those who repeatedly claim to have had a blast doing this or that. Really?  A blast?  I doubt it. But in this case, it was accurate.  There was a heady sense of possibility in the air as Katie and I bounced ideas off one another.  We’re gonna make a movie! Our movie!  We’re in control!   In our own minds, we were incredibly funny. We were good!  We should have been destined for Saturday Night Live, as yet in its infancy.

As soon as we began filming, we realized we had no control.  It was terrific to get the cast together for filming; it was like getting school credit for regularly attending a party with our best friends.  But we encountered many difficulties.  Filming began in February, and because we often worked on weekday afternoons, the light was erratic, and it disappeared far too quickly.  Some of our pivotal outdoor scenes were indecipherably dark.  Because we were working with actual film, the complete absence of light was not apparent until after developing.  In March, with the start of Daylight Savings Time, suddenly all was intense brightness.

The drastic changes in light made for continuity issues, to say the least.  We also found it difficult to maintain a convincing sense of flow when cast members’ appearances changed unexpectedly from day to day.  Was Amanda wearing that scarf yesterday?  Can anyone remember?  Didn’t you have a different sweater? And then Dr. Welby got his hair cut from shoulder to chin length about half-way through filming.

It doesn’t sound difficult to avoid routinely filming the movie lights.  Evidently it was trickier than it seems.  The lights, and often the gaffers who held them, appeared in the background, (or occasionally the foreground) time after time.

0091

Our two gaffer-gophers on break, modeling costume accessories.
They got nearly as much screen time as the actual cast.

The complications of filming were nothing compared to those of the editing process that followed.  We thought we were being professional by shooting all the scenes involving the same set at the same time.  We didn’t know how much amateur splicing left to be desired. Again, for any younger readers, if they exist, we were dealing with real film that must be sent away for processing.  It then required cutting apart and taping back together so the scenes would flow in correct order.  Personal computers, digital video and talking camera phones were still the stuff of James Bond movies and the fever dreams of  a few elite techie geniuses.

For one part of the final project, Katie included a section entitled “How to Splice.”  I sat at her side, some of the time, for moral support, as she followed the tedious steps she would outline in her paper. We would look at the film through an editor, a machine that I have completely blocked from memory, but one that I described in my report as resembling a tiny television screen.  When we decided where the scenes should be cut, pushing something called the condensor on the editor resulted in a knick in the film.  This knick indicated where the film should be cut.  With scissors.  Actual, not virtual scissors.  Then Katie would painstakingly reattach the frames in the new order with splicing tape.

This was old-school cutting and pasting, and our movie required extreme amounts of it.  The film was so thick with tape that it couldn’t pass smoothly through the projector.  I can still hear the painful sputtering, ticking sound the film made as the scenes bounced up and down, roller-coaster style. How we dealt with this problem is my haziest recollection, probably because it was distinctly unpleasant.  I vaguely remember discussing the additional, not insignificant cost to make a jump-free copy of the film.  We must have managed this, because the film is, largely, viewable.  It is no masterpiece, but it can be seen.

0101

Every silent film needs music, of course.  Using my portable tape player, I recorded the score. The cassette, long lost, consisted of selections by Scott Joplin and Edvard Grieg, pieces I happened to be working on during piano lessons. The music didn’t always fit exactly with the action, but if we timed the start of the tape and the film carefully, it didn’t miss by much.

As I mentioned earlier, it’s been a while since I’ve seen our movie.  Its form continues to lapse further into obsolescence.  I still have the actual film, and H’s father, a camera buff, owns a working movie projector from the 70s.  During a future visit to Rochester, maybe we’ll arrange a family viewing.  Years ago, Rebecca’s husband had the film converted to video and VHS copies made.  We still have a VCR, somewhere in our basement, if we wanted to go looking.  No one has yet been moved to make a digital version of the film.

My daughter saw the movie years ago, when she was still young enough to be impressed.
She’s been involved in her middle school’s news team for the past two years.  With access to sophisticated video technology, the kids regularly turn out high-quality videos. Out of school, they can use their phones to produce similarly remarkable results. D would be amused at the intricate physicality of the old editing process.  And she might be interested to see her mother at her age.

When I do see Dark Secrets again, I expect to know how I’ll feel.  I’ll have a better understanding of my parents’ and other adults’ bafflement over some of our dramatic and comedic choices.  Why does the Creation have a lightning bolt across her face?  Why is the butler gleefully counting his money as he opens the door?  I’m not sure why that’s supposed to be funny.  I will see their point.  But I will know why.

Because in some part of my soul, I’ll be fourteen again.  I’ll be there with my two best friends Katie and Rebecca, reveling in our shared appreciation of idiosyncracy and non sequitur.  Life’s possibilities will once again open wide.  The future will be a distant, glowing horizon, the one evoked mistily in high school graduation speeches.  SNL may see us yet!  Who would have guessed that after all these years, it would still be around?  And like us, it’s not just surviving, but going strong.

Dark Secrets: Our 8th-Grade Movie, Part I

I find it a little alarming that my daughter is fourteen, and half-way through eighth grade.  It’s alarming because my memory of being a fourteen-year-old eighth-grader is fairly clear.  I remember many of my eighth-grade thoughts, and they weren’t so very different from my current middle-aged thoughts.  This brings me face-to-face with the uncomfortable realization that my baby is no longer my baby.  She’s my only child, so in a sense she’ll always be my baby.  But from here on out she will be traversing the continuum from nearly grown-up to nearly completely grown-up.  Can anyone ever claim to be truly grown-up?  Maybe after the death of one or both of our parents?  Or does this make us feel like old, lost children?  More alarming thoughts, which I won’t dwell on now.  Today I want to think about our movie.

 

I loved 8th grade.  The snags of our newly-formed middle school were working themselves out.  (See Middle-School Memorabilia, February 2012.) Once again, we were in classes with many of our old elementary school buddies, and we had the added bonus of meeting new friends.  Some of these friendships took root thanks to an experimental, unstructured class that replaced language arts and social studies.  As our independent project, my friend Katie and I made a movie.

She and I loved the movies.  We dreamed of writing, directing, and perhaps starring in our own films one day.  The logical starting point was our own Super 8 short film.  Of course it was Katie’s family that had the camera, not mine.  They had real cameras, ones with complicated knobs for focusing, as well as movie cameras, film projecters, even special movie lights.  The were high-tech.  I was wowed.  I come from an anti-camera, anti-tech family.  On Christmas morning, we would look around for the Kodak Instamatic.  If it could be located, it often lacked film, flash bulbs, or both.  One Christmas, our only pictures were taken by our next-door neighbor.  Old photos from the 1940s on were tossed at random in the drawer of the coffee table, undated and unlabeled, a practice that inspired me to take the opposite approach, to document, organize and archive.

Katie and I favored the genres of comedy and horror.  (See Movies with Friends: From Frogs to Rocky Horror to Toco Hill, and other posts from March 2012.) Our movie, we quickly decided, would be a campy, silly horror film, set in the 50s. As kids growing up in the 70s, we were fascinated by that Happy Days era, which seemed so distant. Because Katie’s mother and mine had saved most of their clothes from that time period, our costumes were immediately at hand.  We also had lots of comical wigs and odd accessories that begged to be modeled.

mid-March 027

We spent Saturdays and school-day afternoons writing the script.  To us, it was side-splittingly hilarious.  I have several copies of the final four-page script, typed by Katie and mimeographed at school.  It was a silent film, so the narration and dialogue were hand-written in a flowery cursive and filmed, panel by panel.  Our working title was The Underground Horror, later finalized as Dark Secrets.  It began promisely enough:

The date is 1957.  Leonora Fieldcrest had just moved into old Ravencroft Cottage on Shepherd Lane.  Knowing that the apartment in the basement was rented to a certain Dr. Marc Welby (whom she had never met), did not hinder her.  Perhaps
she should have thought more carefully.

Our set was the home of our friend Rebecca, who would play Leonora’s “old school chum” and spunky gal reporter, Amanda Duff.  Not surprisingly, Dr. Welby (we considered this name choice an example of our use of sophisticated irony) was up to no good.  He was building a creature.  His laboratory was a squalid subterranean room, the door of which had been painted, years before, by previous homeowners, with the ominous warning:  Operations Shack!  Scram!  Rebecca’s basement (really a cellar, rudimentarily finished and typical of the 1930s-era homes in our neighborhood) simply cried out for us to film a horror movie in it.

Katie took the role of the creature, and I played Leonora.  We recruited two boys from our class for the male roles:  Dr. Welby and Leonora’s butler.  Everyone in old 50s movies had a butler, it seemed, and we needed another guy.  Katie filmed the scenes she wasn’t in.  Her older sister took care of the others.  Rebecca’s younger sister and her friend served as gaffers and gophers.  We relished tossing around such film jargon.  Because the next-door neighbors had a cute little dog named Buster who was always underfoot, he was granted a role as Leonora’s puppy.

006

The entire cast, pictured above, from left to right: Amanda, Leonora, the Creation, standing menacingly, Dr. Welby, and the butler.  It’s unfortunate that not a single still photo related to our film was in focus.  I haven’t seen the movie in years, but I’m sure it’s not this blurry.  I’m uncertain of the source of these pictures.  Evidently they were taken before Katie got her very own good camera; at which point she became the primary photographer of our collective youth, known for her creative (and clear) photos.  She has enjoyed a successful career as a photo-journalist for the Indianapolis Star newspaper.

002

Dr. Welby, at work in his Operations Shack.  He laughs in a villainous manner as he puts the finishing touches on his Creation, whose red plaid skirt is visible.

001

Me, as Leonora, with Buster the dog.

007

Amanda, just arrived from Kansas (on her bicycle),
hands her little suitcase to the butler.

003

One of our funniest jokes (we thought), was the awfulness of Dr. Welby’s basement “apartment.”  Here, Amanda and Leonora snoop around while the doc is out, observing personal mementos on the table beside his bare foam-rubber mattress on the floor.

004

At Amanda’s insistence, the two friends sneak into Welby’s inner sanctum.  Leonora brandishes an Indian juggling club.  Ace Reporter Amanda wields her trusty, if anachronistic camera,
perhaps the source of some of these blurry photos. 

Ashes to Ashes

On Ash Wednesday, we are urged to face a stark truth:  we will not live forever.  The certainty of our mortality should be evident as we daily confront our society’s latest egregious incidents of violent fatality.  Where was today’s shooting?  At a mall, an office, a restaurant, a church, or, most horrifically, at a school? Who were the heroes and innocents who died senselessly this week? Firefighters, doctors, nurses, teachers, small children, infants? Depending upon where you live, you may be mourning a different tragedy than the one that preys on my mind.  There are so many tragedies in our world. Every day it becomes more difficult to say It can’t happen in my neighborhood. 

Yet despite the ongoing exposure to such dire events, our culture is constantly blaring the message that if we spend enough on miraculous health and beauty products, if we make the right lifestyle choices, we can prolong our lives indefinitely. It promises us, repeatedly, that it’s in our best interests to extend the look of youth far beyond our youthful years.  One of the worst things we can say about a celebrity is this:  She’s looking her age. How shocking!  How pitiful!  Not enough botox, or botox gone bad.  Excessive collagen, or inadequate collogen.  A facelift that failed.  A fanatical exercise regime that no longer does the trick. Her arms were once buff; now they’re stringy.  The more beautiful one is in youth, the sadder seems the diminishing of that beauty with age.

Lenten roses 002

Yesterday I caught a brief snippet of a TV soap opera that I admit  I used to watch, on occasion.   Well, not really watch.  It happened to come on at a time when I needed a rest.  It offered a distraction as I  sat down to fold laundry, leaf through piles of papers and magazines for recycling, make get-well cards. Sometimes it lulled me to sleep, I have to say. This particular soap opera, even sillier than most, if possible, requires minimal attention, because it’s always the same. During my most recent viewing, it was immediately apparent that the same small group of characters was still soldiering on in scandalous banality, divorcing, remarrying, swapping spouses and children, re-betraying one another in bizarre ways.  At a glance, the old gang looked very much the same.  There was not a wrinkle, not a gray hair to be seen.  Bodies were svelte, as always.  But the faces were altered in odd ways:  eyes slanted at more extreme angles, lips overly puffy, cheekbones higher, chins more pronounced, foreheads immovable as those of marble statues.   The characters continue to behave in sophomoric, stupid ways, so it is fitting, perhaps, that they appear young.
In real life, though, is maturity so terrible?  If we learn from our mistakes, we are not cursed to repeat them endlessly, like soap opera characters.   As we mature mentally and spiritually, we will age, and our age will show.

Lenten roses 003
I’m not saying I’m immune to the horror of growing old.  I’ve begun to avoid harsh lighting,  I’ve noted, with acute dismay, what an awkward turn of my head can do for the skin on my neck. The magnifying mirror is my frenemy.  I silently bewail the effects of gravity.  Just as the classic birthday card line attests: Old age is not for sissies.  It’s for the the wise, the well-adjusted, the truly mature.
On Ash Wednesday, we are called to confront the fact that no magic potion or surgery will keep old age forever at bay.  And while death claims the young, as we see all too often, most of us are granted the bittersweet privilege of aging in this lifetime.  This is, indeed, a gift; it allows us  the opportunity to grow toward wisdom, toward maturity.  It means the chance to come to terms with the hollowness of our culture of vanity, and to learn to live accordingly. The visible effects of age are reminders that death awaits us, unavoidably. The physical body decays even as we live, earthly beauty is fleeting, and material possessions are transitory.  Once we acknowledge these truths, we are free to recognize the real value of what will not pass away:

 
And now, these three abide: faith, hope and love.  But the greatest of these is love.  –1 Corinthians 13: 13

 
On Ash Wednesday, we thank God for not leaving us to eternal decay.  Through the love of Jesus Christ we are rescued from the dust, from perpetual darkness.  Our future, as God’s beloved children, is one of light and glory, of joyful wisdom that, in its zeal, perfection, and yes, its maturity, will remain forever young, forever beautiful.

Lenten roses 005
I noticed today that some Lenten roses (Helleborus Orientalis) are already in bloom , although barely visible among winter’s dead leaves.

*************************************************

For further discussion of the meaning of Ash Wednesday, see last year’s post: What’s with the Ashes?, February 22, 2012.

The Light Shines in the Darkness, No Matter What Happens

 

Light Shines 004 The light shines in the darkness, and the darkness has not overcome it.

 –Luke 1: 5

As I contemplated a post for Christmas Eve, I realized that the one I wrote last year still expresses my thoughts for the day.  I modified the end somewhat, in response to recent tragedies, including that in Newtown, Connecticut.

**************************************************************

Our church’s candlelight Christmas Eve service is one of the highlights of the year. Each person receives a small white candle upon entering. Toward the end of the service, the sanctuary goes dark. The acolytes assist the congregation with the lighting of the individual, hand-held candles. Gradually, while we sing Silent Night, the light grows. By the final verse, the sanctuary is brightly glowing, as each member of the congregation holds high a lighted candle.

The process is a beautiful expression of God’s love. Into the darkness of the world, God sent a light. It appeared dim and insignificant at first. But soon it grew brighter and kindled countless other lights. When we allow the light of God’s gift to come alive within us, we glow. And we, in turn, have the power to spread the light. Our combined light is a mighty force. The darkness will not overcome it.

The source of the light is one baby, born to an unknown young woman and witnessed only by her trusting husband and perhaps the animals of a stable. In an unlikely juxtaposition, a multitude of angels announces the birth not to the ruling elite, but to shepherds in the fields outside of town. (This is nevertheless appropriate, because the baby’s great ancestor David was a shepherd boy when he was hand-picked to be king.) Before long, the birth of the child has attracted the attention of wise men from distant Eastern lands. Led by a singular star, they embark on a long journey to find the humble family. They bow down in awe before the baby and present him with rare and costly gifts.

God’s great gift turns the world upside down, upsets its expected order. There is no room in the comfort of any inn for God’s only son. Angels appear to lowly shepherds, and kings worship a baby. Allowing God’s light to shine within us may lead us to unexpected places. The tidiness of our lives is likely to be overturned. This is the difficulty in letting our inner light shine. Its power may summon us to go where we would rather not venture. It may be more convenient to quench that light, to hide it under a bushel. But knowing that the flame that dwells within us is from God, the light of salvation, ever-present, we can have the courage to go where it wills us.

The darkness of our world may seem impenetrable at times.  When innocent children and their caring leaders are massacred on a crisp Friday morning two weeks before Christmas, our world appears almost unimaginably dark.  It would seem that God turned his back that day in Newtown, Connecticut.  What about the angels some say he sends?  Where were they that day?   No one, not the most learned theologian or the holiest, most enlightened human, can adequately explain why such terrible things happen. Certainly I can’t.  But it helps me to realize that we lack God’s all-seeing perspective.  We see through the glass dimly; we can’t grasp the big picture.  Maybe God did send angels that day, but they didn’t work as we might expect.  Maybe those who died in Newtown were needed elsewhere; maybe they were promoted early to a place of honor and privilege somewhere we might call heaven.

Despite the evil that is abroad in the world, God’s love is stronger.  We are never alone; he is with us even in the worst of times. He is there to lead us to the light, out of the depths of despair.  On this Christmas Eve, I pray for the light to be kindled and nourished in hearts throughout the world.  And I pray that we will have the strength to let the light be our guide.

Do not be afraid; for see—I bring you good news of great joy for all the people:  to you is born this day in the city of David a Savior, who is the Messiah, the Lord.

–Luke 2: 10b-11

Remembering Gudmund Vigtel of the High Museum of Art

 

001
The High Museum of Art, August 1985.

My friend and former boss Gudmund Vigtel died last month at the age of 87.  For nearly thirty years, Vig, as he was generally known, was the face and guiding force  of Atlanta’s High Museum of Art.  He became the museum’s director in 1963, when it was a fledgling institution in a provincial backwater, housed in a nondescript building adjacent to its first home, the Peachtree Street mansion of the High family.

Vig led the High through two pivotal periods of extraordinary growth.  In June of 1962, 106 of Atlanta’s most prominent arts patrons, returning from a museum-sponsored trip to Europe, were killed when their plane crashed on take-off at Orly Airport in Paris.  Since Atlanta’s founding in 1836 as Terminus, the end point of a railway hub, its citizens have tended to value business over culture.  But they are a resilient lot, determined not to be bested.  The Orly tragedy, like General Sherman’s burning of the city during the Civil War, inspired a deeply felt resolve to regroup and rebuild, bigger and better.  Gudmund Vigtel, then assistant director at the Corcoran Gallery in D.C., was hired to head up the new, expanded arts facility to be known as the Atlanta Memorial Arts Center.

Vig must have stood out as a cosmopolitan, dashing European figure in the Atlanta of the early 60s.   Born in Jerusalem to Lutheran missionaries from Norway, he had lived in Vienna and Oslo before his family fled (on skis, as I’ve always heard) from Nazi-occupied Norway into Sweden.  But Vig had Georgia ties as well.  Having studied art in Sweden, he received a Rotary Scholarship that first took him to a small college in north Georgia.  It was not a good fit.  He recounted how he spent lonely afternoons sitting on a big rock, asking himself, Why am I here? Before long, he managed to transfer to the Atlanta College of Art, where the more urban environment suited him better.

I met Vig during the second pivotal period of his  tenure at the High.  During the 1970s he became increasingly convinced that his museum was still too small. When, in 1977, the blockbuster King Tut show bypassed Atlanta for New Orleans because the High lacked sufficient exhibition space, it was clear that Vig was right.  He launched an impassioned campaign for a considerably larger and more striking building.  Despite the board’s initial preference for a local architect, he managed to persuade them to choose the as yet unproven Richard Meier of New York.  Meier would go on to to design the Getty Museum in Los Angeles and to win the Pritzker Prize for architecture.

I had the  good fortune to work for Vig as Secretary to the Director during the High’s first two years in the new Meier facility.  (There are, of course no secretaries at the museum now, or perhaps anywhere; they have been promoted to other titles, if not in salary.) Thanks to my dentist, a family friend, avid art collector and museum patron, I learned about the job opening.  It was the summer of 1983, and I had just graduated from UGA with a degree in Art History.  I was coming to terms with the realization that this was, as I had  suspected, hardly a golden key to a lucrative or, perhaps, any career.  Luckily, I could type.  I applied at the High.  I wasn’t hired; there was a better, faster typist.  About three weeks later, I got a call from the museum.  The other applicant hadn’t worked out, for various reasons. When Vig had referred, for example, to the artist Botticelli in his dictated letters, this secretary had repeatedly transcribed Buddy Chelly.  Was I still interested?

The postmodern Meier building, its undulating facade clad in white enamel tile, was due to open that October when I began work in July. The offices had just moved into the new quarters, but the galleries and atrium remained unfinished.  Heavy plastic sheeting kept some of the dust out but did nothing to diminish the loudness of the construction noise. The pace of construction was quick and constant, and it only added to the excitement of working at the museum.  I loved my front-row seat in the living theatre that was staging the airy new building’s completion.  And I soon became fond of my boss and the rest of the museum staff.

Many of us spend our lives knowing and regretting that we have not yet hit upon the perfect career fit.  Vig found his, it would certainly seem.  He had a broad knowledge and true devotion to art of various genres and styles.  But he lacked any trace of pretense or conceit; he bore no resemblance to the stereotypical artsy intellectual.  Not a single aspect of the life of the museum was beneath him, and he was apparently tireless.  What’s more, Vig had a real  gift for the human connection; he was thoughtful, warm, empathetic, funny and charming.  He inspired the best in every staff member, and we held him in high regard.

As Vig’s dramatic vision for the new building was nearing completion, it was a heady time to be part of the HMA team. The museum opened on schedule in October, with a dizzying flurry of celebratory events  held in the soaring central atrium.  Vig treated his staff with the same respect and courtesy as the most generous or sought-after patrons.  HMA parties were equal-opportunity events.  Security guards danced with curators; art handlers and secretaries rubbed elbows with Atlanta’s civic leaders and the occasional celebrity.  Vig was always there at the heart of the party, like a joyful father of the bride, surrounded, in his elegant home, by those he loved best.

Vig’s oddly spelled Norwegian name confounded most homegrown Southerners.  Yet its pronounciation was straightforward:  Good mund Vig tel, with the accent on each first syllable.  I was amazed by the vast volume of unsolicited letters (many of them very strange, to say the least) that the museum received.  The majority of these erred comically in the spelling of Vig’s name. They variously addressed him as Gudmund Viglet, Gudmund Vigtoe, Goodmood Vigel, Goodood Wigtel and even, somehow, Tubmund Eigtel.  Vig never took himself too seriously, and he found these permutations as amusing as I did.  He also laughed and reassured me when I realized, too late, that one of the letters I typed had gone out to Ms. Roberta Goizueta instead of Mr. Roberto Goizueta, then the Chairman of Coca-Cola.

Vig’s impact on the arts of Atlanta was profound.  Like so many others whose lives he touched, I will think of him often, and with affection.  In my mind I see him now, and it’s 1985.  He’s coming back from checking a new painting in the  galleries, crossing the wide atrium.  He’s walking his characteristically jaunty walk, grey curls bouncing a bit, suit slightly rumpled.   As he approaches, I hear him speak my name in the Norwegian accent he never lost, and I see the customary twinkle in his eye.  Gudmund Vigtel will be greatly missed, but lovingly and gladly remembered.

GV006

On this T-shirt, made c. 1985 by the HMA staff to celebrate Vig’s birthday, he is surrounded by some of the more egregiously erroneous misspellings of his name, collected from letters. Vig’s uncharacteristically gruff expression was intended for comic purposes.  I wish I hadn’t worn the shirt for painting; the splotch on Vig’s jacket is a later, accidental addition.

In Provincetown: Serenity on Commercial Street

Commercial Street begins in Provincetown’s quiet East End, just across the line from quiet Truro.  The street name appears misleading at first, in this almost exclusively residential stretch, a mix of cottages, grand homes, and historic guesthouses.  The crowds of tourists are absent for the first mile or so.  My daughter and I especially enjoy exploring this serene section of the street, where lush gardens flourish and the waters of the bay provide a bright, sparkling backdrop.

CapeCod2011172

 A favorite subject of local artists, this white Dutch colonial, with its pristine lawn overlooking the bay, is the first home on Commercial Street’s East End.

CapeCod2011114

Pigeons keep watch over Commercial Street from the dormer of the sturdy brick house where Norman Mailer lived and wrote for 25 years.  After the author’s death, the home became the Norman Mailer Writers Colony.

CapeCod2011113

An eighteenth-century Cape Cod cottage, glimpsed through the garden gate.

 

CapeCod2011173

The gardens of Provincetown, though typcially small, are vigorously hardy, dramatic and colorful.

CapeCod20111121

This spacious expanse of lawn, with its rugged old schoolyard swing set, is an odd, unexpected luxury in Provincetown, where bay-side land is at a great premium.

CapeCod2012029

An artfully styled P-town compound, with a patriotic tableau of American flag and exuberant red and blue flowers in white window boxes.

CapeCod2012040

At the Sea Urchin cottage, a profusion of wild roses and a sandy path to the water.

CapeCod2010091

Tranquil spaces may be found even in the busiest section of Commercial Street, as here on the shady porch of Shor, a home furnishings showroom.  Next door is the Unitarian Universalist Meeting House, built in 1847.  The church’s front lawn, when not hosting an open-air market, offers an inviting escape from the crowds, as does its gracious interior, notable for the trompe l’oeil sculptural paintings in the sanctuary.

CapeCod2012080

             The beautifully detailed tower of the Meeting House.

CapeCod2010092

This charming book store, located in a little house behind and surrounded by art galleries in the midst of Commercial Street, is reached by a tree-shaded pathway.  D and I stop in at Tim’s to browse the shelves for interesting bargains and to enjoy the quiet.   

CapeCod2011166

Artists began to discover the small fishing village of Provincetown in the last decades of the nineteenth century.  It quickly became established as an artist’s colony after Charles Hawthorne opened his Cape Cod School of Art in 1899.  Now, over 40 galleries display a wide range of styles.  In the hands of local artists, the regional tradition of atmospheric, Impressionistic landscapes, still lifes and figurative work remains vital and fresh.  The gallery above specializes in bold contemporary Asian art.  Many of the galleries are staffed by the artists themselves, who tend to be friendly and unpretentious.

CapeCod2010004

The 200-year old Red Inn, which hosts one of the town’s most acclaimed restaurants, is in Commercial Street’s far West End, past the reach of the heaviest crowds. The deck, with its view of the harbor, is a spectacular spot for a sunset drink. Here, in the repose of early morning, neat white chairs welcome the promise of another beautiful day. 

In Provincetown: The Heart of Commercial Street

Even though I’m glad to feel the September chill in the air, I find myself looking back fondly on August, to our time at the Cape.  Perhaps because the school year has begun, bringing its steady stream of routine duties and a deluge of paperwork, the echoes of those last lazy days of summer are especially sweet right now.

The appeal of our quiet little cottage complex in Truro is heightened by its location next door to bustling Provincetown, shoehorned into the narrow tip of the outer Cape.  It’s a tiny town with an expansive, generous spirit, urban flair, and an edgy sense of humor.  Eccentrics of all stripes, as well as tourists from the heartland, find a warm welcome in P-Town, where ecumenical diversity flourishes.

The central section of Commercial Street, the narrow main artery, is one long party during beach season, when it’s crowded with pedestrians and vehicles.  In Provincetown, the architecture is historic and charming, the street musicians are inventive and mostly talented, the food is excellent, offerings of art, musical theatre and comedy are vast and easily accessible, the drag queens are witty, the world’s most expressive T-shirts are available, and bay breezes blow.  It truly has something for everyone.

CapeCod2012243

Above, the busy heart of Commercial Street, catching the ever-present Cape Cab in transit.  Its sister vehicles include two wildly painted mini-limos known as the Funk Buses, which offer on-the-road karaoke.  Provincetown is no place for a sensible Lincoln Town Car.

CapeCod2012244

Another view of Commercial Street, above. The umbrella-shaded outdoor dining area at Patio is an ideal spot for people and dog watching.   Provincetown is an enthusiastically pet-friendly town, despite the notable absence of any dogs in this photo.  I counted thirty dogs in one hour last year during dinner at Patio.  Most were on leashes, others were pushed in strollers or carried in handbags.  There was even one puppy in some sort of dog-Snugli.  Because our place in Truro doesn’t allow pets, we can’t bring Kiko, but we almost always see at least one Shiba Inu.   My hope is that someday, somehow, he’ll be able to accompany us.  I like to think he has an artistic sensibility and would feel completely at home here.

CapeCod20120921

Provincetown, fiercely protective of its unique quirkiness, is resistant to national chains. You won’t find a McDonald’s, a Rite Aid, or a CVS.  No Starbucks, no T.G.I. Friday’s, no Applebee’s.  No Burger King, although, there is, appropriately, a Burger Queen. The Little Red, above, is a friendly, well-stocked convenience store, housed in what appears to be a brightly painted Victorian playhouse. 

CapeCod2010086

Like many buildings in densely populated Provincetown, this gray turreted house, which could easily feature in an Addams Family film,  has commercial space below and living space above.  The towers of the Pilgrim Monument and the Unitarian Church peek out from behind.

CapeCod2010096

A living statue often occupies a prime spot in front of the Town Hall. Above, during the summer of 2010, Cady Vishniac posed regularly as a bronze figure of a Depression-era hobo. Richard Mason, inspired by Provincetown’s World War I Memorial statue nearby, occupied the corner in 2011, in the guise of a WWI soldier.

CapeCod20122621

Above, the sun sets on the Lobster Pot and the Governor Bradford bar and restaurant across the street.  I’ve tasted nothing better, ever, I believe, than the pan-roasted lobster at the Lobster Pot.  If you think lobster is lobster, and cannot be improved upon, this will change your mind.  The Pot is always packed, but it’s worth the wait.  Get your lobster buzzer and wander through the nearby shops.

The yellow banner for Mary Poppers prompts me to note that this year, at last, we had a John Waters sighting.  The director and author makes his summer residence in P-Town.   I’ve never seen him riding his bike down Commercial Street, as many have, but we spotted him, unmistakable in his pencil-thin moustache, walking with friends on Bradford Street.  They were heading toward the Provincetown Theatre to see the popular Mary Poppins parody.

CapeCod2012265

The haunting neon glow of The Lobster Pot, a beacon for hungry tourists and locals.

Look for another P-Town post to follow soon: Serenity on Commercial Street.

A Happy First Birthday to Wild Trumpet Vine

CapeCod2012026

Just about a year ago, Wild Trumpet Vine was launched.  My husband helped me set up the domain and get started.  Without my Chief Technology Officer, I could not have entered the blogosphere, and I owe him thanks.

That first night, in a fit of inspiration, I composed the following two elegant sentences:

Welcome to my blog.  Please check back soon for new entries.

Since I was a kid, I’ve dabbled at writing, in fits and starts, rarely to satisfactory completion.  As I’ve said before, I’m a saver, an archivist of minutiae.  Boxes of messy, scribbled-over, food-stained pages document countless abandoned writing projects.  These fall into several phases, including the Smith-Corona period from high school and college, the IBM Selectric era (when my mother’s office upgraded, we purchased her old typewriter), and the Mac Plus/dot matrix printer years during grad school.  (When I bought my first PC, which had a screen somewhat smaller than the original Kindle, the Internet was hardly more than a vague, crackpot notion.)

Most of my writing, in addition to being fragmentary and unfinished, remains unread, except very briefly, by me. There is the exception, I hope, of the many letters to friends and family.  I turned these out at a particularly quick pace during my first job at the High Museum of Art.  I was a fast typist (this was my only real marketable skill), and after transcribing my boss’s letters, there was usually time to pursue my own voluminous correspondence.  I was in my twenties, my social life was active, and dear friends were newly scattered across the country.  Those were the days when I had much of consequence to report, and much on which to comment.  My letters were a substitute for the immediacy and intimacy of college life, together with friends, face-to-face, every day.

I almost forgot: there is one real writing project I did complete: my Ph.D. dissertation in art history, which is 345 pages long, accompanied by 150 pages of appendices and 289 photographs. It includes every obscure scintilla of information anyone could ever care to learn about a group of 14th-century English Apocalypse manuscripts. Most people, of course, are perfectly happy knowing absolutely nothing about these books. My tour de force was read by at least five people, my advisers. I’m sure of this because they scrutinized and questioned nearly every word during the four long years it took me to write it. My mother claims that she also read it. Now, impressively bound, the three volumes lead a life of quiet retirement on the bookshelves of our family room.

Other than my foray into medieval manuscript illumination, what I’ve always written about is daily life, and Wild Trumpet Vine continues along this course.  I learned decades ago that I have neither the imagination nor the inclination to write fiction. Even today, in sedate suburban middle age, I am impressed by the richness that day-to-day living throws my way. I marvel at life’s quirks, its absurd, unexpected turns, its unbelievable coincidences, its oddities and its unpredictable moments of intense sweetness, when meaning is glimpsed in the midst of nonsense, and love triumphs over cruelty.

Wild Trumpet Vine is, in some sense, a more efficient version of my letter-writing.  It refreshes existing links of friendship and family.  Because I have many more years under my belt, my friends are more numerous, and far more scattered, than ever. With marriage, my family network has expanded considerably.  I used to be an only child, now I have multiple brothers, sisters, nieces and nephews.  The blog has worked to strengthen long-standing family ties, as well.  Growing up, I knew many cousins only in name.  Now, building on the bonds of kinship and the power of shared memories, we’re  enjoying the blessing of friendship.

My little blog has a further advantage over letter writing:  it encourages a wider, stronger web of connectedness. When new acquaintances, or friends of friends, are  moved to comment, it is typically to say I know what you mean!  I feel the same way!  Their feedback emphasizes the depths of our common experience.  Differences of culture and background–the details that may separate us–tend to fade away as the light of our humanity shines through.

To all those who join me, either regularly or occasionally, at Wild Trumpet Vine, I thank you.  Your comments are always welcome–you needn’t agree with me to respond.  Stick with me as we continue the journey.

CapeCod2012054

Out of the Blue: A Prayer for 9/11

Sept11009

The weather is beautiful today here in northern Virginia.  The sky is clear and blue, the sun is bright, and the crisp, fresh promise of fall is in the air.  Eleven years ago, September 11 began just as gloriously.  We had no idea what was coming.

This morning, as I typically do on every September 11 since 2002, I find myself keeping an eye on the clock as 8:46 approaches.  Anything I might say about my memory of that day runs the risk of sounding trite or self-important, so I won’t attempt it.  All I can do is offer my prayer, in hopes that its power will be magnified as it joins and rises with the great cloud of kindred prayers around it.

On this September 11, I ask for God’s blessings on all those whose lives were irrevocably and tragically altered on that terrible day.  For the thousands who died, and for the many more loved ones who grieve for them.  For the children who grew up without a parent, for the spouses whose partners never returned, for the grandparents who became parents to their lost children’s children.  For those whose pain still pierces, and for those who suffer guilt because some healing has taken place, because cherished memories have dimmed.

I give thanks for the many heroes who sacrificed their lives or endangered their health on that day to save strangers.  For the firefighters, police and rescue workers who bravely answered the call to duty.  For unlikely individuals, like the passengers of United Airlines Flight 93, who rose to the daunting challenge.

I give thanks for the unity we feel as a nation each year on September 11.  I pray that it might outlast this one day.  In the poisonous political atmosphere of this election year, may it inspire us to set aside our bitterness, for a while, at least, so that we might work together.

And, most of all, I thank God for the good that always comes from bad, even if, in our sorrow and anger, we may not see it until months or years later.

May we be especially receptive to the vitality of God’s blessings on this September 11.  I pray that we will feel God’s mercy and love descending on us all, from out of the blue.

00128
The lower Manhattan skyline seen from Liberty State Park, NJ on August 19, 1991.