Beleaguered in Bothell – 12 November 2017

Musings in Autumn: Rinsai Rossetti

“Pale sky, white land; like somewhere past the end of the world.”

Below – White Sands National Monument, New Mexico.

Art for Autumn – Part I of IV: Teddy Carraro (American, contemporary)

Below – “Bacchus”; “Lovers”

For Your Information: 12 November is National Pizza With The Works But No Anchovies Day in the United States.
(I post this under protest. I like anchovies – especially on pizza.)

Art for Autumn – Part II of IV: John Carsman (American, contemporary)

Below “Canna Fires”

A Poem for Today

“Against Writing about Children”
By Erin Belieu

When I think of the many people
who privately despise children,
I can’t say I’m completely shocked,

having been one. I was not
exceptional, uncomfortable as that is
to admit, and most children are not

exceptional. The particulars of
cruelty, sizes Large and X-Large,
memory gnawing it like

a fat dog, are ordinary: Mean Miss
Smigelsky from the sixth grade;
the orthodontist who

slapped you for crying out. Children
frighten us, other people’s and
our own. They reflect

the virused figures in which failure
began. We feel accosted by their
vulnerable natures. Each child turns

into a problematic ocean, a mirrored
body growing denser and more
difficult to navigate until

sunlight merely bounces
off the surface. They become impossible
to sound. Like us, but even weaker.

Art for Autumn – Part III of IV: Jeanne Pierre Cassigneul (French, contemporary)

Below – “La Douaseur Du Printemps”

Musings in Autumn: Zenkai Shibayama

“A flower does not think of competing with the flower next to it. It just blooms.”

Art for Autumn – Part IV of IV: A.J. Casson (Canadian, 1898-1992)

Below – “Thunderheads”; “Haliburton”; “Grey October Morning”

Worth a Thousand Words: The Aurora Borealis over Whitehorse, Yukon Territory.

Art for Autumn – Part V of V: Gerard Castonguay (Canadian, contemporary)

Below – “Fleurs Tardives”

Musings in Autumn: Alain de Botton

“What we call a home is merely any place that succeeds in making more consistently available to us the important truths which the wider world ignores, or which our distracted and irresolute selves have trouble holding onto.”

Below – Alfred de Breanski: “A Home in Devon.”

American/Mexican Art – Elizabeth Catlett (1915-2012)

In the words of one writer, “Catlett was born in Washington, D.C., the youngest of three children. She attended the Lucretia Mott Elementary School, Dunbar High School, and then Howard University where she studied design, printmaking and drawing. In an interview in December 1981 in Artist and Influence magazine, she stated that she changed her major to painting because of the influence of James A. Porter, and because there was no sculpture division at Howard at the time. She received her BS cum laude from Howard in 1935. She then worked as a high school teacher in North Carolina but left after two years, frustrated by the low teaching salaries for black people.While living and working in Harlem, New York, she was briefly married to Charles White. In 1947, she married Mexican artist Francisco Mora, and made Mexico her permanent home, later becoming a Mexican citizen.

Below – “Children with Flowers”; “Door Key Child”; “Keisha M.”; Untitled; “Sharecropper”; “Stepping Out” (bronze); “Sister in the Wind.”

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