Wednesday, March 5, 2008

The Book-cut Sculpture of Su Blackwell


Here is an artist to watch, if you haven't encountered her work already - Su Blackwell, whose gallery includes sculptures in which fairy tale images explode out of open books into active silhouettes of paper and ink - like 12 Dancing Princesses, above, or Alice: Through the Looking Glass, below.


There is something haunting and terribly ephemeral about Blackwell's work - and therefore, beautiful. These are dreamscapes, but stark ones. The dancing princesses are almost alive, almost dancing - yet they remain harshly cut thin paper figures in black and white. See how the princess on the left longs -- longs -- to be free of the pages, straining, much as the princesses in the fairy tale long to be free of their confiningly conventional royal world, longing for that liberty so badly that they spring from their beds each midnight and dance and dance until their shoes are destroyed.

Here is what Su Blackwell has to say about her own work:

Paper has been used for communication since its invention; either between humans or in an attempt to communicate with the spirit world. I employ this delicate, accessible medium and use irreversible, destructive processes to reflect on the precariousness of the world we inhabit and the fragility of our life, dreams and ambitions.

It is the delicacy, the slight feeling of claustrophobia, as if these characters, the landscape have been trapped inside the book all this time and are now suddenly released. A number of the compositions have an urgency about them, the choices made for the cut-out people from the illustrations seem to lean towards people on their way somewhere, about to discover something, or perhaps escaping from something. And the landscapes speak of a bleak mystery, a rising, an awareness of the air.


...which shows that Blackwell is poet as well as sculptor. And indeed poetry is probably the best word for the making that she has done. Visit her gallery and let us know what you think!

Tuesday, March 4, 2008

Kumari and the innocence of children

I post the news frequently here because myth and fantasy is not about escape. The study of myth, fairy tale, folklore, and fantasy has several very practical aims. One is to learn to recognize the wonder of the moment, the daily wonders that we overlook because we get caught up in a fast-car cubicle world, or because we spend too much time tripping over the cluttered furniture of our own minds. Seeing a dragon snuggled on a violently red autumn leaf, we might be reminded to glance outside and see the autumn beauty that we have been ignoring.

The other practical aim is to become more aware of the stories – the underlying myths as well as the folktales of the moment – that we hear or tell to explain what is going on around and inside us. Myth is the language through which we interpret the world. 9/11 has become a mythic moment for us, complete with iconic and immediately recognizable images, its villains and its cellphone-equipped heroes. Columbine as well. If we allow ourselves to be defined by our myths without thinking about them and without retelling them in more deliberate ways, then we become twigs hurled down the river that is made up of our stories. We lose the chance to tell new stories that will transform and renew us. We lose the chance to change our world by changing how we look at it and how we talk about it.

Folklorists and fantasists are called to be fully engaged in the current scene, and Dante’s Heart is a venue for gathering to discuss the fantasy of the everyday, not the fantasy of escape. For this reason I keep posting news.

Here is today’s clipping.

Recent news of the retirement of Nepal’s current kumari (or “living goddess”) has brought a lot of international discussion and much protest to the tradition of kumari-puja, or virgin worship. Human rights activists within Nepal are petitioning to end the tradition, which requires the deification of a young girl as kumari until the age of puberty. The current kumari is retiring at eleven years of age, during which eleven years she has been worshipped by supplicants in Nepal as a goddess, an incarnation of Kali. As kumari, she becomes a focus for devotion and hope for an entire people; critics of kumari-puja point out that the creation of a child goddess denies that child a normal life and the chance for a full adulthood – effectively crippling the child psychologically.

The Nepalese kumari is not the world’s only example of the sacred child. Consider another extreme – the Vestal Virgins of Rome, revered by the people but buried alive if, upon reaching puberty, they were caught pregnant or in flagrante delicto.

How do we balance the beauty of a myth and tradition that heals and renews an impoverished people with the future suffering of a human being who must learn that she is not divine? And how do we, if angered at such traditions, manage to ignore our own? Do we do a lesser kind of this same thing in our sheltering of our own children, in mainstream American culture? Is the celebration of innocence a kind of deifying of the child at the expense of a normal life? We do not practice such extremes as the nineteenth century (consider the numbers of young Victorian girls who went to their marriage beds knowing nothing about sex), but how many youths in our culture are thrown into the world bereft of either a rite of passage or preparatory training for adulthood? How much do we attempt to hide from our children, and for how long? After all, ours is the culture that wrote Peter Pan, the celebration of the boy who never grows up, the boy who lives as a semi-divine and eternally innocent Pan amid a world of dangerous adults. A thing worth thinking about.

We act shocked at another culture’s kumari prevented from growing up on time (and I know that it is an equally terrible thing when one grows up too fast), but do we stop to think about our own culture’s kumari traditions and conventions, which are often invisible to us because they are of lesser degree and because they are ours? Think about the anguish of prolonged adolescence (the very concept of adolescence is unknown in many cultures) over the course of years, because we hold stubbornly to the idea that the innocence of the child is sacred. Think of the difficulty parents face in our culture in letting children go – think of the long struggle between parents and teenagers, think of the teen pregnancies, deaths by DUI, and torn families created by our culture’s inability to define the line of demarcation between innocent child and adult man- or woman-of-the-world, and its frequent inability to train future adults or to allow children to grow and develop. In our culture’s way of thinking, there is something divine and sacred in the innocence of the child, and in so many ways we define ourselves by our myth of the loss of innocence, and the guilts and nostalgias that myth demands. In what cases do we, too, no less than another culture in the Himalayas, carry this myth too far?

If there were a way to quantify the cost of such a myth, the cost of protecting children from the pain of growing up, what would we see? If we could count the dollars spent on therapy, or on divorce lawyers, or on varied means of self-medication?

Monday, March 3, 2008

Titania: A New Project

Dear readers,

I'm in the final stages of my move from one beautifully-sculpted snail shell of a home to another, and I want to drop in with news of an independent film project dealing with myth, which is currently in production. You may recognize the artist & director, Lisa Stock, as one of the authors of The Cobweb Forest - if you had the great fortune to be following that multimedia project last year. If this is your first introduction to Lisa's work, I recommend visiting her site at www.inbytheeye.com.


Titania is the first of three films collectively titled Medisaga, to be followed by Purgatory and Neptune. The first film is a beautiful conflation of A Midsummer Night's Dream and the story of the Armless Maiden. I copy Lisa's description of Titania here:

After having her wings violently torn from her body Titania is confined to the grounds of her estate. Natural law dictates that if she were ever to leave the grounds of her home and venture into the forest she would die -- hunted and slain by the harpies who inhabit the woods. When her son is kidnapped by his father, and no one is able to help, she has no choice but to face her greatest fear and defy the edict that binds her, and keeps her alive.

The stuff of great fairy tales, yes? Lyrical and edgy, the series promises a weaving together of threads of folktale and fairytale and Dante and lived experience. Lisa Stock has generously made a series of screen test video clips available on youtube and (as higher resolution downloads) from her site. Take a look at this visual poetry:



The beauty of the screen test is that we get to see the artist in the midst of her work, her hands still wet from her paint - and the glimpses we catch as those colors come together are beautiful and tantalizing - yet also demanding: both a seduction of and a partnership with the viewer.

The promise of Medisaga is that through the three films, the protagonist "will learn what it takes to finally be whole again," as a woman who has passed through grief, suffering, captivity, loss. It is a project thematically in vein with the earlier Cobweb Forest. Lisa Stock's work recurrently addresses the questions of the woman's journey, recognizing in the heritage of fairy tales, with their feminine protagonists and their examination of the crises of a woman's life, a vehicle for exploring and celebrating the growth of a woman (even as much of modern fantasy fiction and cinema, with its frequent focus on male protagonists and quest narratives, has offered a vehicle for writers to explore the man's coming of age and discovery of masculinity).




I am excited to see the completed films. The work Lisa Stock and her actors and colleagues are doing on this project is all the more considerable when one knows that the woman whose life and thoughts were the key inspiration for the series died during the fall, and the work continues in tribute. For more screen tests, go here, and to support the filming of the Medisaga (no small project) either financially or with eager expressions of interest, go here.

Wednesday, February 27, 2008

Slamming into the Moon

The news this morning tells us that NASA is planning to drive two spacecraft into the moon's southern pole, hoping the impact will reveal whether there is hidden water ice there. The idea is cheap, fast, and well-designed. Speaking as a friend to engineers, I don't think the small impact is likely to do any more actual damage than a couple of meteorites would: and the moon is already covered with craters. And as Tony Colaprete at NASA's Ames Research Center was quoted as saying, this is a thoroughly "economical" solution. I played engineer's advocate with our art editor this morning and received for a response:

I still think hurting the moon is no-no. She is the symbol for our lady (call her what you will: Mary, Isis, Hera).

And I have to admit, speaking as a poet and student of folklore rather than as a friend to engineers, I'm appalled at the symbolism of the act. It's actually rather a barbaric and typically-NASA/white-male-engineer notion. If you think about it, slamming a long metal phallic object into our lady's vulnerable place sounds an awful lot like a rape. So much for kindly orbiting and courting the moon prior to a gentle thrust through the thin barrier of her barely detectable atmosphere. I don't like the symbolism of this new trend in space exploration. Consider how much our cultural consciousness was defined by past symbolic acts of astronomical exploration - Armstrong's one small step, for instance. We cannot pretend ignorance to the effect that our symbols have on our minds and hearts. To quote Gene Wolfe, author of The Book of the New Sun:

We believe that we invent symbols. The truth is that they invent us; we are their creatures, shaped by their hard, defining edges.

So it was with the symbolic action of that one small first step onto the moon - with Armstrong's words conveying both the humility of that one step and the pride in the achievements of a race. Now, as we struggle to come to terms with the way we are using and misusing our natural environment, what will be the eventual cultural penalty of a more symbolically violent act?

My intent here is not to sensationalize (the media has already done that well enough) - merely to recognize that the moon is a central folkloric and mythic figure, remaining so even today, and therefore the way in which we interact with the moon will have rippling effect on our understanding of ourselves and of the inter-relationship of ourselves and our world. I'd be curious to hear responses from both poets and astronomers, who after all are sisters, and both in love with the moon. And also from everyone else...

Tuesday, February 19, 2008

White Kangaroo

Dear readers,

I am moving (carrying with me my books as a snail its house) and will not be blogging quite as frequently over the next week or two, though I do plan to jump in when I can and review a couple of wonderful myth and folklore projects that are currently underway - so please check in. There are some great things happening, and we'll point to a few of them.

Meanwhile, here is a picture for the day to get imaginations rolling - not quite an ugly duckling, in fact rather beautiful, though albinos in any species are extremely susceptible to flu and illness - there is probably a story in this:


The source of the photograph is the nature gallery of Narciso Jaramillo.

Saturday, February 16, 2008

The Story of Schmuel, the Tailor of Klimovich

Dear readers, my fiancee and I had the great blessing tonight of seeing the Broadway musical The Last Five Years live, courtesy of my future sister-in-law and her husband. It is a beautiful musical; I was especially struck by a folktale embedded in the midst of it: "the story of Schmuel, the tailor of Klimovich," as told by Jamie the novelist, one of the play's two unhappy-in-love characters. The tale concerns dreams and nostalgia and the desire to turn back time - whether for an artist, a lover, or a people. You can hear a snatch of the music here. And here are the lyrics; without the melody and the acting, the tale is only half itself, but I hope you enjoy it as much as I did:

Schmuel would work till half-past ten at his tailor shop in Klimovich
Get up at dawn and start again with the hems and pins and twist
Forty-one years had come and gone at his tailor shop in Klimovich
Watching the winters soldier on, there was one thing Schmuel missed

"If I only had time," old Schmuel said
"I would build the dress that's in my head
A dress to fire
The mad desire
Of girls from here to Minsk
But I have no more hours left to sew"
Then the clock upon the wall began to glow...

And the clock said:
"Na na na na, na na na
Oh Schmuel, you'll get to be happy!
Na na na na, na na na
I give you unlimited time!
Na na na na, na na na
So Schmuel, go sew and be happy!"
But Schmuel said
"No, no, it's not my lot
I've gotta make do with the time I've got"

Schmuel was done at half-past ten and he said "Good night, old Klimovich"
Put on his coat to go, but then the clock cried, "Wait! Not yet!
Even though you're not wise or rich
You're the finest man in Klimovich
Listen up, Schmuel
Make one stitch and you'll see what you get"

But Schmuel said
"Clock, it's much too late
I'm at peace with life
I accept my fate..."
But the clock said
"Schmuel! One stitch and you will
Unlock the dreams you've lost!"
So Schmuel, with reluctance, took his thread
He pulled a bolt of velvet and said
"I should take out my teeth and go to bed
I'm sitting here with talking clocks instead!"

And the clock said:
"Na na na na, na na na
Oh Schmuel, you'll get to be happy!
Na na na na, na na na,
I give you unlimited time
Na na na na, na na na
Just do it and you can be happy!"

So Schmuel put the thread through the needle's eye
And the moon stared down from a starless sky
And he pushed the thread through the velvet black
And he looked, and the clock was turning...back

So he grabbed his shears and he cut some lace
As the hands moved left on the old clock's face
And his fingers flew and the fabric swirled
It was nine-fifteen all around the world

Every cut and stitch was a perfect fit
As if God Himself were controlling it—
And Schmuel cried through a rush of tears
"Take me back! Take me back all forty-one years!"

And on it went down that silent street
Till Schmuel's dress was at last complete
And he stretched his arms
And he closed his eyes
And the morning sun finally started to rise

And the dress he made on that endless night
Was a dress that would make any soul take flight
Not a swatch, not a skein had gone to waste
Every ribbon and button ideally placed
And sewn into the seams were forty-one seasons of dreams
Dreams that you could feel
Coming real

And that very dress, so the papers swore
Was the dress a girl in Odessa wore
On the day she promised forevermore
To love a young man named Schmuel
Who only one day before
Had knocked at her kitchen door

Thursday, February 14, 2008

Land of the Dreamers

Happy Valentine's Day, dear readers (or happy and brave anti-Valentine's Day for those of you who are single). Our love gift to you from Dante's Heart will be news of a new art gallery online. One of our artists from Issue 1 (see A Trade With The Devil in Issue 1 of Dante's Heart) has created a beautiful site to share her work. Beautifully titled Land of the Dreamers, Isabella's site features Dutch art in a stark and often exhilarating style. Upon entering the site, you will be confronted with a map drawn up in a fashion reminiscent of those old aerial illustrations of Neverland. A click in the right place can take you to Witchtown or to Elf Woods or the Isle of Giants. Definitely stop by and explore the gallery - the artwork and the site are lovingly made, and the best of the work is rich with detail and nuance, with small touches resonant with old folk tales, while the black and white of Isabella's work conveys something of the mystery and nostalgia of old woodcuts. For instance, The Wicked Witch Under the Willow, below.


In keeping with our recent discussion of wolf folklore, a portrait of a wolf and a maiden dancing to the sound of a phonograph can be found in the "Animal Kingdom" section of the gallery (one of my own favorite sections).

There is a welcoming feel to the site, as though Isabella is inviting you into the strangeness and wonder of her vision of the world. Visit, and then post a comment here and let us know what you thought.

Isabella does commissions, wedding and birthcard service, and illustrations to favorite stories.