Samain Stent Moon
Bought this ceramic container a few years back, probably during a Woolly Mammoth retreat at Valhelga, the Helgeson’s family retreat on a lake close to Collegeville, home of St. John’s Monastery. It reminds me of the modest clay cylinders that held the Dead Sea Scrolls and I loved the brown to black glaze, the whoosh.
On the St. John’s campus, Richard Bresnahan fires up the huge Johanna Kiln every fall with the help of students and volunteers who come to feed it wood 24 hours a day while the firing continues. Richard, who hosted us Mammoths several times at his pottery studio on the north side of the large St. John’s campus, introduced me to the idea of flame narrative.
In a kiln like the Johanna, wood-fired, the flame and the heat travel from the firebox at the front up through the dragon like body, hence the name dragon kilns. As the heat and the flame move through and up the various chambers, they pass over the bisque shapes of hundreds of tea-pots, tea cups, storage containers, plates, anything that can be made from clay.
Burned into this container is the narrative of the flame’s passage on that fall day when it sat inside the Johanna Kiln and the dragon’s breath made its way past the wooden platform on which it sat. Literally baked in to the surface of this beautiful pot.
It’s my choice of a final resting place. I hope whoever cares for my cremains will put them in it and either keep them somewhere, bury them, put them in a mausoleum, or seal the top with wax and cast the whole into the nearest moving water like the Tibetan monks do to their mandalas. I’m fine with any decision.
Not sure why but over the last couple of days the flame narrative idea and my death have been on my mind. They merged. After our deaths, the memory of our life, whatever it is, is like the flame narrative on the ceramics that come out of the Johanna Kiln. The fiery tongue of the dragon breathes life into us, gives us motive energy for our brief sojourn as organized, sentient star dust. As that fire moves through the gigantic kiln of our years, it burns the story of our journey into the universe, never to be gone, never to be repeated. Then, as Beowulf says, “Heaven swallows the smoke.”
Mercury retrograde. Elisa said this would be a time when I would remember my dreams. I have recalled some, definitely more than usual. I’d also reassess my life, letting new things in, chucking the no longer useful.
You might say, oh, the power of suggestion. Could be a bit, I suppose. But recalling dreams when I haven’t been is big for me. Years of Jungian analysis, you know. Running toward something like astrology is a definite change in mindset. And, oil painting? I mean, come on.
Holiseason underlies and inflects all of this, creating moments of reflection and quiet, reinforcing attention to the Great Wheel. Feeling as positive about life as I have in a long, long time.
My friends Stefan and Lonnie have devoted the last three years to a traditional painting education. The atelier in Florence where they’ve studied makes the usual atelier argument that representational painting is real painting, the sharp turn taken by Cezanne, Monet, Van Gogh and later DuChamp, ManRay, Bacon, Pollock, Rothko a mistake.
I’ve not been idle. Using some small, 5×7, canvases I’ve begun to use oil paints. My first effort is here. Doesn’t pop like I hoped it would. I have three more of these small canvases painted with an undercoat. One yellow, one sap green, and one violet. Trying color field painting. Mark Rothko is my favorite abstract painter, so I thought I’d see what I could make using him as my inspiration.
After 12 years as a guide and docent at the Minneapolis Institute of Arts, art became an integral part of my life; yet, I’ve struggled to keep art in my life since moving to Colorado. The museums here are not compelling and driving down the hill takes time. Reading about art, looking at it online or in books has not given me the satisfaction I’ve searched for. Painting myself, which necessitates a look into art materials, theory, and careful looking at artists whose work I’d like to use as inspiration, may. I’m not there yet, but I’m having a hell of a lot of fun.
End note. I realized as I wrote that last paragraph that a key sticking point right now is uncertainty. Will Kate’s various medical issues resolve? That is, will she get well enough to leave for rehab? If so, when? If she’s in rehab, how long? How much care will she need when she comes home? I’m not wracked by any of these questions, but they illustrate the fundamental issues in play right now, with no clarity about any of them available. That’s what makes knowing how I might react so difficult right now.
We knew people in the cast, saw folks we knew in the lobby, and were greeted by the costumer as we left. He remembered us from our visit to the tech rehearsal. In other words this was also a moment of immersion in community, our community. That’s not the same as a visit to the Guthrie or to Broadway, but has lots of other, ancillary benefits.
Got that old debil feeling in this mix. You know. What I have done with my life? Here I am 71 years old, with much less time. Much less time to do whatever it is that floats like a dark cloud out of reach. Too little discipline. Too much fear. Too little desire. Too much distraction. Oh, look, a new book! A movie. TV. Yet this has been my life. Always. Work hard, rest, work hard again, rest.
Just before getting up this morning a strange, but somehow obvious thought occurred to me. While on the backstage tour we visited the dresser, an energetic guy who made or altered 490 costumes for the women in this performance. !. We saw the multiple props, a day bed, a drinks trolley, several doors with wheels, a set of steps for musical numbers, a kitchen table, a dressing table. Downstairs we saw the storage areas for costumes and prop making materials. We spoke with the dresser, the stage manager, the director, the actors, several of them, the lighting and sound people. All, to a person, warm and friendly.
Here’s the thought. Going backstage, seeing all the accoutrements for staging a play, especially going into the basement area, made me think of id, ego and superego. Of the masks and personas we wear. Of our brain as backstage, where we store props, costume changes, makeup, where we put together the elements of the show that is our lives. The show itself, and its superego, the director, is the life others see, the one we present as we strut and fret our hour upon the stage, then are heard no more.
