writing
Stories of memory, resilience & transformation

My Story
I grew up grounded in the Midwest. My spirit took flight through healing studies with Tibetan Monks, Shamans from South America, and glorious world travel. Home is a 250-year-old gardener’s cottage in suburban Philadelphia where I raised my two sons.
My writing voice came alive in the back room of a train station cafe with a memoir group. Childhood stories broke through the constraints of a journalism degree and copywriting career. Now I write for myself, wild and from the heart.
Enjoy the following excerpts and short stories…
Excerpts & Short Stories
Meet my best friend: coffee. Oh wine, I’m so sorry to have slighted you. Yes, yes, you may share the honor. Meet my best friend: wine.
In the morning, I can’t wait for the hit of caffeine. She is so divine. So necessary. Like a shot of feminine invincibility. In the evening, the slow down and fuzziness only wine can bring. Sometimes he shows up before nightfall. I’ll only admit to 4:00 visits.
I noticed many online women’s groups gathered around Ms. Caffeine long before I met her. Back then, I didn’t understand her power, her promise. Now I know all I need to do is grab her hand and she will lead me out of the fog, up any mountain that awaits: a pile of papers, tubes of paint, baskets of laundry. She gives me the clarity and confidence to conquer. I choose her. She serves me.
Wine, on the other hand, is a smooth seducer. He whispers, “Try me. Come closer.” I sip. “Again?” he beckons. He pulls me out of the world and into my body, my mind adrift. Such a slow lover. Lets me set the pace. Tingly. Warm.
Shameful, these liquid friends. What of the real people in my day? My husband: always absent. Today Brazil. Tomorrow London. My teenage son: silent and alien. My people world is too small, too lonely, too frustrating to describe.
Meantime, my liquid relationships flow freely. Each a mirrored river that reflects me back to me. Strong, determined, capable in the morning. Vulnerable and wanting at night.
My hunter-gatherer husband met his match in Instacart. The elusive electronic beast appears, engages, and then disappears without a trace. Suffice to say, the process does not bring out his kinder, gentler side.
“Damn it! WTF?” is my new 6:30am wakeup call resounding from the home office down the hall from our bedroom.
When we purchased our 250-year-old farm house 23 years ago, the previous owner used that room as a walk-in closet. Raising two boys in a two-bedroom one-bath house transformed the tiny space many times from play room to toy storage to junk pile. And now, voila, a pandemic home office and headquarters for online shopping in the middle of suburban Philadelphia.
“It happened again! Our order just disappeared,” whines my tech-savvy husband.
He was teased by easy success in the early days of CDC warnings. He chose items, he chose a delivery time, bags showed up at our doorstep. The head-of-household puffed his chest, called himself an excellent provider, kept his family fed and generously tipped delivery warriors.
Then the rest of the world locks down and catches on. Competition takes over. Instacart turns into a clock-less casino. A craps table on the dark web with chips that change brand and are mercilessly swept away by an invisible dealer.
My husband turns into a gambler, addicted and determined. Assuming each previous order is lost, he re-enters items at different times on different days from different stores to beat the odds. Then a virtual blackout. No notifications or confirmations, no Instacart messages.
“It could be weeks before we get an order to go through,” he warns me. Starvation looms.
Like a junky, he doubles down on essentials: two white breads, two wheat, two gallons of milk, three boxes of spaghetti, steaks, chicken breasts and thighs. Screw the low-carb non-dairy vegetarian diet. This is war. He orders and reorders compulsively.
I only dare poke my head into command central to remind the ordering CEO that our son’s teenage girlfriend needs tampons. She is living with us in lock down after her college closed while she sat at our son’s hospital bedside for three weeks prior to COVID-19 crippling the United States.
In February our 18-year-old suffered from acute tonsillitis while a bacterial infection ate away at the back of his throat. He lost 75% of his epiglottis, the flap that keeps liquids from going down the wrong way into lungs. Emergency surgery required a tracheostomy, which left a gaping hole in the outside of his throat just in time for the crisis onset of the deadly respiratory virus.
Given our son’s life-threatening vulnerability to pneumonia from aspiration and infection of his throat wound — on top of the coronavirus threat — our family is in extreme quarantine. Online shopping is our only option, our only life line.
“Try to get Playtex Sport Tampons, the combo pack with regular and super size,” I gently remind my husband.
“I know. I’m trying,” he replies again, and again, again. “It’s beyond my control now.” His shoulders slump in defeat.
Privately I succumb to my own online consumer mania. Yes, I clicked “reorder” on an $8.49 party-size bag of peanut butter M&Ms with a current price of $38.02 on Amazon Prime. Or was it eBay? Maybe virtual bidding was involved.
But in the real world we have much to celebrate. Our son is alive and healing, even attending classes online. The spring sun and rain nurture blossoms in every shade of hope.
And then it happens. The first grocery delivery, followed by another. And the next. It seems Instacart has restructured to a queue format. All of our virtually identical orders are put through. Ding, ding, ding… We hit the Instacart Jackpot!
Which translates to a lot of bread. And milk. And chicken. Many, many tasty M&Ms. All wiped off and stored in our very small house, where every day, we count our blessings. And our 432 super-sized tampons.
Click, squeak. Ding. Click, click, squeak. Ding.
This familiar rhythm of sounds means my parents are sitting at the green linoleum kitchen table preparing for my mother’s next work day. I like seeing them together. She takes a taxi to Spiller Spring every morning before the sun comes up. It is a fabricating plant for the metal coils that go inside mattresses and furniture. The tail ends that get snipped off the coils flood the floor of the factory and grind into mom’s sneakers like cork screws.
When they sit at the kitchen table at night, mom holds a wire-nose pliers in her left hand. It has yellow plastic handles. She squeezes one of her navy shoes with white-stripes between her knees, bottom side up. As she steadies the shoe with her right hand, she grabs one metal coil with the pliers in her left hand — click. She twists and yanks the metal out of the thick rubber sole — squeak. Drops the coil in a metal bowl on the floor — ding. She goes in for the next coil with gusto. I can see a bulge appear on her upper arm.
“Those damn kids think they know everything,” begins mother’s familiar rant. “They are no more than boys, but they think they are too good to take orders.” One of the many indignities she’s suffered in her late forties is working alongside 18-year-old smart asses.
My dad listens politely. He focuses on rolling the thin paper around the tobacco dispensed in a line by the little brown and gray plastic contraption. He puts the small white cylinder in his mouth and pulls it through his lips to seal it with saliva. It looks odd to see him even handle a cigarette, much less put it near his mouth. He never smoked since I was born. He rolls them for my mom to take to the factory the next day.
My parents say store-bought cigarettes are too expensive. Especially since we had to invest in “good shoes” — Adidas sneakers that cost nearly $8. They last longer and protect mom’s feet better from the sharp metal edges. When mom gets home at 4:35 every afternoon, it sounds like she is wearing cleats as she carefully climbs the three cement steps to our back door. The metal spikes must be slippery because she holds tight to the wobbly iron railing. Clack, clack, clack.
At night after dinner, usually by 6:15, my parents settle at the kitchen table to start twisting coils and rolling cigarettes. She with her brandy and coke over ice in a tall glass, he with his Kingsbury Beer foaming in a dark brown bottle. The Kingsbury Brewery is just a few blocks from our house. Sometimes when the wind blows not over Lake Michigan but towards it, we can smell the hops brewing. Very different from our house cooking smells like a juicy pot roast, baked potatoes with cheddar cheese, and green beans with orange carrot circles heated from a can. I don’t remember ever seeing a real raw vegetable in our refrigerator.
“You won’t have to work at that damn factory for long,” my dad reassures his wife almost every night. “Just until I can go back on the force full-time.” I may be only ten years old, but I know shame when I hear it.
My dad is a police officer, a 1960’s beat cop who walks the neighborhoods of Sheboygan, Wisconsin (population: 36,364 — which includes all the surrounding towns in the county). He says it is his duty to talk to everyone and keep everything safe. Since his diagnosis of colon cancer, the operations and treatments leave him too weak to do his normal job.
Luckily a family friend they call “Old Man Meisfeld” lets dad work at his butcher shop at night when it is closed. I don’t really understand what “moonlighting” means, but it must be illegal because we are not supposed to talk about it.
I imagine my dad is a strong butcher who knows exactly how to use big, sharp knives without cutting himself, even though he works in partial darkness because most of the store lights in the store are off at night. I wonder if he cuts up cow and pig parts in the freezer because he always wears his blue sweat shirt over his green plaid flannel shirt with a jacket and a knit hat when he leaves for work, even in the summer. Mom uses special soap to wash the animal blood stains from his white apron every morning. The best part is we get to eat great food that comes with almost every meal, like steak and eggs for Sunday brunch at the green linoleum kitchen table.
In second grade I got a three-story Barbie house for my birthday. It was inside a blue plastic suitcase that would open all the way, and then stand up on end at an angle. I really had no interest in Barbie, per se, or the life I could give her with Ken or her Barbie friends. The house, however, fascinated me, even though there was far too much pink for my taste and too many little pieces like Barbie-sized hair brushes and purses.
I loved dumping all the Barbie house furniture out of the suitcase into a pile and starting over. I put the stove, refrigerator, sink and kitchen table in the attic just to imagine what it would feel like to look out the window and see the tops of the trees while doing dishes. The brown living room recliner seemed more useful in the bedroom for times when Barbie wanted to read. I also switched her bed with the dining room set just to keep things interesting.
Barbie’s house dwarfed my family’s real house. We lived in a distinctly blue-collar two-story rental on a corner lot surrounded by chestnut trees that were always dropping something that needed to be raked. We lived in the ground floor of the flat that had green siding on the top half, and brown siding on the bottom. We had a kitchen where the sun rose, a living room where the sun set, and two bedrooms with barely enough room for beds.
By seventh grade my Barbie suitcase was long forgotten, and I began moving furniture around our real house. It drove my mother crazy. She would leave for work at the factory in the morning with the couch under the windows, then come home in the afternoon and find it against the wall facing the door. I’d try the bookcase on the left side, then in the center of the room as a divider against the back of the love seat. The TV had to be plugged into a special outlet, so it never moved more than three feet to one side or the other of the corner.
Except for the TV, all the furniture was lightweight and easy to move. Even though the pieces were cheaply made, the tan and green plaid couch and end tables with drawers were an upgrade for my mom and me. I had just turned 13 when we went to Prange’s Department Store on a Saturday with money left over from my dad’s life-insurance after we paid for his funeral. I stayed home from school to accept delivery from the huge red and gray moving truck on a Tuesday.
We got a modern washer and dryer that year, too. We put the old-fashioned silver and wood wringer that sat on top of the big white ceramic barrel at the curb for the garbage men. My mom still preferred to string a plastic-coated rope between the chestnut trees than to use the new dryer next to the old stove in the basement. That stove came in handy during the holidays for cooking extra casseroles and keeping the mashed potatoes hot. Sometimes our basement smelled better than a restaurant.
At Christmas and Easter, too much food and too many people had to be stuffed into our tiny kitchen. There was always my red-headed sister, her Italian husband, and their three growing boys. Sometimes my uncle Lester (who was not really my uncle), would come from a place people called “the farm” (that was really a mental hospital). My aunt Anne and uncle Connie would often join us, along with aunt Louise who lived with them. Louise never married, but raising dogs in a kennel in her backyard kept her busy.
Louise chose to die with her dogs on Mother’s Day. She jumped into the river that ran behind their property. She left a note to say goodbye; everyone knew Louise never learned how to swim.
One day my mom and dad went to the doctor and then to the hospital. My dad had a thing called a hernia that made an extra piece of skin poke out of his stomach. It looked a little like a baby gerbil, only bigger.
Then another day my mom and dad came home from the hospital. There is a photo of them coming through the kitchen door with winter coats. My dad was wearing his black fuzzy hat and gray gloves. They told me my dad had a thing called cancer. I wondered if he got it because of the hernia. I was eleven. He was 55. It was 1972.
As the Wisconsin weather got warmer that year, my mom said it was time for spring cleaning. She told me I needed to wash the kitchen walls. The yellow paint looked brown because my mother smoked a pack a day of Benson and Hedges filtered cigarettes. She handed me a can of Big Wally and told me to start as close to the ceiling as possible and wash my way down to the floor.
My mother shoved one of our metal kitchen chairs next to the wall so I could reach higher. My feet squished into the plastic padded seat. The Big Wally smelled bad and made my eyes water. It dripped from my hand over my head down to my blue t-shirt sleeve.
Another day my mom and dad came home from another trip to the hospital. I don’t remember ever visiting my dad there, only seeing my parents return home. They came through the same kitchen door, but this time with no coats. It was summer. I could see a bump under my dad’s white t-shirt. It was not the gerbil hernia.
This time the bump was called a colostomy. It was a clear plastic half-bubble taped around my dad’s stomach with a yellow strap. It had a clear plastic bag hanging from the bottom of the plastic bubble. My dad got embarrassed when it made loud gurgling noises and yellow goop shot against the side of the plastic bubble from a hole in his stomach. Then the yellow goop would drip down into the plastic bag.
Because my mom had to go to work at her factory job, I had to learn how to clean the colostomy bubble and bag. It would fill up often during the day and smell bad. Someone had to be there to help my dad because he was too weak to change it himself. I could not leave the house or invite my friends over the whole summer.
When it was time to clean the colostomy, I would hold my dad’s elbow and help him walk to the bathroom next to the kitchen. We had to take along his tall metal pole that had a bag of medicine hanging from it. Sometimes it would start swinging and almost tip over. The bathroom was really small, so there wasn’t much room to move.
I had to take off the plastic bubble and rinse it out, and then replace the full bag with an empty one. Sometimes the goop would spill. I would pretend like it didn’t matter, finish cleaning up my dad, walk him back to bed, and then go back into the bathroom and clean it up. It seemed grosser when my dad wasn’t there.
One Sunday morning, when my mom was cooking bacon on the stove, my dad walked into the kitchen without help, with his colostomy sticking out of his t-shirt and his metal pole swaying. He put his face really close to the sizzling bacon in the hot pan. My mom yelled at him. Then my dad started singing and climbed onto a kitchen chair. He seemed strong but tippy. It was scary.
I stared at my dad’s bare feet on the plastic chair seat. They covered a lot more of the orange and yellow flowers than my sneakers did when I stood on the chair to spray the Big Wally. My mom yelled at me to help her get my dad down from the kitchen chair. She said the medicine was making him act crazy. I liked that he was singing.
Crystal Pool. What a name. Maybe I never saw the obvious imagery because Crystal always hated her name in the way teenagers complain about everything, especially pimples.
Crystal was my only and constant babysitter until I turned six years old. Because she lived in our house, her services were convenient and free — which worked well for my parents, but not so well for Crystal.
Family lore has it that my parents took a toddler-age Crystal into their home after they repeatedly found her wandering the neighborhood in bare feet, unbathed with matted hair. At some point before I was born, they made it official and Crystal became their foster child. Maybe everyone else in town knew the implied shadow story that Crystal’s real parents were negligent alcoholics, but I never heard that angle. My mom made it sound like Crystal’s lack of cleanliness was the real crime.
When Crystal turned twelve, I rather shockingly appeared on the scene when my parents were in their ancient forties, after a decade of failed pregnancies. As I grew, so did Crystal’s care-taking responsibilities. The age gap between us made her a natural teacher for me, and likely made me a pain-in-the-ass for her. But, we got along well. We both laughed a lot.
Crystal and I spent a lot of time together because my mom and dad spent a lot of time at taverns. The joke that there is a bar or church on every other corner in Sheboygan is true. When my parents weren’t at Florence’s Bar across the street from our front door, they were at Kohl’s Tavern that shared a parking lot with the train station.
Sometimes Crystal and I would go with my parents to Kohl’s Tavern and play outside on the red brick passenger platform or carefully position a shiny copper penny on the track to see if it would get squished by the train. The loud local trains did not zoom past often. Crystal said the station was a good place to take photographs of me because the tracks were hard, straight steel and my hair was soft and wavy.
Crystal loved beading, so I made 60s-stretchy headbands and bracelets with square flower patterns on a little metal loom. Crystal loved macrame, so I worked tirelessly on natural jute wall hangings. I also knit several simple scarves with multi-colored yarn. We would walk together six blocks to Woolworth’s or seven blocks to Prange’s department store to get supplies. I loved the walk and all the choices and learning how to make things.
Crystal also drew beautiful portraits of cats with regular pencils, and portraits of herself with colored pencils because she had red hair and green eyes. She wrote poetry with red ink in a blank book with crinkly pages and real maple leaves decorating the cover. Although I did not always understand the words, I liked the way she wrote lines stacked on top of each other on the left side of the page, and doodled on the right half. Crystal got me a diary with a gold lock and gold key before I knew how to read or write.
My mom hated all the crafts and the mess and the spending money that Crystal did. She hated that Crystal said “shit” and other swear words, and smoked Marlboros and drank brandy at age 16. My mom and Crystal screamed at each other at the top of their lungs over dishes and vacuuming and making the beds. Mom called Crystal lazy and disrespectful. Crystal called my mom a bitch who wasn’t her mother.
Then one Sunday when Crystal was 18, she went to teach Sunday school but did not come home for lunch. Our phone rang at 1:30. Crystal told my mom she was sending her brother to our house to get her things and then hung up. My mother said, “Good riddance, ungrateful bitch” over and over as she stuffed Crystal’s sweaters, underwear, shoes and pajamas into paper grocery bags we usually used for garbage.
Crystal’s brother picked up her things from our porch without ringing the doorbell or turning off his car. I heard it all happen from my bedroom under my soft purple bedspread with slightly scratchy white polka dots. I wanted to ask my mother if Crystal would ever come home, but I was too scared to make her more mad.
Instead I pulled out my diary from the wooden nightstand drawer and opened the lock with the shiny key. I wished I knew how to write more words than my name.
Sinking into a lumpy brown corduroy chair next to a teetering bookcase stacked with musty boxes of Scrabble and Monopoly, I flip open my notebook. The watery blue lines on the page offer options to write on top or between. Sometimes I disregard the rules altogether, loop high and low with handwriting I don’t recognize as mine.
My memoir group meets Tuesday mornings in this backroom of the Trail’s End Cafe. The air is thick with railroad history and dust; blurry black and white photos hang crooked on the peeling plaster walls. Sounds and smells of the modern espresso machine in the front of the building reach around the corner.
In this former passenger waiting room, I pull up a creaky wooden chair to use as a foot rest, and invite my childhood to join me. The writing prompts are random and vague. The time limit is 20 minutes to scribble whatever comes to mind. The rule is no judgement or editing: just write.
I never realized I had stories to tell of being four years old in Sheboygan, Wisconsin, of being six or ten years old and then sixteen. Yet seemingly innocent, unrelated prompts bobbed countless memories to the surface. My foster sister who left our house without warning two days after she turned 18. My spinster aunt who drowned herself in the river that flowed behind her dog kennels. My father’s illness and death when I was only 13. Dramatic fights with my mother against each other, then as two distinct forces joined against her cancer.
I remember simple moments in my bones, like soaking my feet in the kitchen sink after barefoot days spent in the coal dust outside and inside our first floor flat. The quirky neighbor who fed squirrels by hand, and gossip from the tavern across the street. All life details I had forgotten, or at the very least judged unworthy of recounting.
Instead I work hard to mid-wife other people’s stories while failing to recognize my own. In the mid-1990’s my mother’s integrative oncologist asked me to “find his voice” and tell his heroic tale of bringing eastern ways to western cancer care. Meanwhile, I am in the midst of my own epic journey with my dying mother, prompted by shamanic dreams in a time spirited with synchronicities. I assume my experiences are too personal to be of interest or benefit to others.
In the next decade I throw myself into writing brilliant descriptions and editing beautiful books for an internationally renown artist. During that period my own clay sculpture is growing to person-size, a remarkable blossoming unique in the ceramic world. But I remain focused outside of myself, on someone else’s success. Unable to breakthrough my personal writing blocks, I can not string together a single sentence about my own work or creative process.
Continually clueless to the parallels, a few years later I sign a contract to write the life story of a man inspired by his relationship with a world-famous architect. I spend countless hours on the phone and in person, eight days a week, trying to get him to share his experiences so I can convey them. I dreamed they would inspire others on their creative journey.
“The juice is in the personal details. Be brave,” I would coax. “Paint the everyday with a vulnerable brush — your authenticity will open hearts and touch others deeply.”
My persuasion and projections fall short. It is his story to tell, not mine. The project goes no where.
Now, in this worn chair soaked in the nostalgia of the countless journeys begun and ended in this train station, I revisit my own journeys. Uncomfortable yet somehow easy, this experience is brand new. I turn around to look at my past, stay still in the present, and squint to look inside. At long last, I am open to healing through a taste of my own medicine.
On the bus with my high school class. No idea what year. Funny how absolutely undefinable and irrelevant the time stamp is: ninth grade, maybe? Journey and Peter Frampton are the soundtrack, maybe. I only care to find my age because the impression is so deep, so lasting.
We were on a field trip to the Milwaukee Art Museum. Now a world-class monument to Calatrava architecture with wings that make it fly along the shores of Lake Michigan. Then, in the 1970s, a cold, dark, dank cement tomb with poorly lit paintings hanging on the walls and cracking black marble floors that hurt your feet through your shoes.
But the Georgia O’Keeffe room, that was a sight to behold. It touched me, tickled me, to the bone. Her curves flowing across the surface, sometimes colored, often white, all thick and luscious. Whether they were flowers or feminine flesh, clouds or bones in the moonlight, I don’t remember.
And there was a Lucio Fontana painting, over there, in the corner, on a wall all by itself. The tan canvas slashed, twice maybe three times, revealing blood red behind the cuts. It didn’t make me want to paint or slash. It made me want to stay and be swallowed in awe.
The sky outside was gray, gloomy, moist. Depressing, actually. But I was lit from inside. Warmed by wonder. My first encounter with modern art, at an ageless point in my life, that stayed frozen just as it was, in my bones and heart forever.
On the bus on the way back to Sheboygan South High, I remember pressing my forehead awkwardly against the bus window to feel the coolness against my flushed skin. I saw myself as a scene in a movie, everyone else on the bus blurred. My blue eyes blinking slowly, staring at nothing but the slate sky moving by.
I was changed. I didn’t know how. I didn’t know why. But I knew.
One impactful left turn in my life began with a small newspaper classified, an illustration of a hand holding a pencil. Only the words “The Drawing Workshop” above a phone number. Why I called, I cannot fathom to this day why I called. George Sotos was the art teacher who appeared before the student was ready.
George had been teaching adult night classes at his studio for over twenty years. Turns out he ran the same ad in the Chicago Reader every week. Although I combed through the newspaper job listings daily, I never noticed his classified until the Spring of 1987. At the time The Drawing Workshop had caught my eye, I had no specific interest in drawing or art in general. I was looking for a light-hearted distraction from my serious soul searching to find my purpose in life. The class was cheap and close to my apartment just north of The Loop.
When he answered my call, George’s voice was gravelly yet pleasant. I explained I was a true beginner: zero training or experience with drawing. He asked me to stop by any afternoon before the class began to gauge my skill level. The thought of “positioning” was intimidating, but I reminded myself this foray was just for fun. Plus George held classes on two floors in the historic Tree Studios building. I could not wait to see the beautiful courtyard referenced on Chicago’s landmark bus tours.
George opened the tall frosted-glass door to his studio with a gracious smile. Standing well over six feet, likely in his early 50’s, he wore baggy blue jeans and a ragged red flannel shirt over his pot belly. George’s graying curly hair was wrestled into a messy ponytail. Round wire rim glasses magnified his olive green eyes and uneven ears.
George skipped the small talk, pointed to a stool, and asked me to sit down. Late afternoon sun was pouring through the 12-foot windows that ran along the entire west wall of his second-floor studio. The glare made me squint. As George handed me a large drawing pad, I thought I saw several figures silhouetted behind him. I blinked hard to help my eyes adjust. Three human skeletons came into focus, each hanging from their own narrow metal stand. Four large wooden tables in the room were covered with more bones, hundreds of bones. Somehow none of it felt scary or morbid.
Before I could make sense of what I was seeing, George pulled over a nearby easel. Next he walked across the room and picked up a simple white plaster form of a female torso — no arms, no legs, no head — just a smooth, fleshy body. It recognized as the classic prop from movies about artists. George carefully positioned the torso on a white pedestal at eye level in front of me. Then he flipped on a bright spotlight that created harsh black shadows beneath the plaster breasts and inside the plaster belly button.
“See what you can do with that,” was all George said. No instructions.
I picked up a stubby piece of charcoal from a little tray. It only took a couple of minutes and a few drawn lines for George to say, “That’s enough. I can see how you see. Very interesting.”
George’s deep voice lifted an octave as he described his perception of my unusual aptitude to see three-dimensionally. Next came the explanation of why so many skeletons and bones lived in his studio.
“Most painters focus on the flesh and don’t see the underlying structure of the human body,” he explained. “I have found a way to train the mind and hand to work together to see three-dimensionally. My students paint from the inside out. The results are amazing.”
Then he said, “I have my students sculpt the bones of the skeleton in clay. Are you interested in doing that?”
Before I could answer, George launched into a passionate, philosophical art lecture. As he talked he pushed around the hanging skeletons which had wheels under a plywood base. I realized there were eight full figures, not three, as he lined them up along the windows. Then George reached across the largest wooden table pushed against a wall. It was covered with hundreds of individual bones in all shapes and sizes. He hunted carefully through the chaos, then grabbed a particular bone.
“We only work with real bones, never plastic replicas,” he assured me. “It’s not easy to get skeletons from medical schools any more. They are getting pricey. But, there is nothing like the real thing.”
With a hint of drama, George pushed aside a pile of bones on smaller table in the middle of the room. He set his chosen bone in the middle of the cleared space. Once separated from the cacophony of other bones, I could see it was an extremely complicated, delicate, fragile butterfly shape.
“That is the sphenoid, the most complex bone in the human body,” said George. He touched the bridge of his nose with his fingers. “It sits here, then goes behind the eyes and connects to virtually every bone in the skull.”
George pulled over another stool. He hauled out a heavy plastic bag from underneath the table, snapped off the rubber band, and pulled out a chunk of red clay. He tossed it back and forth between his palms twice. The blob obediently transformed into a large softball. He tossed it to me.
“Try it,” was all he said.
I did. And I got hooked. Really hooked on the clay and the bones. I didn’t care about drawing or painting the figure. I never tried. Instead I stuck with sculpting each of the 206 human skeleton bones in clay, over and over, for nearly two years. I loved looking at the bones, holding them, tracing their unpredictable shapes with my eyes and hands, replicating their crazy contours. Their subtle asymmetry fascinated me.
I also assembled a full skeleton of clay bones on a metal armature. Somehow it looked eerily like me. In fact many of George’s students unconsciously created self-portrait skeletons. Somehow we brought our own invisible insides to the outside. Creepy and cool to see clay doppelgängers take shape one bone at a time.
I remember having particular difficulty sculpting the ribcage of my skeleton. Coincidentally, later in life I suffered a muscle injury in my back that routinely pops one of my ribs out of place and limits the movement of my diaphragm. I now live with random episodes of being unable to get a full or deep breath, sometimes for days or weeks at a time. Maybe our clay self-portraits were as prescient as they were reflective.
Memoir in Progress
Stories of resilience, creativity & becoming
I’m currently completing a full-length memoir about overcoming narcissism and finding my way back to creativity. For much of my life, I poured myself into being a selfless helper, not realizing how much it blocked my own voice. This book tells the raw story of how I broke through those patterns and how clay and words became my way forward. It is a story about vulnerability, resilience, and the power of making — of shaping both art and life.
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