My Iowa Autumn, 1949
Let big people call them leaves. My dollie and I knew them for what they were: piled-up heaps of love, colorful and crisp, raked and arranged, ready for fort-building, rolling, jumping, falling again and again into the safe, soft cushion provided by the trees.
It was a season of falling: falling leaves, windfall apples redolent of cider or sauce, drifts of smoke falling from chimneys and sloping around our ankles. We pressed fallen leaves between sheets of waxed paper, to hang in windows. We carried leaf bouquets to favorite teachers, and decorated supper tables for the pleasure of our families. We named their colors to suit ourselves and reflect our world: bittersweet, cornstalk, snow-fence brown.
And we traveled. Sometimes near and sometimes far, far beyond the boundaries of our maple and elm-filled yards, we gloried in even more dramatic autumn colors along the rivers and hills. Brilliant as sunsets, heart-rending in their beauty, the riotous mixture of oak, hard maple, and ash blinded us to the realities of a winter yet to come.
Colleen was our hand-waver, the slightly obnoxious one who bounced in her seat, caught up in the throes of enthusiasm. “Me! Me, Miss Hudepohl. Call on me!”
On the other side of the room, shy Valerie dedicated herself to perfecting the role of a disappearing third-grader. Content to remain in the back row, she spent her days sinking lower and lower into her one-armed, wooden desk until she resembled a puddle of Silly Putty, ready to flow away beneath the door, down the hall, and out of our lives forever.
Neither a shrinker nor a hand-waver, I asked for and received a place in the front row of desks. Since our teacher spent most of her time distracted by hand-wavers or trying to draw out the shrinkers, I rarely was called on. When it was my turn, I’d squirm a bit, pretending not to have heard. Sometimes, I’d shake my head and shrug my shoulders in a gesture of casual detachment, as if to say, “No, I don’t have the answer, but you already knew that, so why bother?”
Even for those whose roots sink most deeply into the salty, seacoast soil, and whose lives blossom under the heat of a constant, coastal sun, summer brings ambivalence.
Eagerly anticipated through the long night of dormancy, desired for its warmth and coveted for its beauty, the Gulf Coast summer inevitably ends as a season of imprisonment.
With the rising of implacable heat and humidity, the pleasures of earlier, more temperate summer days begin slowly to devolve into a world of languid passivity. While a monotony of cicadas melds with the metallic hum of air conditioners, tendrils of lassitude twist their way into the heart’s smallest crevice, choking off energy and joy. Continue reading
Gary Myers is an artist whose work I admire and whose blog I’ve followed for several years. He lives just north of Elmira, New York, in the memorably-named town of Horseheads. His paintings, recognizable, unique and strangely stirring, have hung in such galleries as the West End in Corning, New York, the Principle in Alexandria, Virginia and the The Haen in Asheville, North Carolina.
A museum exhibition titled Internal Landscapes: The Paintings of GC Myers, officially opened at the Fenimore Art Museum in Cooperstown, New York on August 18. Continuing through December 31, the show groups together larger paintings from the last few years with a few very early small pieces that represent the beginnings of his work. A highlight at the Fenimore is the first public showing of The Internal Landscape, a painting whose progress readers of Gary’s blog were able to follow. Continue reading