“The weather varies between heavy fog and pale sunshine; My thoughts follow the exact same process.” ~ Virginia Woolf, from a diary entry dated 21 April 1918

“L’Arbre au Bout de l’Escalier” (nd)
by Léon Spilliaert

                   

“Who will you be tonight in your dreamfall into the dark, on the other side of the wall?” ~ Jorge Luis Borges, from Dream, trans. Alastair Reid

Monday, early evening. Intermittent thunderstorms, high humidity, high 70′s.

It was nice to sleep later today after having Olivia for two days, but it was nice to have her on Saturday and Sunday as I had really missed spending time with her. Unfortunately, it just wasn’t the best circumstances in which to introduce a baby . . . Awoke last night several times with a headache, a different headache each time. It was very strange, but all included extreme light sensitivity and nausea. Not sure if it’s the barometric pressure or the powder keg pressure that is the current state in our house.

Clair de Lune et Lumières vers (1909)
by Léon Spilliaert

Even Corey, even-keeled as he is, admits that the stress is really getting to him, and he wants nothing more than to be left alone.

It’s an amalgation of many things: Tillie’s heightened stress over the battle with Jake; the whole idea of taking Jake back to the shelter from which we adopted him; the futile attempts at training the puppy (whose name is still not quite fixed because no one (myself included) seems to find Kopi fitting); Corey’s upcoming trip to Ohio, which, coming at a really bad time, means that we need to resolve so much before he goes; the broken air conditioner in the living room, which is making the front part of the house unbearably hot and uncomfortable . . . and on and on and on.

It’s no surprise that we are all feeling the pressure, and less of a surprise that the dogs are reading it and reacting to it.

“There are a thousand things I want.
Each begins with going back in time.” ~ Jill Alexander Essbaum, from The Devastation

I suppose much of it goes back to bringing home two dogs at once. If we had just brought home the puppy, she and Tillie might be bonding by now, and the puppy might have been able to pick up on Tillie’s demeanor. Instead, the puppy and Jake seem to bring out the worst in one another, and Tillie spends most of her time hiding and trying to get away from both of them.

“Green Seascape” (1909, pencil and watercolor on paper)
by Léon Spilliaert

When we brought Tillie home, we had both Jack Russell boys, but everything integrated so smoothly that I suppose we have been thrown off-kilter by how very different this experience has been so far. Tillie seemed to house train herself. She never chewed on furniture or shoes. She was an amazing puppy, and she has grown into an amazing adult dog.

The recent additions? Not so much.

I have taken to spritzing hairspray on the bottoms of some pieces of furniture to try to curb the chewing. Water mixed with hot sauce only seemed to make the furniture more tempting somehow. If the hairspray doesn’t work, I’ll buy some bitters. Granted, our furniture is far from top of the line, but we do have a few pieces that I really cherish, like my Bentwood rocker, which seems to having glowing lights around it serving to lure in the two miscreants. That rocker is over 30 years old, and I love it.

“All living things contain a measure of madness that moves them in strange, sometimes inexplicable ways . . . Without it, no species would survive.”~ Yann Martel, from Life of Pi

That paralyzing lethargy that I spoke of in the last post? Well it’s traveled to Corey, and now he feels completely unmotivated to do any of his projects, including installing the new air conditioner. I can hardly say anything to him as my own desire to accomplish anything is fueled only by the compulsive desire for the house not to be in a constant state of disarray, and a keen need for the living room not to smell like a kennel.

“Longing” (nd)
by Léon Spilliaert

I keep washing throw rugs and pillows, and am doing a lot of moving things out of reach, but the puppy grows more each day, which means that things which were inaccessible three days ago are now within reach.

We had moved the dry dog food into the dining room this past winter to keep the raccoons from getting into it. Unfortunately, the puppy has realized that if she hurls herself at the bag, she has a good chance of knocking it over, which means FOOD NOW! Yeah, I know.

This morning we woke up to find that the whole house had been t-p’d—inside. One or both of them had unrolled a full roll of toilet paper from the bathroom to the dining room.

To say that I’m hating life right now is a massive understatement.

“What remains of its beauty yesterday?
I have kept all its feathers.” ~ André Gide, from Prometheus Illbound

I suppose I should be happy at the good news, which is that I seem to have lost a few pounds since Alfie died, but I’m too stressed to be looking at the glass half-full thing. I mean, I spent an hour sweeping the floors and wiping things down once I was able to get out of bed this morning.

“The Royal Galleries of Ostende (1908)
by Léon Spilliaert

The guilt-infusing reality is that we have made arrangements to surrender Jake to the shelter on Wednesday. The woman with whom I spoke yesterday was able to reassure me a bit by telling me that all of Jake’s brothers have already been adopted, so chances are good that he’ll be able to find a new home, but I’m so worried that he’s going to end up back in that cage just wondering why? I’d be wondering why, and yes, I’m human, but dogs are sentient beings. Never doubt that.

Every time that I think about it I can see him sitting there with his beautiful dark eyes filled with sadness. Coward that I am, I don’t think that I can go with Corey when he takes Jake back. I mean, I actually started to tear up on the phone when I was explaining the situation to the woman on the phone. I have never in my life given up a dog, taken a dog to a shelter, albeit a no-kill, extremely clean and well-maintained shelter with lots of volunteers.

It’s all too much, and the thought of Corey going off and leaving me in a few days, even though it’s for a good reason, just makes me sad and more stressed.

Stressed. Stressed. Stressed.

“I’ve always been dark with light somewhere in the distance.” ~ Dallas Green

“Whart with Fisherman on a Mooring Post (1909)
by Léon Spilliaert

So let’s recap shall we?

• I made the mistake of adopting two dogs at once too soon after the loss of Alfie
• The dog who has been queen of her doman is now living in constant fear
• The dogs we adopted are feeding off each other’s energy, resulting in massive entropy
• The little decent furniture we have has become chew toys
• The barometric pressure is wreaking havoc on my sinuses
• The humidity is thick enough to bottle
• Everyone in the house is overwrought
• The house that I have been OCD’ing over cleaning seems to be falling to pieces before my eyes
• The puppy still needs a name.

Yep. That’s about right.

More later. Peace.

All images by Belgian artist Léon Spilliaert (I was able to find the associated medium for only one image).

Music by Lucie Silvas, “Place to Hide”

                    

At Half Past Three in the Afternoon

On one side of the world
I was watching the waterfall
shake itself out, a scroll unfurled
against a grey sky slate wall,
when on the other side—
it would be half past nine, and you
in bed—when on the other side
the night was falling further than I knew.

And watching the water
fall from that hole in the sky
to be combed into foam, I caught
a glimpse in the pool’s dark eye
of us, eating our bread
and cheese, watching the fallen light
crash into darkness. “Look” you said,
“a rainbow like a dragonfly in flight.”

On one side of the world
at half past five in the afternoon
a telephone rang, and darkness welled
from a hole in the sky,
darkness and silence. Soon,
in search of a voice—how to recall
“a rainbow like a dragonfly
in flight”—I walked back to the waterfall.

The trees had lost their tongues—
as I did, coming face to face
with the glacial skeleton hung
behind our picnic place.
The spine was broken, cracked
the rib-cage of the waterfall.
The pond under its cataract
knew nothing of us, knew nothing at all.

And what did I know, except
that you, the better part of me,
did not exist? But I have kept
your anniversary
today—or there, tonight—
returning to the creek, and trying
to understand. I saw the light
falling, falling, and the rainbow flying.

~ Jon Stallworthy

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” I was ecstatic that Mattel thought Ruby was insulting to Barbie — the idea of one inanimate piece of molded plastic hurting another’s feelings was absolutely mind-blowing.” ~ Anita Roddick, The Body Shop founder

Happy June. We’re off doing something completely foolhardy, and once again, my husband’s big heart comes through for the win. More on that later.  In the meantime, here is an eye-opener. I love this for so many obvious reasons. It boggles my mind that I never knew about Ruby . . .

                   

Ruby, the Anti-Barbie

Posted on November 27, 2001 by the late Anita Roddick, founder of The Body Shop

In 1998, The Body Shop debuted its self-esteem campaign, featuring the generously proportioned doll we dubbed “Ruby.” Her rubenesque figure graced windows in The Body Shop windows in the UK that year, along with our slogan, “There are 3 billion women who don’t look like supermodels and only 8 who do.” She went on to appear in stores in Australia, Asia, and the United States, where she captured the imaginations of consumers weary of the rail-thin heroin-chic of the beauty industry’s advertising messages.

Ruby was a fun idea, but she carried a serious message. She was intended to challenge stereotypes of beauty and counter the pervasive influence of the cosmetics industry, of which we understood we were a part. Perhaps more than we had even hoped, Ruby kick-started a worldwide debate about body image and self-esteem.

But Ruby was not universally loved. In the United States, the toy company Mattel sent us a cease-and-desist order, demanding we pull the images of Ruby from American shop windows. Their reason: Ruby was making Barbie look bad, presumably by mocking the plastic twig-like bestseller (Barbie dolls sell at a rate of two per second; it’s hard to see how our Ruby could have done any meaningful damage.) I was ecstatic that Mattel thought Ruby was insulting to Barbie — the idea of one inanimate piece of molded plastic hurting another’s feelings was absolutely mind-blowing.

Then, in Hong Kong, posters of Ruby were banned on the Mass Transit Railway because authorities said she would offend passengers. (Granted, Ruby often appeared without clothes on, but like Barbie, she had no nipples or pubic hair.) Of course, the much more seriously offensive images of silicone-enhanced blondes in other ads were permitted to stay on the trains.

And there, in a nutshell, is my relationship with the beauty industry. It makes me angry, not only because it is a male-dominated industry built on creating needs that don’t exist, but because it seems to have decided that it needs to make women unhappy about their appearances. It plays on self-doubt and insecurity about image and ageing by projecting impossible ideals of youth and beauty.

Leonard Lauder, son of Estée, once refused to advertise in Ms. Magazine (back when they still accepted ads) because, he said his products were meant for “the kept woman mentality.”

I think it is a moral imperative that The Body Shop, as a cosmetics company itself, continue to buck the industry on issues of self-esteem, and to expose the cruel irony of the myth that a company must make a woman feel inferior in order to win her loyalty.

Ruby, who still watches us from posters throughout The Body Shop’s offices, won’t let us forget.

“I am in a state of shock” ~ Flannery O’Connor

This reminds me of an intense discussion about a poem I had written that contained an apple. Comments included things such as seeing the apple as male testicles, sex, death, etc. It was an apple.

Reblogged from Letters of Note:

In 1961, a professor of English wrote to author Flannery O’Connor and asked her, on behalf of his students, to explain “A Good Man is Hard to Find” — a short story of hers that his class had recently been studying, and for which they were struggling to find an acceptable interpretation. He wrote, in part:

“We have debated at length several possible interpretations, none of which fully satisfies us. In general we believe that the appearance of the Misfit is not ‘real’ in the same sense that the incidents of the first half of the story are real. Bailey, we believe, imagines the appearance of the Misfit, whose activities have been called to his attention on the night before the trip and again during the stopover at the roadside restaurant. Bailey, we further believe, identifies himself with the Misfit and so plays two roles in the imaginary last half of the story. But we cannot, after great effort, determine the point at which reality fades into illusion or reverie. Does the accident literally occur, or is it part of Bailey’s dream? Please believe me when I say we are not seeking an easy way out of our difficulty. We admire your story and have examined it with great care, but we are not convinced that we are missing something important which you intended us to grasp. We will all be very grateful if you comment on the interpretation which I have outlined above and if you will give us further comments about your intention in writing ‘A Good Man is Hard to Find.’”

O’Connor was unimpressed, and responded as follows.

(Source: The Habit of Being: Letters of Flannery O’Connor, via Patrick Robbins; Image: Flannery O’Connor, via.)

28 March 61

The interpretation of your ninety students and three teachers is fantastic and about as far from my intentions as it could get to be. If it were a legitimate interpretation, the story would be little more than a trick and its interest would be simply for abnormal psychology. I am not interested in abnormal psychology.

There is a change of tension from the first part of the story to the second where the Misfit enters, but this is no lessening of reality. This story is, of course, not meant to be realistic in the sense that it portrays the everyday doings of people in Georgia. It is stylized and its conventions are comic even though its meaning is serious.

Bailey’s only importance is as the Grandmother’s boy and the driver of the car. It is the Grandmother who first recognized the Misfit and who is most concerned with him throughout. The story is a duel of sorts between the Grandmother and her superficial beliefs and the Misfit’s more profoundly felt involvement with Christ’s action which set the world off balance for him.

The meaning of a story should go on expanding for the reader the more he thinks about it, but meaning cannot be captured in an interpretation. If teachers are in the habit of approaching a story as if it were a research problem for which any answer is believable so long as it is not obvious, then I think students will never learn to enjoy fiction. Too much interpretation is certainly worse than too little, and where feeling for a story is absent, theory will not supply it.

My tone is not meant to be obnoxious. I am in a state of shock.

Flannery O’Connor