In Memoriam: Pauline Eaton

Stoned

Medusa (look or dare)

wore moonshine

as if it were hair.

Where'd the snakes come from?

From men who stared.

(In the earliest descriptions and images of Medusa, there were no snakes. She was just stone-cold beautiful!)

Alec Himwich Photography: 1-7

Alec Himwich Photography

"That's the face of a man who has seen it all."

Photograph by Ber Himwich

“That’s the face of a man who has seen it all.”

Not so. There’s more to come
And it’s not all suffering loss
The mind shedding all

That is not nailed down
Eyes vacant still
Focused on what no one else can see
A sky so blue the light so full

That you can speak only
In single syllables silently
To the coming darkness
As though it were a friend

Passing onto another life
Where there is no sky
But the sky we have become
When at last we have seen it all.

"In My Dreams I Danced With Picasso": Sculpture by Pauline Eaton

"This sort of self-portrait shows how an artist feels in the presence of genius.
In my gnarled feet and knobby knees I felt clumsy,
but in my head, dancing with Picasso's freedom,
I felt I could do anything!" -- PE

In My Dreams I Danced With Picasso - By Pauline Eaton, 1982

4' foam-core, rice papers, and acrylic paint

In 1980 MOMA (Museum of Modern Art) in New York City held a show of Picasso's work that I knew I could not miss. They emptied all four floors of the museum to host the giant exhibition. You entered from 53rd Street instead of 52nd into the basement where you began with his youthful work and continued up through all four floors, ending up with his work at age 92. Pablo's father was so awestruck by his teenage son's work that he quit his career as an artist. His son had already surpassed him. The young works were like Old Masters. Picasso said that it took him a lifetime to learn to paint like a child.

I went to New York with Charles's sister, Beth. We had tickets for three days, but after two, my eyeballs were just spinning in my head. I was totally overwhelmed and felt I could not take in any more. We sold our tickets to happy hopefuls outside the museum.

I went home to San Diego with a deep need to digest all I had seen and the hope that I could do something to express the experience. Picasso said with his art that there are no boundaries and "You can do Anything!"

I saw our Eric making his custom surfboards and became interested in the slabs of foam-core that he could easily carve yet would harden when exposed to the air. I went with him to his supply shop and acquired the foam-core and some of the finishing materials. At first, I made paper maquettes and then did a few pieces that are around the house of Shadow People and the Shopping Bag Lady. Then, in aluminum, I did a maquette of this piece. When I was ready (almost two years after the MOMA show)

I cut, carved, and coated this piece with rice papers and acrylic medium as glue. I knew I had to paint the figure. Picasso was a painter. But I held back until one night, in the middle of the night, I could not sleep. I felt ready to tackle the piece.

I took the pure white figure to the garage and dove into the painting. About 3:30 a.m. Charles realized I wasn't in bed and came to check on me. When he saw the intensity with which I was working, he backed off, and I must have worked to past five.

This sort of self-portrait shows how an artist feels in the presence of genius. In my gnarled feet and knobby knees I felt clumsy, but in my head, dancing with Picasso's freedom, I felt I could do anything! The style of painting is relational to a middle period of his work when he was painting Girl Before a Mirror, etc. -- Pauline

A Note from Charles:

"I suddenly and definitively realized that "In My Dreams…" is precisely what she says that it is: it is a revelation of the person and feelings of the artist, her very Self made visible––a Self portrait. Not only that, but a significant portion of Pauline's art consists first of an inner searching, and then an attempt to extract the results of this exploration by using a medium more immediate, direct and indirect, profoundly subtle, and flexible than language. Finally, having given it to her framer (me), she sent them out into the world to be witnessed and experienced.

Some, on viewing a piece of art, will reflect on how it should be interpreted––which consists often of an attempt to distill experience into language. In Pauline's case, it is as if the artwork has been invested with some of the resonance/vibration/insight that she was feeling and experiencing in the act of its creation–and that the viewer can pick up as strong or distant reverberation. As you viewed the photograph, you said: "I feel myself almost riveted to the floor. I feel such gratitude to have known Pauline". Of course your response, as a long-time dear friend, must be stronger than that of a person passing by on the way to urgent business. My claim is that you, and even those who have never met Pauline, may all feel heavy-in-the-legs and clumsy––but at times capable of feeling a lightness and élan that almost approaches ecstasy.

One thing is clear about Pauline: she had a rich, dynamic inner life. I often smile when people remark on the remarkable energy of Pauline's art. It does, of course, look indeed like energy––which it is. But more than that, it is a passion––a dynamic, forward driving passion; emotion not recollected in tranquility but splashed, brushed, and scraped from the cauldron of her creativity. Can you imagine what was churning internally while she was reflecting on Picasso, carving the foam-core, turning over possible approaches in design, waiting for the genii of art to drive her to pick up brushes and paint? Our reactions as viewers must be a pale, thin gruel compared to whatever constitutes her feast: the banquet she prepares, at which she feasts, and then shares with us––for her delight at the reception of others was part of her appetite for artistic expression. And yet… we are strangely and powerfully moved by the mere act of viewing her creations.

Charles 12/18/2021

P.S. Pauline regularly painted at night. She wanted to be interrupted by nothing, to have a deep quietness, to paint without a break for as long as she was physically able. It amazed me. I always take any excuse to take a break and then come back to take a look at my work from a different place in time. C.E.

This photograph emphasizes the sculpture's three-dimensional aspect:

The Song of Songs

He thought of her as if she were with him, but the truth was that she was gone and she was not coming back. The last time they spoke on the phone, she had told him. And that was that. Still, he thought he could hear her voice, singing the song she had written for him, her father, though as it turned out, she had been, on that early autumn day, more in need of the song than he. It had been a song of farewell, though it seemed now, as he listened to the light falling around him, a lullaby like the one his own father had sung for him when he was a child and if that mockingbird don’t sing, his daughter’s words now restless and unsettled like that of a mooncast muse or like living with and without regret. He thought if he could just remember the words of her song or snatch their meaning out of the call of birds that had never abandoned him or feel their rhythm in the outflow of his heart or see the flash of her eyes in the flickering of the candle on his desk, she, the singer of the song, would be there for him now. Without knowing where the words were coming from, he began to sing. He sang of all he loved and all that he would be leaving behind when his own time came. Mostly, though, he sang of the sea, the song becoming the gentle rock and slap of the boat, following now only the river’s stream taking him out. He too was not coming back.

Pauline Eaton's Credo as an Artist

Pauline’s Credo from “CRAWLING TO THE LIGHT”

Only one who has a personal religion, a unique view of the universe,
can be a true artist. -- Friedrich Schlegel

The purpose of life is spiritual growth.
We are evolving souls.
We participate in the on-goingness of creation.
We participate for the purpose of extending opportunities
        for growth in each other.
We MUST participate, because this is when we are most in
        God's image--that of creator--that this I why we, in turn,
         were created.
Life is being born again and again.
We are meant to evolve into pure love, that love is the
       attractiveness and inter-relationship of all.
We are the indwelling of God in matter.
We are made up of energy participles and soul stuff in the
        same patterns built in all that exists from the atom's core
to solar/stellar systems and beyond.
Joy is experienced in the creative act of birthing being,
        meaning and order out of non-being, meaningless, and
        chaos.

In this sense, we are all artists or called to be such.
As an artist, I believe my role is to continue making connections
and 'real'-izing my place in the FΑΒRIC OF ALL THAT IS.
I attempt to paint this.

The Winter Geese

for Pauline

The winter geese are almost gone

I know not where

They won’t be coming back

I’ll be waiting here a little longer

Her eyes wild dark shining,

"I won’t be here" -- she meant

She won't be coming back

I'll be waiting a little longer

Pauline Eaton: artist / dear friend

Pauline Eaton, American artist, educator. License instructor California. Recipient award, Hollywood (California) Form Arts, 1986, Grumbacker award, Conference 96 Hill Country Art Center, 2d award, Texas Friends and Neighbors, Irving, 2000, award of excellence, Arizona Aqueous, 2002, Originals award, New Mexico Women in Arts, Albuquerque Museum, 2003, Water United States award, 2008.

For James Wright

“ . . . They love each other.

There is no loneliness like theirs.”

There is, of course, the love of life

To go on living after one has lived

In that place that is no place

But like the wind finds itself at home

Touching all things like skin that shivers

And brings forth all we have loved and lost.

Uva uvam vivendo varia fit (explained)

Uva uvam vivendo varia fit.

This Latin phrase from Lonesome Dove is neither nonsense nor bad Latin. It means "A grape becomes mottled by being a grape," with the sense: it is the nature of a grape to become "mottled" as it ripens. In the context of the novel, this means, "Character is destiny" -- the truth of which is illustrated time and again in the novel. The repetition of the 'v' strengthens the point. It is lovely Latin.

vivendo here is a gerund of vivo, in the ablative (instrumental). uvam is a cognate or internal accusative (a play on vitam vivendo), a not uncommon feature of ancient Latin. Most often in Classical Latin the gerund and its object are rendered into the same case and gender, but the usage here is also well attested. The grammatical formation of the gerund and its object are too involved to discuss here, but for a Latinist it would present no problem. I have seen elsewhere the claim that vivendo is a "false gerund." That's absurd on the face of it (the gerund form of vivo is actually quite common, e.g. modus vivendi), unless the author of the post meant that vivendo was simply thrown in without any regard for its grammar or meaning. In either case, the claim is unfounded. The effort to derive this superb Latin sentence as a corruption of a line from Juvenal is likewise misguided and is likely responsible for the "false gerund" claim. At best, Juvenal's line is a red herring. Clearly, an accomplished Latinist, perhaps an acquaintance of the author if not McMurtry himself, is responsible for Uva uvam vivendo varia fit.

Just as a grape or a man can become nothing other than what each is, pigs remain true to themselves. "We don't rent pigs. . . Goats and donkeys are neither bought nor sold," only cattle and horses whose character man has fundamentally changed.

Tags: HH Latin

Ber and Dad One

Revised Edition, 8/5/21: Download Ber Dad One

My Name is Charles: A Memoir

Photo by Ber Himwich

It is with great pleasure that I share this poetic memoir from my friend Charles Eaton, who is now entering upon his eighty-seventh year. It is a precious gift to those who already know and love the man and his dear wife Pauline. Those who will here discover our Charles for the first time will recognize, as do his friends, that Charles' story is also our own.

Download MY NAME IS CHARLES

Directive

There is a song
that must be sung.

No time for work
‘til the song is done.

This morning bird
sings all day long.

Hypnos and Thanatos

Though sleep be not death,
it is a gentleness
upon which the head
may fall.

Sleep makes death
bearable, even
possible.

Thursday Seminar, Dec. 16: Basquiat

Vae!

Onegonethewaithefe

Oywoemangwaeweh

PoetryMatters 63: Pauline Eaton (updated 10.16.21)

Tags: Pauline Eaton

Ber's Photography: 354-358: NM Shakespeare (Sheridan Johnson as Hamlet)

Forget Me Nots and Rue

Errores sunt flores,

expectantes florescere.

Leonora's Photography: 123-127

© Leonora; all rights reserved

Le papillon et la fleur

© Leonora; all rights reserved

Squaring the Circles

(Leonora's own work.)

(..)

"A wise and ancient scorner
Said to me once: beware
The road that has no corner
Where you can linger and stare.
Choose the square.

‘And let the circle run
Its dull and fevered race. "

(..)

Edwin Muir, Scottish poet (1887-1959)

© Leonora; all rights reserved

Bois verre papier

© Leonora; all rights reserved

Reflexion sans illusions

© Leonora; all rights reserved

The Scarecrow

youtu.be/TVy_nwpCpmA

(Pink Floyd - The Scarecrow -)

Leonora's Photography on Flickr

My Brick at Albuquerque Academy

Photograph by Ber Himwich (Translaton: "Don't follow in the footsteps of the wise. Seek out new paths to truth."

Ber Himwich Photography: 352, 353

PoetryMatters 48

Poetry Matters 47

Leaf Fall

Follow the path
of leaf fall,
the short cut home
twixt sky and dream.

When you're there,
you'll be right here,
safe with me.

Ber Himwich Photography 335-339

Ber Himwich Photography: 332 -334

Self-Portraint

PoetryMatters 28: Garden of Love

Leonora's Photography 98-103

© Leonora; all rights reserved

L'inaccessible

(..)

"Lumière juste érigée
En chemins, en collines,
En cyprès...choses lointaines
Ou proches que jamais
Nous n'avons révélées,
Faute de mots exacts
Et d'un cœur transparent."

François Cheng, poète sino-français né en 1929, in"Cantos toscans"

(Own work)

© Leonora; all rights reserved

S'épanouir

Belamcanda chinensis (Blackberry lily)

"Trouver la joie dans le ciel, dans les arbres, dans les fleurs. Il y a des fleurs partout pour qui veut bien les voir."

Henri Matisse, peintre français (1869-1954) in "Jazz"

© Leonora; all rights reserved

Molto vivace

♫♪ youtu.be/_xyl5UaB2SU (Beethoven - Symphony No. 9; Molto vivace-)

(own work)

© Leonora; all rights reserved

"High mountain, how I long to reach you, Breathing your sweetness even here! "(Li Bai)
(Southern Alps; New Zealand)

© Leonora; all rights reserved

Troubled sky over the glacier

© Leonora; all rights reserved

Freewheeling

Leonora on Flickr.

There’s no one here to tell me true

My song is like a buzzard’s wing,
Like night it paints itself as blue.

for Charles

Leonora's Photography 92-97

Living in a Bubble

Le chemin de la découverte

The blue city of Rajasthan- La ville bleue du Rajasthan

The old part of Jodhpur, near the Mehrangarh Fort (where this picture was taken) has buildings mainly painted in blue.

Some say the colour is associated closely with the Brahmins, India’s priestly caste, and the blue houses of the old city belong to families of that caste. Consequently, you might well hear the properties referred to as the ‘Brahmin Houses’.

There are those who believe that the blue colour help deter termites.

Some locals believe that the colour blue is a good reflector of sun rays, so painting the house like this will keep their house cool in warmer months.

Dans le vieux quartier de la ville de Jodhpur l'ensemble des maisons est peint en bleu.

On dit que les maisons bleues sont le résultat de l’étendue des croyances dirigées par les castes. Les brahmanes, autrement considérés comme les plus pures des castes indiennes, se seraient installés dans ces maisons bleues pour se différencier des membres des autres castes. Une tradition qui est restée.

On dit aussi que les maisons de Jodhpur sont peintes en bleu pour combattre la chaleur.., ou les termites,.

Et puis la présence de plantations d’indigo à Jodhpur et dans les régions voisines pourrait expliquer un choix économique.

© Leonora; all rights reserved

Faire une parenthèse

"Laissez votre vie danser avec légèreté sur les bords du Temps"

("Let your life lightly dance on the edges of Time")

Rabindranath Tagore, poète indien (1861-1941) in "Le Jardinier d’amour"

© Leonora; all rights reserved

Bande à par

(Bob Dylan - Crossing the Rubicon-)

© Leonora; all rights reserved

Glacier (Southern Alps; New Zealand)

Leonora on Flickr.

One to live, One to die

We’re like a wire strung

From eye to eye,

From yours to mine.

The last day, when it comes,

Binds all as one.

Ber Himwich Photography 319-324

Windows

Man in the Moon

Ber Himwich on Flickr

Hold True

No one knows winter

If all they know is snow

The wind that chills the bone

The branches bereft of leaves

Winter is where we begin again

And touch the fire in our hearts.

We hold true, gather round

The flame and pray for life.

Scarecrow

Photo by Ber Himwich

The Scarecrow

Some say I am wise.
O what a joke!
Nothing like So-crates,
Not even a pose.
Silence is golden
Or so the rhyme goes,
Yet I will do nothing
But sing with the crows.

Leonora's Photography: 82 - 86

© Leonora; all rights reserved

La forêt dénudée

« Forêts, montagnes, ne sont pas seulement des concepts, sont notre expérience et notre histoire, une part de nous-mêmes. »

F. Nietzsche, philosophe allemand (1844-1900) in "Humain trop humain; frag. posthumes."

© Leonora; all rights reserved

Perles de pluie
(Ruellia Smplex)

© Leonora; all rights reserved

Prismes

Equinoxe

Elargir son horizon

***

"(..)

La mer se mêle avec la mer

Mélange ses lacs et ses flaques

Ses idées de mouettes et d'écumes

Ses rêves d'algues et de cormorans

Aux lourds chrysanthèmes bleus du large

Aux myosotis en touffes sur les murs blancs des îles

Aux ecchymoses de l'horizon, aux phares éteints

Aux songes du ciel impénétrable (..)

(Jean-Michel Maulpoix, poète français né en 1952, in "Dans l'Interstice")

Leonora on Flickr.

Ber's Photography: 309-313

Self-Portrait

Street Musician

Ber on Flickr

Ber's Photography 308

The raw material Ber was working was water spray. He took the picture on one of his daily walks about the block. He is forever finding something new in what is all too familiar. To me there is the scent of the cosmic about it. It is literally magnificent.

Leonora's Photography 76-81

froid printanier
dans l'eau des rizières dérive
un nuage sans racine

spring cold
a cloud without roots
over the paddy field

Kawahigashi Hekigoto, (1873-1937)

♫♪ youtu.be/vu1BcNeebMI. (Arvo Pärt -Tabula Rasa-)

(Calathea loeseneri)

"Il était une feuille avec ses lignes —
Ligne de vie
Ligne de chance
Ligne de cœur —
Il était une branche au bout de la feuille —
Ligne fourchue signe de vie
Signe de chance
Signe de cœur —
Il était un arbre au bout de la branche —
Un arbre digne de vie
Digne de chance
Digne de cœur —
cœur gravé, percé, transpercé,
Un arbre que nul jamais ne vit."

(..)'

Robert Desnos, poète français (1900-1945) in "Les Portes battantes"

These six photographs illustrate the range and creativity of Leonora's photography. There is much more to discover at Leonora on Flickr.

Ber Photography 302-307

Hypnos and Thanatos

Though sleep be not death,
it is a gentleness
upon which the head
may fall.

Sleep makes death
bearable, even
possible.

Ber Himwich Photography

Memories

It takes our breath away

Looking up at all that blue—

She took his hand and let him go

And like the wind he sighed

I know why the dead don’t talk:

Day is day and night is hidden

In our hearts. A babe lies abandoned

In an eagle’s nest. He lies

There in the half-light, yet alive—

The wind gathers up all lost souls

And scatters all the dust and ash,

The sky turning blue

In the blesséd ruin of our eyes.

Comments (0)

Leonora's Photography: 16-20

Sunrise

*

"Notre terre éblouie du rayon qui la dore,
Nage plus mollement dans l'élastique éther,
Comme un léger nuage enlevé par l'aurore
Plane avec majesté sur les vagues de l'air."

Lamartine, poète français (1790-1869), in "Harmonies poétiques"

Tea Time

L'arbre pointilliste

Tale of lilac and lime

(au bord de la Loire)

"Douceur,
Je dis: douceur.

Je dis: douceur des mots
Quand tu rentres le soir du travail harassant
Et que des mots t'accueillent
Qui te donnent du temps.

Car on tue dans le monde
Et tout massacre nous vieillit.

Je dis: douceur,
Pensant aussi
A des feuilles en voie de sortir du bourgeon,
A des cieux, à de l'eau dans les journées d'été,
A des poignées de main.

Je dis: douceur, pensant aux heures d'amitié,
A des moments qui disent
Le temps de la douceur venant pour de bon,

Cet air tout neuf,
Qui pour durer s'installera."

Eugène Guillevic, poète breton (1907-1997)in "Terre à bonheur"

You can find more of Leonora's superb work at https://www.flickr.com/photos/150410475@N04/

Mr. Himwich Inside and Out

Photo by Ber Himwich

Leonora's Photography: 1-5

"L'air entoure, c'est quelque chose qui n'est pas, c'est de la place, de l'espace, c'est une absence d'oppression et de murs: l'air libre. (..)

C'est l'air qu'on ne voit pas, qu'on boit un peu comme de l'eau fraîche, c'est tout le ciel comme un grand verre d'eau, et l'air est frais, rafraîchissant, désaltérant. "

Philippe Jaccottet, poète suisse né en 1925, in "Carnets 1968-1979"

Au joli mois de mai. ♫♪ youtu.be/uZhM9hc1uuM (Tchaikovsky -Les Saisons, Mai-)

Le chant de la mer

"On m’a offert un coquillage.

Il y chante
une mer de mappemonde
et l’eau emplit mon cœur
avec ses petits poissons
d’ombre et d’argent.

On m’a offert un coquillage."

Federico Garcia Lorca, poète espagnol (1898-1936) in "Chansons"

You can find more of Leonora's superb work at https://www.flickr.com/photos/150410475@N04/

HH Poetry

Comments (0)

hhimwich is the author of all poems and other writing unless indicated otherwise.

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L'inaccessible

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"High mountain, how I long to reach you, Breathing your sweetness even here! "(Li Bai)(Southern Alps; New Zealand)

© Leonora; all rights reserved

© Leonora; all rights reserved

Freewheeling

The blue city of Rajasthan- La ville bleue du Rajasthan

© Leonora; all rights reserved

Faire une parenthèse

© Leonora; all rights reserved

Bande à par

© Leonora; all rights reserved

Glacier (Southern Alps; New Zealand)

© Leonora; all rights reserved

La forêt dénudée

© Leonora; all rights reserved

Perles de pluie (Ruellia Smplex)

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© Leonora; all rights reserved

Elargir son horizon

R i z i è r e © Leonora; all rights reserved

Il était une feuille © Leonora; all rights reserved

© Leonora; all rights reserved

Le chant de la mer

"High mountain, how I long to reach you, Breathing your sweetness even here! "(Li Bai)
(Southern Alps; New Zealand)

Perles de pluie
(Ruellia Smplex)